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The Fostex DMT8 was the first affordable 8-track digital recorder with a simple cassette multitracker-style user interface. Now, there's the new DMT8VL, which costs less and has fewer features than its forerunner, but also boasts a couple of improvements to the original design. Paul White is determined to remain unconfused.

If you aspire to pro Lexicon effects such as the PCM80, but don't have deep enough pockets, the MPX1 could be just up your street. Paul White gets a sneak preview.

Once the play thing of the rich and famous, this hybrid synthesizer/sampling system introduced the world to wavetable synthesis. John Molloy reflects on Germany's finest hour.

A pair of active small studio monitors with the Spendor pedigree have to be worth investigation. Gumshoe Paul White pulls his hat low, dons his mac and checks them out.

Employing the same surface mount technology and 100 millimetre faders featured on the larger Folio SX, the stylish new F1 Continues the progressive Folio tradition of offering more features for the same price or less. Man of taste Paul Hedges decides whether he likes the cut of the F1's jib...

This Professional processor provides all the tools you need to produce a high-quality master. Hugh Robjohns has the final say.

The so-called guitarist's dream has failed to deliver on so many occasions that many guitar players now seem sceptical about the whole concept of MIDI guitars. Does the Yamaha G50 give us cause to rethink our prejudices, or does it simply reinforce them? Paul White finds out.

If you've heard of Paris's IRCAM, you probably imagine it's government-funded research bunker devoted to a kind of avant-garde sonic and musical experimentation that has little relevance to the average hi-tech musician. Over the last few years, though, as Paul Tingen discovers, IRCAM has been coming down to earth, and a new spirit of openness and commercial awareness now shapes its work.

Singer/Songwriter Patcee Francis argues that music should transcend technology, not be circumscribed by it.