Comment / Opinion

Paul Farrer reveals how he learned to stop upgrading and love the music.

Can a virtual analogue synth inspire the same affection as its genuine analogue counterpart? Paul Nagle thinks not...

Many musicians bemoan the Net's implications for copyright but, as Robin Morley says, people in glass houses shouldn't throw stones...

There are still those who lament the fact that MIDI and music technology have made it possible for anyone to produce music, with a potential impact on overall quality — but Roger Derry isn't one of them...

Leading producer Steve Levine recently discovered that a fake Steve Levine has been masquerading as the real thing, to secure work under false pretences. Read on for the rest of this amazing story....

Kevin Perry proposes a radical redesign for modern digital audio software as we know it...

There are many roads to chart success. Big George gives you directions...

Audio equipment is expensive, so it pays to keep it in good condition and forestall potential problems. Paul White provides a few tips.

Mike Senior wonders to what extent our creative decisions are really free and how much they're dictated by the studio gear we know and trust.

Jeff Mearns wonders why we still suffer from gear lust, when old, faithful, well-worn studio equipment so often produces the best results...

The music biz is a notoriously difficult one, but you might think that at least the people who get paid to work for you are on your side. Sam Inglis says it's even worse than you thought.

Samples, re-sampling, looping, cutting and pasting — is it all getting too easy? Is the phrase 'dance music' becoming an oxymoron?