An introduction to Max
Max is the industry standard tool for audio-visual work. Yet many are confused by exactly what it is...
A Q&A with Max for Live expert Phelan Kane
We interviewed Max for Live expert Phelan Kane about his new Certified course with Music Hackspace. ...
Eduardo Pesole’s top 10 tips for Wwise and Unreal Engine 5
As the course leader for our new Certified Courses program Master Game Audio with Wwise and Unreal E...
Hugh Neal’s top 10 tips for Dolby Atmos mixing
Music Hackspace tutor Hugh Neal has 20 years of industry experience, having mixed at top London stud...
How an image led to an album
Curiosity takes you to new places. I arrived in such a place after contemplating what a highly compl...
An interview with Interaction Designer Arthur Carabott Part II
Part II of an interview with Interaction Designer Arthur Carabott who worked on the Beatbox Pavilion...
An interview with Interaction Designer Arthur Carabott Part I
An interview with interaction designer Arthur Carabott who describes how he came to work on the Olym...
A Q&A with AI regulator Ed Newton-Rex
In November last year, Ed Newton-Rex, the head of audio at Stability AI, left the company citing a s...
Music in the browser or app?
At some point, your inspirational idea for digital music will have to travel from the platonic realm...
Book Review: Supercollider for the Creative Musician
A review of the book Supercollider for the Creative Musician written by composer and professor Eli F...
An interview with Blockhead creator Chris Penrose
An interview with Chris Penrose about his experimental audio workstation Blockhead. ...
The persistence of misogyny in music technology
The British House of Commons Women and Equalities Committee released a report on misogyny in music t...
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