what the record companies think they want

It should have been the prince of polysynths, but it flopped. Peter Forrest looks back at the disappointment that accompanied the Polymoog and offers the '90s perspective.

One of pop's pretty faces forsakes teen screams in search of artistic credibility - but has he got what he came for? Tim Goodyer finds out about computer love, classical arrangements and self-production.

Tascam DA30II

New version of DAT classic

Roland RSS System

Three-D sound placement from two speakers - that's the secret of Roland's revolutionary Sound Space system. Vic Lennard looks at the technology and the theory.

Jerry Wexler, the father of soul

The people who invented the electronic drum introduce MIDI — and a decidedly acoustic sound - with the advent of a new kit, the SDS9. Nigel Lord gives his verdict.

PART 2: David Mellor explores the sampling capabilities of the world’s most expensive musical instrument - the Synclavier.

Recording Peter Gabriel's Us

Hugh Padgham takes us behind the scenes to explain the tricks and techniques used in the recording and mixing of Phil Collins' 'In the Air Tonight'.

Space Cadet

Electronic music is one area where independent status is the general rule. Ian Boddy is one of the UK's foremost electronic musicians, with a label he set up especially for his own releases. David Hughes gets the full story.

Hugh Padgham has worked with some of the best contemporary artists - The Police, Genesis, Sting, Peter Gabriel, Hall & Oates, and Phil Collins, to name but a few - and has earned his place in the recording industry history books through his sensitive, innovative, and inspired sound engineering and production work. How did he do it? Brian Jacobs finds out...

PART 2: SEQUENCING AND NOTATION

In the concluding part of this investigation into computer-assisted composition, Greg Truckell cells on Dr T's KCS to compose a tune.

Talking Heads

After a nine-year career with America's foremost contemporary rock band, Talking Heads' keyboard player Jerry Harrison reveals some of the playing secrets behind their success. Tim Goodyer takes notes.

Peter Hook gives a breakdown on broken down gear and the lowdown on Lowlife.

Having recently released his own independent LP, 'Oh Africa', we asked Sound On Sound reader Kofi Busia to write about his experiences. In this the third and final part of his story, he reveals his discoveries about the record industry and explains why he set up his own record label.

Roland Desk Top Media Press Conference

As PWL's in-house mixer, Pete Hammond can claim to have had a hand in even more chart singles than Stock, Aitken & Waterman. David Bradwell finds out what makes a hit record.

Digital Synthesiser

After being quiet for a while, Kurzweil are stirring up quite a storm with their latest synth. MT grabbed one for review only to find it had been sold to New Order - consequently, Nick Batzdorf reports from the US.

David Mellor offers advice to the studio newcomer on the original multi-effects unit.

Putting It Together

The nitty gritty of choosing appropriate recording and sequencing equipment for use in a school environment.

Jungle

We profile three of the hottest production teams in jungle

Recording Vocals

Part 9: The human voice is the most difficult instrument to record, bar none. David Mellor offers some practical guidance.

Already assured their place in history for inventing the Portastudio, Tascam have also given us a one-inch 24-track machine and now the "Midistudio'. Tim Goodyer visits Japan to find out more about this revolutionary company.

Chick Corea has helped pioneer the use of electronic instruments in jazz music - now 49 LPs down the line, he believes there's still more ground to cover. Scott Wilkinson talks to a musical legend.