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We discuss another handful of hit records, to help you brush up on your listening skills.

If you make and record music using computers, as most of us do, you rely heavily on technology and have to come to terms with the fact that things can sometimes change more quickly than you might like.

There are always loose ends in the murky world of music for the media. And sometimes those loose ends end up tied round your neck.

Are album credits finally coming to streaming services?

Are Black Friday sales really such a good idea?

We examine the production of some commercial releases to help you brush up on your listening skills. This time: Joey + Rory and our Classic Mix is Fats Domino's ‘Blueberry Hill’ (1956).

Not all that long ago it seemed that there was a place in the mainstream for instrumental music...

Is it really still OK for our livelihoods to depend on a small piece of plastic?

Orchestral performance and the role of modern technology.

This month tracks from Sam Smith • Taylor Swift • Imagine Dragons • Classic Mix: Spice Girls ‘Wannabe' (1996).

Getting your music online has never been easier, though making any money from it might be more of a challenge. However, the...

The joy of working in an abstract medium is that everyone will find their own meaning in your music.

The field of game audio is in the process of levelling up...

Will non-AI mixing become the new vintage?

Brush up on your listening skills, as we deconstruct some tracks from a production and arrangement perspective.

Recording our own music has never been more affordable, but there are still some pricing decisions that make little sense to...

Increasingly, clients don’t just want your music. They want the opportunity to ruin your music, and waste hours of your life into the bargain.

Stop worrying about wire!

Brush up on your listening skills as we review some hit tracks from a producer’s perspective. This month: Niall Horan • London Grammar • Anderson Paak • Classic Mix: Linkin Park ‘In The End’ (2000).

When a musician takes an interest in home recording, or makes the transition from old-school recording hardware to the wonderful world of computers, the question we hear most frequently relates to the choice of DAW software.

As media composers, we should be able to turn our hands to anything... shouldn’t we?