Notes From The Deadline
Unless you’ve worked in today’s television business, you can’t hope to understand the true meaning of job satisfaction.
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Unless you’ve worked in today’s television business, you can’t hope to understand the true meaning of job satisfaction.
Franchises like the X Factor, and Dr Dre's new range of headphones, show that consumer tactics may have a role to play in the world of pro audio.
The Audio Engineering Society’s place in recording history is indisputable, but recent events have put its future under the spotlight...
Recent disturbances in the space-time continuum gifted our columnist an unsettling vision of Oxford Street, circa 2014.
One thing that never changes in the world of music: the people who make it usually end up getting ripped off.
The demise of the Compact Disc as the dominant music-distribution format has been slow and inevitable. But what, if anything, will replace it?
You’ve got to be good to get ahead in this game. And not just at mending cookers.
Despite economic uncertainty, Nashville continues to thrive in the music industry. What’s the secret of its success?
In which our hero eats too much cheese before bedtime and falls into a strange, Cheddar‑fuelled dream...
Driven away from Manhattan by skyrocketing real‑estate prices, studio owners in Williamsburg are finding that even high‑profile acts are drawn to their lower rates.
Musicians and video makers alike could learn plenty from a new generation of online artists like Robin Schmidt, who expand and fund their work through social media and ‘crowd funding’.
To reach the top as a composer for the media, what you really need is ‘people skills’ — and the patience of saints.
Remasters and remixes are proven means of exploiting old records — but as the recent success of music-based video games has shown, there might be more mileage in un-mixing them...
No‑one makes demos any more — it’s just that any music we make is treated like a demo.
When is a studio not a studio? When it’s a venue, a nightclub, or a yogic meditation centre... We talk to some recording facility owners who’ve found more diverse ways of using their space.
Today's composers are expected to be available around the clock — and around the globe.
The mass migration from physical music sales to digital downloads means it's now harder than ever to find out who worked on a release — or to be sure your own work is properly acknowledged.
Title? Composer for the media. Job description? Squaring the circle...
This month, our US correspondent speaks to producers and engineers who have had to broaden their horizons in order to keep up with the ever-changing music industry.
Online delivery means fewer ways for things to go wrong, but it also makes media composers more faceless than ever and robs us of some vital excuses.