Just as music and technology have been converging, so have studios and the tech industry.
To get a job in the media you need to do a job. Specifically, you need to write a pitch that will blow the doors off.
Persistence is a virtue every composer needs, but you can take it too far.
As recording live shows gets cheaper and easier, the line between live-sound engineer and producer blurs.
How can we expect people to value music when we don’t keep track of who owns it?
Sometimes a make-or-break opportunity can make you and break you...
Every TV producer knows the value of a good ‘ssssccHHH PRRRgghhh’. How are you going to give them what they want?
It’s only when you look back that you realise how far you’ve come...
What can studios do to protect themselves when high-profile recordings get leaked?
Sound libraries are great, but making your own sound effects is more fun — and more individual.
As the role of studios changes, so too must that of the new generation of studio managers.
Choosing the right publisher can make a huge difference to a composer’s career. But is there any choice left?
David Bowie will rightly be remembered for his art — but his business sense was equally impressive.
The faster the pace of progress, the harder it is to keep up.
With property prices going up and up, finding studio space is becoming trickier than ever.
Americana is a loosely defined genre, but in terms of studios, it knows what it wants.
It’s easy to ignore the question “Is it any good?” — but job satisfaction lies in keeping it in mind.
All TV people lose faith in their abilities sometimes, but at least no–one blames the composer when things go wrong.
TV composers won’t change the world — but the fact that we’re needed at all can be significant.
As studios have had to adapt to new business models, so have the people who design them.
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.
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