An interview with the man who helped start it all.

News of Ensoniq’s rackmount sampler, the EPS-M, and other goodies are unveiled in glorious techno-colour. Read all about it.

On studio, stage work, and future solo projects

Chris Thomas & Glyn Johns

producers Chris Thomas and Glyn Johns

National Sound Archive

Where can you go to listen to your selection of over one million records and tapes, old and new? Read David Etheridge's revealing article on the NSA to find out...

An Australian composer accepts a brief to provide music for an exhibition of pottery - the catch is that all the sounds should be sampled from the exhibits. Sandra McLean talks to the man who makes pottery sing.

Dan Peek of the English band that everyone thinks is American

Steve Jansen & Richard Barbieri

Following a brief diversion in the form of last year's Rain Tree Crow project, Steve Jansen and Richard Barbieri are once more pursuing their creative partnership. Paul Ireson reports on the recording of their latest album.

Making music on mainframe computers

From his remixes of dance music through his record releases with LA Mix, Les Adams has specialised in making a lot out of a little equipment. His latest project is a solo LP, as Simon Trask finds out.

Janet Angus traces the career of this enterprising sound engineer which ranges from recording Mike Oldfield's 'Tubular Bells' and designing Virgin record stores, to his current pre-occupation with improving the quality of film soundtracks.

An interview with, the BPI's Producer of the Year.

Culture Club producer Steve Levine discusses his attitudes to modern music-making, and how the new interface makes his life easier.

Three Of A Kind.

The quiet man of systems music tells Simon Trask why his work is so often misunderstood - and why tomorrow's 'serious music' won't be possible without computers.

The Session

Part 7: David Mellor puts a typical band into a typical studio and looks at the various stages of recording, from initial planning up to instrumental overdubs.

Acoustic Drums 2

To continue the saga of recording acoustic drums, this month we look at ways of treating the recorded sound.

The Freedom Factor

Opcode's ground-breaking sequencer, Studio Vision, lets you manipulate audio data as easily as MIDI events. All you need is a hard disk recording system like Digidesign's Sound Tools, a fast Macintosh computer with plenty of storage capacity, and some creative ideas. Paul D. Lehrman reports.

Paul White again, with the first in a new series on ensuring your immaculate recording isn't ruined by a mediocre mix. This month: what not to do with mixing desks and outboard processors.

Multitrack Recorder

Already established in hi-fi, Sansui have made their musical debut in the form of a number of multitrack cassette machines, among them the WSX1. Nigel Lord reckons the "studio in a box" is finally here.

MIDI has revolutionised the way we make and record music. But it has developed at such an incredible pace that it is easy to lose sight of MIDI's many benefits. In this lengthy article, Craig Anderton provides a lucid explanation of how you can make MIDI work for you - whether you have a small home studio set-up or a full-blown professional system.

Studiomaster were one of the first established mixer manufacturers to incorporate MIDI facilities in one of their desks and to mate it to a personal computer. Mark Badger assesses whether the marriage is successful.

Recording Guitars

Tricks and tips for getting your twanging on tape

Have you ever wondered what it is like to be a professional MIDI programmer/musician? How do you get your sessions? What kind of gigs come up? What sort of problems arise? What sort of technical and musical knowledge do you need? Mike Collins spills the beans.

Recording Electric Guitar

How to get the best in your studio from an electric guitar.