Industry Talk

When Channel 5 decided to re-do the music for their daily magazine show, Exclusive, Big George was asked to pitch for the job, and went about it in his usual idiosyncratic way...

Dull, lifeless sound you can't do a thing with? Your problem could be direct injection — the scourge of modern recording, claims Glyn Cornelius.

Robin Morley explains why he thinks musicians should stop showing off and get on with making some tunes...

In these days of synths that stay in production for just a couple of years before being discontinued, respect is due to a keyboard design that's survived more than half a century of changing musical fashion and is still going strong. Hammond-lover Rod Sparks pulls out all the stops to bring you a personal organ odyssey.

Engineers still wet behind the ears who do a Tyson (chew off your ear) about their extensive knowledge of audio — Big George Webley hates 'em. He states his case...

Getting a good publishing deal is as easy as predicting the toss of a coin five times in a row. Big George Webley takes a look at heads and tails.

In just five years Amber have become a successful transatlantic company producing TV ad themes and idents. Paul White finds out how it was done.

Youth of today Martin Ryan puts the case for the defence of modern music — and argues that judgement should be reserved for the time being.

When less-than-satisfactory service from a music store begins to border on the distinctly dodgy, Judy Lemon asks: how do they think they can get away with it?

You've got the talent but you haven't got the gear. Sounds familiar? Christopher Holder visits a production team who decided to do something about it, and are reaping the rewards.

Synthetic strings, artificial oboes, machine-made drums... Ian Stewart wants to stop faking it and get real — or go all the way and fake it completely.

Samples taken from other people's records are now big business, but if you're contemplating commercial release of a track featuring a copyright sample, you ignore the legal implications at your peril. Big George Webley investigates.

Alesis' ADAT digital recorder format takes another step forward with the launch of a truly professional high-end machine, the Meridian. Fast Forward's Marcus Ryle is responsible for much of Alesis' software design, making him the ideal person to give Paul White a guided tour.

In the spring of 1987, Mark Cunningham took on the most bizarre project of his musical career: re-recording The Beatles' Sgt Pepper's Lonely Hearts Club Band. Ten years later, as we celebrate the 30th anniversary of the original album, Mark revisits his curious sessions.

"Please read the manual!" runs the time-honoured advice — but what do you do when the information you need just isn't anywhere to be found? Godric Wilkie has a pertinent tale to tell and a plea to make...

Big George Webley looks at how you can add to the worldwide success of the British music industry.

Is the current craze for all things retro preventing music technology from moving forward? David Mellor assesses the value of retro equipment and sees a vision of a thoroughly modern future.

Following Jean-Philippe Rykiel's comments in last month's SOS, it's interesting to hear from another visually-impaired musician. Ian Popperwell invites you to take sides in the hi-tech exclusion game...

Paul Farrer describes the trials and tribulations of writing the soundtrack to the big-screen movie version of Shakespeare's Macbeth.

With so many low-cost recording products coming onto the market every month, you may be tempted to ask what, if anything, is to be gained by buying more expensive models. Paul White attempts to answer.

Ever fancied a job as a beta tester of the latest products? Chris Madden's turning it down thanks.