The more serious your responsibilities get, the more important it is to lighten up now and again.
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.
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?
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.
The ability to take criticism is a vital skill for the media composer. The ability to make sense of it is much harder to learn.
The long tradition of ‘testing’ songs out on the public has found an unlikely new home...
Music for the media isn’t rocket science. It’s far more important than that.
What does net neutrality mean for studios?
Opportunities to spread your creative wings can arise in the most unlikely jobs.
Plenty of industries use tax incentives to lure customers, but will it work for music production?
Surrendering control of your music is never easy, but supplying stems creates myriad new opportunities for disaster.
You can find most things in the world of music for television, but don’t look for logic. Or dignity.
It’s hard to make something new. It’s even harder to make something that’s both new and old.
Power corrupts. And absolute power terrifies...
Everyone’s patience has limits — but as a professional, you should never reach them.
Credits can be a vital resource to the media composer, but they can also be a ball and chain.
We might be used to rapid technological change – but is our audience?
The greatest enemy of original music in TV and film is, well, the original music.
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