All the information you need to build this powerful 6 channel mono/stereo headphone amp - the solution to all your studio foldback problems.

Sounding Out

Phil Walsh is in complete remote control, and tells you how to mix on a budget.

Guitar

Dave Reed takes us back to school and gives us the first part of his notation tuition series

SynthCheck

Jim Betteridge gets broody over the baby of the DX range

Three jampacked pages of new product information.

earstrain part two

Dave Crombie's review of the Prophet 5 synth leaves us speechless.

Shock discovery for instrument makers - funny you should say that.

Master Bits Sampling Collection 500, 600, 700 and 800

When your music cries out for the sounds of synths that you haven't got, your sampler can be your best friend. Tim Goodyer samples four CDs packed with the sounds of synths, drum machines and even samplers.

Dave Ward enthuses over this very useful aid to multitrack control.

Studios & Recording

Three pages of news including Bowie synthesisers and goodies from APRS.

Jez Ford is seriously effected by Digitech's latest signal processor - the DSP-128

How it Works

Part three, and a look at the design thinking behind this astonishing MIDI-controlled sampling unit.

After a two-month absence, Jim Grant returns to the fold with some notes on CMI waveforms, lightpens and interpolation.

too good a piano player and not a good enough guitarist

A really neat 16 into four mixing desk.

What is a MIDI Merger and why do you need one if you use a computer-based MIDI sequencer? Martin Russ helps BT's funding by receiving long telephone calls from frantic MIDIphiles.

Atari ST Software

The latest sequencer from the Dr T's stable takes interactive composition by the horns. Ian Waugh examines the software and the merits of mathematical music making.

DrumCheck

Giving a whole new meaning to the phrase 'beat box'... Tony Reed tries Roland's sound six-pack

Sound On Sound reader Kofi Busia recently released his own independent LP called 'Oh Africa', funded entirely by himself. To encourage others to follow his example, we asked Kofi to write about his experiences. In this the first of three parts, he presents a frank and revealing account of why the record came about, how he came to grips with using modern technology for African music, and why he chose the equipment he used.

From Folkie to MIDI. Chris Maillard finds out how the hard bitten acoustic veteran has been bitten hard by the electronic bug