SOUND ON SOUND
To find the exact phrase, put the words in quotes or join them together with a plus sign e.g. live+recording or "live recording".
To find, say, all live recording articles that mention Avid, enter: live+recording +avid - and use sidebar filters to narrow down searches further.
We all have musical skeletons in our closets, but at least media composers don’t have to wheel them out every night at Wembley Arena.
Unless you’ve worked in today’s television business, you can’t hope to understand the true meaning of job satisfaction.
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.
You’ve got to be good to get ahead in this game. And not just at mending cookers.
In which our hero eats too much cheese before bedtime and falls into a strange, Cheddar‑fuelled dream...
Transforming Peter Gabriel’s Scratch My Back into an impressive live experience required an orchestra, a team of top engineers and just the right selection of gear.
To reach the top as a composer for the media, what you really need is ‘people skills’ — and the patience of saints.
No‑one makes demos any more — it’s just that any music we make is treated like a demo.
Today's composers are expected to be available around the clock — and around the globe.
Title? Composer for the media. Job description? Squaring the circle...
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.
Its lovely to be appreciated — up to a point...
You might think that being a TV composer is a life of parties, beautiful women, fame, glory and dongles, but the reality is rather different. This unique chronological study plots the lifespan of a typical project.
Some broadcasters will stop at nothing to save money, even if that means blatantly ripping off composers. So always look at the small print before you leap.
The musical challenges involved in composing for TV can be intimidating enough, but its the legal documents that are truly scary.
Want to be a media composer? Get used to being the most anonymous cog in the TV production wheel.
How to get ahead in the business? Honour thy deadlines, have no other gods before work, and dont commit murder unless theres a particularly juicy commission at stake.
Its wonderful to be able to give something back to young people who are eager to learn about life in the studio. If only they were better prepared to receive it.
Sample libraries are the modern media composers most important asset — so its a shame that using them in real-world projects can land you in legal hot water.