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Music and games software doesn't normally tend to mix very well on the same PC. Martin Walker tries out a selection of ways to achieve harmony.

Digital recording systems have been in everyday use now for nearly 20 years, and such systems have become affordable to the project studio owner within the last decade. But what actually is digital recording, how does it work, and are the claims made about its sonic perfection justified? In the first of this new 6-part series, Hugh Robjohns revisits the technology and techniques involved.

This month Martin Walker prepares to burn his own CD-R disks, discusses the merits of the rewritable variety, and reports back from the Frankfurt MusikMesse.

If you have the space, the time and the money, the best sound isolation can be achieved by building a room within a room. Paul White explains what's involved.

This new Vocalist has been designed to be easier to use than ever. Martin Walker sings up a storm in three-part harmony...

Nicholas Rowland explains how you can take advantage of your computerised drummer to generate effects that sound anything but human...

Although it's less than a year old, Opcode's highly useful Studio 64X multi-port MIDI interface and patchbay has been redesigned to incorporate even more features (including a wide range of synchronisation facilities), and has re-emerged from its refit as the Studio 64XTC.

Oram are not a company to do things by halves; their Octasonic, as the name suggests, features a whopping eight channels of professional-quality mic amplification. David Mellor finds it's eight times a preamp....

Paul White tests a new Sony DAT recorder offering professional features at an affordable price.