Industry Talk

Paul Carmody explains why, when it really comes down to it, there are more important things than 'big' production.

New developments in technology often originate in other fields, and are only later applied to the world of music. In this new regular column, Dave Shapton seeks out the latest breakthroughs in digital technology, and explains how they might change the way in which music is made and recorded.

Many recent singles have had their path onto radio playlists smoothed by an edit from Wise Buddah Music Ltd. Sam Inglis talks to founder Bill Padley about the business of producing and editing music that getss on the air.

So, you've made it from dogsbody to tea boy, through tape op and Assistant Engineer... In the last part of this series, David Mellor explains the roles and responsibilities of the recording engineer, and what you ought to do if you like to make engineering a life-long career.

Assistant Editor Matt Bell explains why the MP3 revolution will not be televised — at least, not at his house.

John Walden suggests why unsigned artists don't have to remain unheard, thanks to MP3 and the Internet.

Are you the typical SOS reader? What do you feel about the magazine? What gear will you be buying in 1999? Ian Gilby presents the results of our most recent Reader Survey.

This month, David Mellor considers the progression from first studio job to Assistant Engineer.

SOS reader TJ Stone asks whether the mountains of sophisticated equipment available to successful musicians and producers really help to make better recordings.

It's true that too much music sounds predictable and boring, says Ian Stewart, but it's too easy to blame technology the real reasons lie elsewhere.

A recent court ruling could be the biggest threat to music composers since the great cull of 1673. Big George breaks the bad news...

Robert Louis Medina explores the sordid world of naked Dutch flesh — and bemoans the gulf between the quality of Roland products and that of Roland manuals.

The music biz is a notoriously difficult one, but you might think that at least the people who get paid to work for you are on your side. Sam Inglis says it's even worse than you thought.

Music on the Internet has brought into sharp focus the changes that will need to be made to a global law to ensure the safety of music copyright. Debbie Poyser and Derek Johnson assess the possible impact of new technology.

Electronic music pioneer Klaus Schulze talks about the way he'd like to see synthesizer design developing over the next few years.

After years of crafting your music to the peak of perfection, do you think you've now got what it takes to make it big? Big George Webley looks at some of the harsh commercial realities of today's record business, and explains why the path to fame and fortune doesn't end at getting a record deal.

Nicholas Rowland argues that there's still something we can learn from the Beatles apart from the fact that drummers shouldn't have solo careers.

SOS Editor Paul White explains the thinking behind his own studio layout, and offers a few practical tips on cable runs and studio furniture.

Brian Willis bemoans the lack of creativity in synthsizer programming and electronic music.

John O'Connor said farewell to the UK music business with the million-selling single 'Star Trekkin'. Paul Tingen tracks him down at his new home in America, where he is one of the principal composers for the cartoon King Of The Hill, as well as a successful recording artist in his own right.

In the sequel to his article last month about being a session musician, Big George takes a look at what it takes to be a successful programmer.