Comment / Opinion

Three things stand out about 1985: Mario and Luigi took the world by storm, Back To The Future hit cinemas for the first time, and Sound On Sound celebrated its inaugural issue.

In any area of technology, the only thing that you can depend on being consistent is the presence of change.

The food consumed in studios hasn’t always been healthy. Could that be about to change?

The more serious your responsibilities get, the more important it is to lighten up now and again.

 Alex Millar is currently working as a stage manager at festivals throughout the UK.

This month, Years & Years, Labrinth, Galantis, Fetty Wap, Major Lazer & DJ Snake and Classic Mix, Alanis Morissette 'Ironic'.

Ever since audio recording was invented the recordings themselves have been tied to a physical format that, despite its physical failings, has given us some kind of psychological reassurance in the longevity of those recordings.

This month’s Notes From The Deadline is brought to you by former DJ, apprentice sound engineer and guest columnist Terry Trihard.

Thanks to new legislation, gainful employment now means just that for academies and students.

This month's selection includes: Philip George, OMI, Wiz Khalifa, James Bay, Sia and the Classix Mix - Shania Twain ‘You’re Still The One’.

Location sound recordist Robin Bigwood offers an insight.

Paul White discusses the differences between what measures well on test equipment and what sounds good.

This month's selection include Ellie Goulding, Beck, The Book Thief soundtrack from John Williams, Jess Glynne and that all time classic mix, James Brown 'I Got You (I Feel Good)'.

You might be the next Mozart, but if you can’t meet impossible deadlines, no-one will hear your music on TV.

Studio tool or collectors’ item: what has become of the large-format mixing console?

Joseph Dobson gives us an insight into a day in his technical support shoes!

In this video interview we meet the so-called “Einstein of live recording” to talk production, drum processing and when (and when not) to quantise.

It’s always vital to give the client what they want. Even if what they want makes no sense.

Hollywood looks like it may be on shaky ground, but it’s not all bad news for audio post houses.

When a whole composition can be pieced together in a matter of minutes using tempo-sync’ed samples and a bunch of exciting effects and drum loops, it makes learning to play an instrument seem like a endless trudge...

Guitar synthesizers have been around since the mid-1970s but have never really captured the imaginations of the majority of guitar players.