There's an awful lot of hi-hi-history involved, y'know

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...

As sound-sampling becomes accepted as a technique, what will musicians do with their machines after the novelty has worn off? Chris Meyer takes a sideways look.

The high priest of Pop discusses his solo album, musicianship, songwriting and The Police.

Martyn Ware flatters Fairlights

Ex-Police drummer and self-styled 'tech-head' Stewart Copeland discusses the merits of owning four Fairlight CMIs, why he's in a group called Animal Logic, and how to write an opera. Logical questions: Nicholas Rowland.

Setting the Scene

Part one of a survey of music-printing instruments.

Second instalment of Jim Grant's five-year mission into the unknown, or what goes on inside the world's most popular computer music tool.

After analogue synthesis, FM synthesis, additive synthesis and sampling comes resynthesis - the ability to reconstruct a sampled sound. Bob O'Donnell introduces the Acxel; the first dedicated resynthesiser.

The Eno collaborator and leading exponent of American minimalist music, Harold Budd, discloses the fascinating background to his new solo album 'Lovely Thunder', his love of the piano and his strange union with the Cocteau Twins. Mark Prendergast attends the masterclass and takes notes.

The new FM synthesis

Everything you ever wanted to know about samplers... 48 models compared! Paul Gilby surveys the current sampler market, exposes the 'spec wars', dispels the 16-bit myth and explains in simple terms how sampling really works, before telling you what to look out for when buying secondhand.

Hitmakers Heaven 17 reveal how they've harnessed the hardware on How Men Are.

Upcoming systems music composer chats to Simon Trask about modern technology, Renaissance music and Belgian pop.

From his involvement in the infamous Frankie Goes To Hollywood sessions, Andy Richards has become an accomplished producer and programmer in his own right. Nicholas Rowland listens to a rationalisation of technology.

With a Macintosh computer and Digidesign's new CD-quality digital audio system, you can cut, splice, and create extended remixes to your heart's content. Paul D. Lehrman discovers what it is like to go tapeless in the studio.

beat in the bahamas

The AES Report

America's premier recording exhibition provides Bob O'Donnell with food for thought; the password is "digital", just like the gear.

With the summer shows out of the way and the forthcoming new products all unveiled, Martin Russ looks into the crystal ball and plots out his version of where the world of synthesis might be heading...

Peter Gunn

Jim Betteridge plays 'Hunt the Aled Jones sample.'

An in-depth investigation into the problems of digital filter design and their possible effects, plus a simple circuit for an ultra-powerful low-pass filter.

Recording 'If I Ever Lose My Faith In You'

Throw a bunch of talented musicians and a world-class producer into a 16th century mansion, add some juicy gear, shake 'em about and what do you get? Ten Summoner's Tales, if you're lucky.

'What's the Colour of Money?' was one of last year's most inventive hit singles, but since then, little has been heard from Mark Rogers. Tim Goodyer talks to him as the first HB album is released.

Editing, Looping & Splicing.

Keyboard programmer Paul Wiffen moves on to the process of manipulating the sample in this series designed to help make the best use of your sampling machine.

Since introducing the world to the delights of pure synth-pop in 1981, Vince Clarke has continued to demonstrate his mastery of the popular song form through the medium of synth technology. Paul Ireson investigates.