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Opportunities to spread your creative wings can arise in the most unlikely jobs.
Surrendering control of your music is never easy, but supplying stems creates myriad new opportunities for disaster.
You can find most things in the world of music for television, but don’t look for logic. Or dignity.
It’s hard to make something new. It’s even harder to make something that’s both new and old.
Power corrupts. And absolute power terrifies...
Everyone’s patience has limits — but as a professional, you should never reach them.
Credits can be a vital resource to the media composer, but they can also be a ball and chain.
We might be used to rapid technological change – but is our audience?
The greatest enemy of original music in TV and film is, well, the original music.
Music commissioning has always been squalid. But today's composers get a fairer deal than Mozart ever did.
When it comes to music technology, truth can be stranger than fiction.
You can't please all of the people all of the time. Even when they are on the same production team.
There's a place for art in almost everything — even music for TV.
The pace of change in music technology can be scary, so let's be thankful for the one constant.
The world is full of products that promise to make our music better. But will clients or audiences notice the difference?
We all want our names to be associated with famous TV programmes, right? Well, it depends what they're famous for...
The 1975's chart-topping album is just one of a string of hit debuts engineered, mixed and produced by Mike Crossey.
Life as a jobbing musician has always been tough, but at least the risk of drowning isn't quite as high these days.
Making a good living from music isn't as hard as they say. Getting people to believe that you make a good living from music can be impossible.
We all like adding new technology to our studios, but progress comes at a cost.