Comment / Opinion

Tired of derivative movie sound design? Console yourself...

We asked dozens of professional mixers, producers, designers and audio engineers to tell us what Sound On Sound magazine means to them.

It’s hard to believe that Sound On Sound is now 30 years old! When the magazine started in 1985 MIDI was still a new technology, but software sequencers sync’ed to tape via SMPTE were soon to change the landscape of recording beyond recognition...

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.

SOS Reviews Editor Chris Korff tackles the 80s!

This month we feature Walk The Moon, Jason Derulo, Jack featuring Justin Bieber, Tinie Tempah, Muse and our Classic Mix: Glenn Gould, Bach’s ‘The Goldberg Variations’  

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.