Spot The Difference
Paul White's thoughts on what the difference is these days between project studio and professional studios.
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Paul White's thoughts on what the difference is these days between project studio and professional studios.
A modern media composer’s repertoire needs to encompass everything from fugues to farmyard noises.
The computer is no more than a passing fad.
This month: Newton Faulkner, Paloma Faith, Nicki Minaj, Coldplay and Rita Ora.
Live-sound employment is now more competitive than ever, so how can you stand out from the crowd? We asked some of the leading teachers and employers in the industry for their advice.
Looking back over some very old leader columns, I came across some of my comments and suggestions for making aspects of music technology more friendly.
The viewing public never get to see — or hear — the messy side of TV production. But that’s where the fun is.
Barrington Haynes asks the question.
This month's tracks are from Madonna, Justin Bieber, Elbow, Maroon 5 and Flo Rida.
Editor In Chief, Paul White questions vintage gear plug-ins.
When TV composers talk about archiving, they usually mean backing up their hard drives.
Need more space? Lose the cymbals!
We examine the production of some recent releases from Paul McCartney, The Maccabees and Fun.
I don't get the point of telephone text messages, I really don't! Come on guys, speech transmission was established as a...
Most of the time, TV composers are happy if anyone notices their music. It’s when people start to like it that the trouble starts.
Whether you're the one producing the music or are simply listening for pleasure, the music itself must always be an emotional experience — because if it isn't, what's the point?