Industry Talk

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

Janet Harniman-Cook concludes her two-part feature with a guide to creating your own Enhanced CD.

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

Commercial singles and albums are incorporating ever-more-sophisticated interactive audio and visual content, often using the Enhanced CD format. Janet Harniman-Cook starts this two-part feature with a look at how the format is being used by record companies, and the possibilities that are open to independent musicians.

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...

Do you want to engineer top acts in top studios? Are you prepared to devote your entire life to music recording? In this new series, David Mellor explains how you can become a professional music recording engineer.

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.

Neil Watkinson doesn't care whether your studio is analogue or digital, big or small, so long as new can hear the words...