Some big changes ahead for the delivery of television. Read my analysis at IBC365.

My startup, Streamline, was involved in the FRAMES accelerator at IBC this year. https://www.ibc.org/content-management/features/ibc-accelerator-agentic-automation-for-the-archive/22794

Music Tech UK asked me to contribute an opinion piece for their blog. You can find it on their site https://musictechnology.uk/where-are-the-creators/ along with a lot of other interesting stuff. Where are the Creators?By John Maxwell Hobbs, CEO, Streamline Media Over the past year, I’ve attended a number of music panels focussed on everything from the impact of AI to the challenges of having a career in the music business for people from under-supported demographics. They al

Based on the impending Twitter implosion, I've set up an account on Mastodon. I'm duplicating my posts there for now, and getting to know how it works.

I was recently contacted by the British Library Sound Archive and asked if I would donate my recordings to the National Archive. This is a real honour, and I am excited to have been asked to contribute. The collection holds everything from wax cylinders to digital files. Once everything has been cataloged, it will be available to listen to in the Rare Books and Music reading room which is the same room you have to go to in order to access volumes from George III's library.

Daily Ambience 2005-2006 now available on all digital music services At the start of 2005, I embarked on a project to record and release a new music track each day for a year. And I did just that.* Sometimes the tracks were great, sometimes average, but they were always interesting and it was a way for me to give my creative muscles a workout. The entire project has now been released as a set of 13 albums which are available on Bandcamp, Spotify, Apple Music, Amazon, and more

My latest column on the state of the media industry is up at IBC 365. I discuss how we're the media industry is at an inflection point, one in which we have no clear view as to where we’ll end up, or who the winners will be. https://www.ibc.org/delivery/blog-crossing-the-inflection-point/2915.article

My latest column is up at IBC365.  In the fresh connected world of IP, do years of experience in broadcast engineering still count, or should veteran technicians just hang up their SDI cables and retire? https://www.ibc.org/tech-advances/blog-teaching-old-dogs-new-tricks/2853.article

My latest column is up at IBC356 - I discuss the endless search for a "magic bullet" that will solve all of broadcasting's problems:  https://www.ibc.org/consumption/blog-theres-no-such-thing-as-a-magic-bullet/2784.article

My latest column is up at IBC365 https://www.ibc.org/production/blog-the-importance-of-fun/2737.article In it, I emphasise the importance of having fun in what we do.

My latest column over at IBC356 about the current state of TV in an historical context.  https://www.ibc.org/delivery/blog-tv-isnt-dead-its-evolving/2689.article

Here's my latest opinion piece at IBC365 on the way "good enough" is changing in the broadcast industry: https://www.ibc.org/production/blog-building-a-worse-mousetrap/2652.article

My latest column is up at IBC365.  I give my views on the increasing hype around the potential for AI in media. https://www.ibc.org/tech-advances/i-for-one-welcome-our-robot-overlords/2625.article

My latest opinion piece is up at IBC365.  I give my views on outsourcing and the broadcasting industry. https://www.ibc.org/content-management/focusing-on-the-core-the-importance-of-outsourcing/2582.article

Here's my latest opinion piece for IBC 365, covering the clash of cultures between IT and broadcasting: https://www.ibc.org/delivery/technology-v-culture-the-art-of-making-and-delivering-tv/2064.article?_ga=2.228132957.138508793.1499935580-421349024.1491219481

I've written an article for IBC365 about BBC Wales' bold move into using IP transmission for video.  https://www.ibc.org/consumption/building-the-future-bbc-wales-all-ip-facility-/2044.article

I've expanded on my blog post about engineers role as creative collaborators in the music business and how film and television could learn from that. https://www.ibc.org/production/learning-lessons-from-the-music-industry-/2014.article

A post I wrote for the National Film and Television School https://nfts.co.uk/news/engineers-creative-partners-–-how-film-tv-industry-can-learn-music-production NFTS Head of Technology, John Maxwell Hobbs, believes the film and television industry should view and work with engineers as creative partners as the music industry does and has designed the School’s new Production Technology MA to do just that. Why it is that broadcast engineers have long been viewed as boffins w

I'll be teaching a taster workshop for the Production Technology MA I'm developing for the National Film and Television School on the 18th of May. More details here: https://www.nfts.co.uk/news/why-are-we-fixing-what-isn’t-broken-moving-digital-based-production

Years ago in New York City, I had a funk band called, Your Monkey's Not Funny. At various times it was called, Calamity Jane, Magnetic Dog Sisters, Spiny Norman (and once Spiny Richard due to confusion on the part of the booker at CBGB.) Various members at times included Steffen Franz, David Azarch, Tom Hamilton, Marc Solomon, and at a couple of rehearsals, Jim Fourniadis of Rats of Unusual Size. The final line up (before crashing and burning) was: John Maxwell Hobbs: key