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The plug-in compatibility of most audio software means that you can add new effects and processing capabilities — but not all programs support the same types of plug-in, and some require additional hardware. In the first part of a comprehensive roundup, Paul White and Martin Walker look at the different plug-in formats available.

The craft of mixing is all about controlling and balancing the relative levels of different instruments. Most of this balancing is done by riding the faders, but dynamic compression can also be a very useful and powerful tool if used appropriately. Hugh Robjohns explains some of the techniques and traps involved in mix compression.

This month, Martin Russ steps back and overviews the Macintosh for any newbies, and revisits an often overlooked bit of routine maintenance.

If you fancy making music on the move, a laptop PC looks ideal. Martin Walker looks at some of the options. Norton Utilities Integrator; USB Tips.

Having looked at the history and development of built-in effects on synths over the last decade and a half, Paul Wiffen now explores the practicalities of using them, and how to get the best from the keyboards and modules which contain them.

Is BIAS Peak the natural successor to the ageing Sound Designer II, or can the old dog still show it some tricks? Paul White finds out.

Guillemot's MAXI Studio ISIS PCI soundcard system for the PC seems to offer a lot of bang for the buck. John Walden dives in to find out what all the flap is about.

In Part 1 of this (63-part) series exploring the world of subtractive synthesis, Gordon Reid goes right back to basics. What are waveforms and harmonics, where do they come from, and how does the theory relate to what we actually hear?

Miriam Stockley is one of the premier session singers in the UK; but it's taken her until now to record an album of her own. She talks to Sue Sillitoe about recording the album in her new home studio.