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Music on the Internet has brought into sharp focus the changes that will need to be made to a global law to ensure the safety of music copyright. Debbie Poyser and Derek Johnson assess the possible impact of new technology.

Subtle timing nuances play a large part in the feel of much of today's rhythm-based music. Martin Walker bangs the drum about creative use of groovy time-tweaking functions.

When it comes to emulating acoustic instruments, the modern orchestra probably represents the ultimate challenge. Philip Meehan shows you how to take it on and win.

As computers continue to increase in power, so the numbers of roles they can play in the studio increases — and the makers of Audio Architect would have us do our synthesis in software. Kevin Perry finds out if it can really replace those old Moogs and Prophets.

John Walden exchanges his plectrum for a mouse and suggests some guitar-related Internet sites that might encourage even the more technophobic pluckers and strummers to venture into cyberspace.

Hums, clicks, rustles, chirps, shuffles and creaks. Just a few of the sounds that your recordings could well do without. Paul White has a quiet word about the art of noise reduction.

These days, a new synth without some form of DSP effects processing is almost unthinkable — but it wasn't always like that. Paul Wiffen traces the introduction of effects on synthesizers and looks at making the most of the early implementations.

These days, high-end PC soundcards offer much more than mere audio interfacing, incorporating mixing, synthesis, sampling and often powerful onboard processing facilities. Martin Walker finds the features of Creamware's new DSP-powered Music Production Environment' impressive even by modern standards.

It was the best-selling single of last year, and signalled a radical change of musical direction for Cher — complete with bizarre vocal processing. Yet, surprisingly, it was produced in a small studio in West London. Sue Sillitoe relates the astonishing tale of 'Believe'.