Thousands of indie and emerging artists gear up for the quintessential music contest of 2015.
Bennett Lincoff’s comments to the US Copyright office on a new system of music licensing
“The Evil Dead” composer finds a girlfriend from hell is the funniest musical demon to fight when it comes to “Burying the Ex”
A noted film and TV composer once again returns to his Broadway-bound roots with the pan-Pacific, cross-cultural musical “Waterfall”
For a composer with increasingly epic scores, “San Andreas” is truly The Big One
Mark Northam looks at college film scoring programs and how realistic they are about the business
Every once in a while, some clever people come up with a solution to an issue that the DAW developers simply have not addressed
Peter Alexander reviews Vienna Symphonic Library’s New MIRx
Film music journalist Daniel Schweiger interviews composer LORNE BALFE, who gives birth to a powerhouse musical model of Hollywood’s most famous cyborg saga with TERMINATOR: GENISYS
Ron Hess discusses how you’ll never achieve the Holy Grail of a perfect sight reading if your notation doesn’t tell each musician at a glance how it’s supposed to sound
2015 festival coverage with Best Cinematography and Directing award-winning CARTEL LAND filmmaker Matthew Heineman and his creative process with his two composers.
‘A.I. ARTIFICIAL INTELLIGENCE: LIMITED EDITION‘ is the top soundtracks to own for June, 2015
Mark Holden discusses the financial benefits to composers of joining overseas royalty societies
Far From The Madding Crowd tops the March 2015 Top-20 film music radio airplay chart