Notes From The Deadline
Progress is a wonderful thing, if you're a composer of music for the media and you dream of a poolside studio in the Bahamas.
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Progress is a wonderful thing, if you're a composer of music for the media and you dream of a poolside studio in the Bahamas.
Get a few commissions under your belt and you might start to think you're a big name in the world of music for the media. But as far as the people who make television are concerned, there's no such thing...
In the summer of 1965, a new recording studio opened its doors in London's soon-to-be hip district of Chelsea. For a decade to come, this bijou ex-dairy would produce some of the finest British recordings of the era.
Renowned TV composer Paul Farrer begins a new series of despatches from the front line by asking: what sort of person do you have to be to succeed in the cut-throat world of music for the media?
The role of the producer is changing, and whether you're freelancing for record companies or developing new bands independently, it's vital to put your relationship with label and artist on a solid legal footing.