Pete Harris, engineer, producer and programmer talks to Paul White about working in the Zomba empire.

Roy Wood risked burning the supper to bring us up to date on his career, his current activities and his method of working in the studio.

Korg DRV1000 Digital Reverb

The DRV1000 heralds Korg's late entry into the digital reverb market, but has it come too late?

The Box

Tapetalk's latest species of Box soundstage analyser turns out to be a very useful device to have in the studio.

MTR 6:4:2

A budget 6:4:2 mixer that is neither short on features nor costs the earth.

Roland DEP5

Roland's long-awaited multi-effects unit turns out to have a great deal to offer.

What was to be a 2-part series has now grown. This second part covers the creative use of effects when mixing.

Tascam Porta Two

This month's cover feature, the brand new Tascam Porta 2. Bristling with features, this 6-channel, 4-track portable studio still falls within an attractive price bracket.

Take the successful MIDIverb, remove the MIDI bit, reduce the number of programs to 16, and you've got the cheapest digital reverb in the world. Paul White lends it an ear.

Four-track Cassette Recorder

A new mid-price four-track machine from the people Tascam love to hate. Paul White finds it to be elegant, well designed, and startlingly good value.

In the second part of our series on getting the most from the mix, Paul White offers some advice on using outboard signal processors to their best, er, effect.

The concluding episode, and Paul White explains how the processing secrets already revealed can be applied to make a complete mix. No more staring at the faders in despair...

Four-track Cassette Machine

It's like a Porta One, but bigger, with more input channels, more features, and a correspondingly higher price-tag. Paul White casts a critical eye.

The Final Frontier?

Is what digital reverb is all about recreating. But how do the mechanics of reverberation work, and what relation do today's digital techniques bear to the real thing? Paul White reports.

The "guitar player's synthesiser" is now in full production. We analyse the mechanics of the Stepp, and let two musicians - a guitarist and a keyboard player - give their views on its playability.

It's the most oft-quoted specification of them all, yet frequency response is also one of the most confusing aspects of music machine performance. Paul White reveals the facts behind the figures.

Winter NAMM 1987

Our spectacular show coverage starts here, with masses of information - backed up by colour photographs - on the biggest Winter NAMM show there's ever been...

Guitar-to-MIDI Converter

Paul White, who's owned almost every Roland guitar synth built, puts the new GK1 synth driver and GM70 "brain" under test. Is this the first pitch-to-MIDI system that really works?

More than just a hi-fi speaker. These 'dual concentric' models make the grade as serious home studio monitors.

There's a lot more to the humble digital delay than meets the eye. Paul White investigates.

Walls have Ears...

DIY soundproofing and acoustic treatment for walls.

Although the title 'maintenance engineer' does not have the glamour of 'producer', it is an essential job. Paul Ward tells us why.

ELECTRONIC PATCHBAY

Tantek enters the professional market with a patchbay par excellence.

If you rely on the electric guitar in your recording but daren't annoy the neighbours, then this is what you've been dreaming about.