Alexander Burke on Taking Direction from Non-Musicians | Making Music for Films & TV

Tim K on the Essential Skill Sets of a Media Composer | Making Music for Films & TV

Carlos Villalobos on Working With Temp Music and Pushing Yourself | Making Music for Films & TV

"The Melodies Write Themselves": Jonathan Shanes on the Importance of Sonic Texture | Making Music for Films & TV

Gregory Jenkins on the Oddest Scene He's Ever Scored | Making Music for Films & TV

"Fury Road" Composer Junkie XL on How to Get Started with Synths and Production | Making Music for Films & TV

"Midnight Gospel" Composer Joe Wong on Removing the Conscious Mind From Music-Making

Tape Leaders: An Advance Party to Electronic Music's Future

The Test Oscillator: How Artists Turned Military Gear Into a Musical Instrument

Licensing Your Music with Alec Stern of Leo Burnett

Jane Weaver on the Making of "Modern Kosmology"

The Best New Music Software Released in February on Reverb

The Theremin's Century: How the Touch-Less Instrument Made Its Mark on Music

How the MP3 Accidentally Destroyed the Music Industry

The Vocoder's Cyborg Flights in Electronic Music and Hip-Hop

Beyond Doctor Who: Delia Derbyshire's Pioneering Electronic Music

The Making of H.E.R.'s Volume 1 | Finer Notes

Interview: An Inside Look at Nathan Barr's Restoration of a 1920s Theater Organ

The Sound Worlds of Vangelis

"High-Tech and Hand-Made": Peter Gabriel Shares His Recording Philosophy | Bacon's Archive

Interview: Emile Mosseri on Homecoming's New Synth-Laden Score

Show Us Your Space: Full English Post in Brooklyn

Charlie Clouser Talks Scoring "Saw X"

The Synths and Studio Techniques of Devo