Why the UK Might Not Be a Composer’s Paradise
You might think London, with its rich musical heritage and thriving arts scene, would be a composer’s dream destination. But here’s a reality check – the UK’s music industry landscape isn’t exactly rolling out the red carpet for composers, especially when it comes to orchestral recordings and film and TV scoring.
Let’s talk about recording spaces first. As relayed to us by the BAFTA-Winning composer John Altman, for orchestral recordings, London’s options are surprisingly limited. Abbey Road Studios, made famous by The Beatles, stands as the crown jewel (currently being renovated). Then there’s AIR Studios, founded by legendary Beatles producer George Martin. While these are world-class facilities, they’re often booked solid and come with eye-watering price tags. There’s also Angel Studios in Islington, though it’s smaller and can’t accommodate full orchestral setups like its bigger siblings.
This studio shortage creates a real bottleneck. When you’ve got composers from around the world competing for limited recording slots, you can imagine what that does to availability and costs. It’s simple supply and demand – fewer studios mean higher prices.
But here’s where it gets even more interesting: the copyright situation. We caught up with an award-winning composer Michael Llewelyn-Barker who just got back from Budapest from his first recording session in 2025. He explained to us that in the UK, orchestras typically retain the rights to their music, with producers obtaining licenses for use. While this might sound great for composers at first glance, it’s actually created an unexpected side effect. Many producers, especially in film and television, are now looking to European countries where they can acquire full copyright ownership of the commissioned music.
This brings us to the exodus of recording sessions to Europe. Places like Prague, Vienna, and Budapest have become go-to destinations for orchestral recordings. Not only do these cities have multiple high-quality recording venues, but they also offer more competitive rates. When you factor in the different copyright arrangements and generally lower operating costs, it’s no wonder many composers and producers are packing their scores and heading east.
Think about it – for the cost of one day at Abbey Road, you might get three or four days in a top-notch Eastern European studio, complete with a professional orchestra. That’s enough time to really perfect a score, rather than rushing through it under the pressure of a ticking clock and mounting expenses.
This situation has created a bit of a paradox. London keeps building filming studios like it’s going out of fashion and increases tax incentives to lure in more and more filmmakers, but for composers working in film, television, and orchestral music, it might not be the most practical home base. The limited studio options and complex rights situation have effectively pushed many creative projects to other European locations where the infrastructure and economics make more sense.
It’s a reminder that in today’s globalised music industry, prestige and tradition don’t always align with practical realities. While London’s studios maintain their legendary status and continue to attract high-profile projects, many composers are finding that when it comes to getting their music recorded, the grass (and the bottom line) might actually be greener on the other side of the Channel.
Editor in Chief of Ikon London Magazine, journalist, film producer and founder of The DAFTA Film Awards (The DAFTAs).