Working ‘in the box’ is all very well, but what happens when the box breaks?
At both the production and consumption ends of music, analogue is making a comeback.
The decline of churches echoes the fate of studios — but it could present some exciting new opportunities.
Despite great progress elsewhere in the TV business, music for the media is still overwhelmingly dominated by men. Why?
The rise of the studio as a tourist attraction might seem a little crass — but if it helps to pay the bills...
A reputation for competence is vital — and to get it, you need to take every opportunity going.
Studios often fall prey to the real-estate business — but for some people, they present a niche opportunity.
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.
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