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We think nothing of using computers to help us create music via the wonders of MIDI — so why not use the computer to generate the actual sounds, and take entire synthesis systems into the realm of computer software? Paul D. Lehrman puts the case for and against this move and talks to some software synth developers.

Brian Heywood hails the arrival of Windows 95, and passes on some hints for getting digital sound out of your AWE32 soundcard.

Do your recordings sound like they've been made through a white noise generator? Well, don't just blame the vintage synth or battered effects unit — it could be your gain structure that's at fault. Paul White offers some tips on getting it right...

Martin Russ explains how he discovered the curious truth behind Apple hardware supply, and explains the meaning of 'Spanning'...

What are MIDI messages and what do they do?

The trouble with sequels is that they're not usually as good as the originals. Is the follow-up to Digitech's powerful TSR24 the exception to the rule? Derek Johnson and Debbie Poyser find out.

Andy Davies casts his eyes, and fingers, over Fatar's latest low-cost master keyboards.

Paul White turns his critical ear to three Groove Tubes valve mics, and concludes that they are more likely to tell you what you want to hear than the unbridged truth.

Offering evolution not revolution, the feature-laden K2500R packs one heck of a sonic punch. Paul Ward remains impressed...