David Gould, Director of Audio Content Solutions at Dolby Labs, talks to Hugh Robjohns about immersive audio and how Dolby Atmos works.
We conclude our in-depth guide to the world of library music with an essential cut-out-and-keep explanation of the key words and phrases you’ll hear.
Composers need publishers. But are they there to help us, or help themselves?
Like any way to make a living, library music has its pitfalls. We help you look out for some of the biggest!
There’s a lot of money to be made writing music for movie trailers — so you have to be good. Have you got what it takes?
A trailer can make or break a blockbuster movie, and the choice of music can make or break a trailer. Chances are that music will be library music...
Success in the library music world is partly about who you know — so get out there and get to know people!
How can you ensure that your library music hits the spot? What better way to find out than to ask the people who buy it!
Successful library music writers are efficient, productive and reliable as well as musical — all skills you can develop too.
We saw last month that library music can provide composers with a good income. This month, we explain how that income is generated.
Production music is rarely glamorous, but it can be very lucrative. In the first of a major new series, we explain how to get your foot in the door.
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