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Accurate monitoring is a must in the recording studio, but the perceived level of bass depends on where you are standing and where the speakers are positioned. Paul White explains why in audio, a boundary literally means a six.

Approaching re-entry into the atmosphere, Simon Millward concludes his tour of the Cubase universe with a look at some of the flagship sequencing package's lesser-known functions.

Paul White looks at the benefits of using a multi-port MIDI interface.

The Atari range has undeniably been somewhat neglected in the race to produce the hardware and software necessary for integrated hard disk recording on today's computers. Ofir Gal takes a look at a German company who are determined to keep the Atari flag flying.

With so much interest in vintage synths, it's easy to overlook the fact that many classic sounds owed just as much to the tape delays being used at the time as to the instruments themselves. Paul White shows you how to fake the effect.

Paul White tests Audio Technica's latest low-cost back-electret mic and discovers thats its performance is out of all proportion to its size.

BBE's new Sonic Maximizer combines enhancement with single-ended noise reduction. Paul White finds out whether the marriage of the two systems is a happy one.

Emu's Sound Engine is the first dedicated General MIDI module from the USA. Derek Johnson explores GM the American way.

Paul White tries to establish whether a separate mic preamp really does make a difference, using the MX2, the latest in the LA Audio Lite range of signal processors.