Over the last few years musicians have consistently been more excited over the latest MIDI hardware developments than they have over MIDI software. Whilst other micros have come and gone, the Atari ST and Macintosh micros have quietly become the established computers for making music with MIDI. Ed Jones reveals why with a look at Steinberg's Pro-24 (V2.1) and Mark Of The Unicorn's Performer (V2.2) programs.

Bob Dormon's effects tutorials conclude with a look at multi-effects units

Software for the Apple Macintosh

Few software houses have been in the music business as long as Passport, yet only now have they designed a package for the sophisticated Apple Macintosh. Jim Burgess checks it out.

Why has this top record producer - the man behind Culture Club's phenomenal success on vinyl - given up using the Fairlight in favour of a Steinberg Pro-24 system? Why is he so upset about the myths that surround digital recording? Ralph Denyer went along to Levine's new studio to find out...

(But Were Too Afraid To Ask!)

Martin Russ continues his detailed investigation into the inner secrets of MIDI's most powerful messages.

MIDI Processor

This American MIDI processor is possibly the most sophisticated processor currently on the market. Matt Isaacson tries out its bewildering array of facilities.

Atari ST Software

Dr T's Multi Program Environment allows their KCS sequencer, Programmable Variations Generator and Copyist scorewriter to be used as part of an integrated system. Lorenz Rychner goes soft.

Fashionably minimalistic, America's premier avant garde composer recently visited the UK for an all too brief concert tour. He has been cited by many international stars as one of their first influences, yet commercial success has eluded him. Dan Goldstein listens to what he has to say

Editing

Presenting the cut and splice of real editing — that's the business with razor blades, tape and good idea

If you own several samplers or just want to transfer S900 samples into your mate’s FZ1, then this program will make life considerably easier. David Mellor creates some designer sounds with the Atari ST version of Digidesign’s universal sample editor.

Annabel Scott talks to one of the synth world's younger composers about a new album of raunchier, dynamic music, the result of his first sessions in Jive Electro's equipment-laden studio, Battery.

Digital Wave Memory Synthesiser

Rick Davies gets to grips with a polyphonic synthesiser that allows users to create their own waveforms, a process made easier by Hybrid Arts' voice editing software.

19 ways to the top: exclusive

While many of us dream of a career writing music for films, a select few are actually doing it. Lawrence UlIman talks to Gary Chang, a resident Hollywood scorewriter.

Software for the Atari ST

After his recent jaunt on BBC TV's 'Micro Live' show, Atari ST owner Tony Hastings tries out Steinberg Research's new editing software for the Akai S900 sampler.

Once singer with The Pop Group, Mark Stewart has now joined forces with drummer Keith Leblanc and producer Adrian Sherwood under the title of The Maffia - Nicholas Rowland listens to the sounds of hell.

Using MIDI Continuous Controllers

Scorewriting packages are becoming more and more popular Clive Grace looks at Dr T's top of the range offering

Akai S900 Editor for the Atari ST

This comprehensive visual sample-editing package from America could be the answer to many S900 owner's prayers. Vic Lennard says: have ST will travel.

Yamaha's DX7 may well be a classic keyboard but its MIDI implementation and small onboard memory are starting to look decidedly limited compared to newer generation keyboards. What's needed is an upgrade, and the add-on E! board from America's Grey Matter Response is certainly that! Martin Russ enthuses over its features.

Bass Traps

Phone booths into concert halls - if you can ace your bass, that is

The whizz-kid that made a number one hit out of a spoken-word soundtrack and a sampler with 19' is now The Wizard, courtesy of a new signature tune for 'Top of the Pops'. Tim Goodyer meets the man, the Synclavier, and the passion for new technology.

There's more than one way to a living out of music. Nicholas Rowland talks to the Pync Brothers about writing and recording music specifically for use in TV and radio advertising jingles.

Are record producers losing their touch now they've regained their influence? Are DJs better-equipped to make music that moves? Simon Trask gets the answers from an objective source - one of Britain's top remix DJs.