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Music Recording Companies in Derby: 39 Active Firms (2026)
Music recording companies in Derby record, produce and distribute audio content for artists, venues and media clients across the metropolitan area.
Buying decisions tend to sit with artists and managers commissioning studio time, small labels outsourcing production tasks, venues needing live-session capture, and local media producers buying technical sound support. Engagements are usually project-based rather than platform-style contracts: a rehearsal block, a recording day, a mix-and-master package, or a short run of commercial audio. The cohort therefore skews towards owner-managed studios and specialist engineers serving local creative and commercial demand, with repeat work built around trust, availability and room quality rather than long procurement cycles.
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Derby’s company base is small: 39 companies are actively trading in music recording and adjacent studio services. Reported employment totals 15 people, so the footprint looks more like a network of micro-studios, engineers and production rooms than an employer-heavy creative industry cluster. That fits a local services market in which turnover is likely to come from sessions, repeat artist relationships, venue work and occasional media or commercial briefs, rather than from sizeable label infrastructure or catalogue-owning businesses headquartered locally.
Market structure is shaped less by sector-specific licensing than by copyright ownership, performer permissions and venue contracts. A studio may be supplying labour, premises and technical production while the client retains rights in the recording; in other cases it can sit closer to a label, publisher or content producer if it helps package and exploit finished audio. Local commercial work also brings ordinary contracting issues around release forms, usage windows, confidentiality and data protection. For small Derby studios, these controls tend to matter more than formal authorisation by a dedicated audio regulator.
Early-commercial weight appears likely to persist, because the buyer base is fragmented and project spend is often discretionary. Studios that combine recording rooms with mixing, mastering, rehearsal and location sound tend to have more routes to repeat work than room-only operators, but scale-up paths remain narrow unless a business owns rights, specialised facilities or repeat media production relationships. Consolidation is plausible at the margin, mainly through shared premises, engineer collectives and informal referral networks rather than formal acquisitions. Pricing pressure should remain visible where home-recording workflows cover simpler artist needs.
39
Active firms
2026
12
Newer firms
Incorporated since 2022
0
Above £5M
No firms in this band
Key facts
30% of the cohort was incorporated since 2022 (12 firms), so a sizeable share is in its first few filing cycles.
Derby recording businesses tend to be local and service-led, with studio capacity, production support and audio delivery at the centre of the market.
Typical buyers include artists, venues and media clients that need recorded, produced or distributed audio content.
Segmentation by service line and revenue band is likely to be more useful than a single music-recording label.
Top Derby Music Recording companies
STRAWBERRY BURST LIMITED
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
StableStable · 0% CAGR over 4y
Location
F-10 Digital Ltd
Trajectory
4y · 2023–NowFinancial sub-scores
Computed from 4 filingsFinancial Health
WeakWeak · 0% CAGR over 3y
Location
K-AUDIO LTD
Trajectory
1y · 2025–NowFinancial Health
Insufficient historyInsufficient history
Location
MASCD Ltd
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed · -16% CAGR over 4y
Location
HEAD.CEE LTD
Trajectory
1y · 2025–NowFinancial Health
Insufficient historyInsufficient history
Location
DELTECH MUSIC LIMITED
Trajectory
2y · 2024–NowFinancial sub-scores
Computed from 2 filingsFinancial Health
DistressedDistressed · 0% CAGR over 1y
Location
Evroad Limited
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
StableStable · 0% CAGR over 4y
Location
Natalie Miller Voice Over Ltd
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
HealthyHealthy · 0% CAGR over 4y
Location
Reckless Yes Limited
Trajectory
3y · 2022–NowFinancial sub-scores
Computed from 3 filingsFinancial Health
DistressedDistressed
Location
D.A.V PRODUCTIONS LTD
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed
Location
Top Sounds Ltd
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed · 0% CAGR over 4y
Location
NIGHTINGALE RECORDINGS LIMITED
Trajectory
5y · 2021–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
WeakWeak
Location
RIDING THE LOW LIMITED
Trajectory
4y · 2022–NowFinancial Health
Insufficient historyInsufficient history
Location
Nomad Podcast Limited
Trajectory
3y · 2023–NowFinancial sub-scores
Computed from 3 filingsFinancial Health
DistressedDistressed · 0% CAGR over 2y
Location
Amplify Audio Ltd
Trajectory
5y · 2020–NowFinancial sub-scores
Computed from 5 filingsFinancial Health
DistressedDistressed
Location
MOONHOUSE MUSIC LTD
Trajectory
3y · 2023–NowFinancial sub-scores
Computed from 3 filingsFinancial Health
WeakWeak
Location
SDJ MUSIC LTD
Trajectory
2y · 2024–NowFinancial sub-scores
Computed from 2 filingsFinancial Health
StableStable
Location
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How Derby Music Recording companies work and how to sell to them
What they do
Derby music recording businesses earn from use of rooms, equipment and specialist labour, with pricing set by the hour, day or finished-output package. Revenue can include rehearsal hire, recording sessions, production support, editing, mixing, mastering, location capture and audio post-production for local commercial work. Some operators add small income from equipment hire, teaching, event support or rights participation, but most remain service businesses rather than catalogue owners. Deposits, staged payments and balance-on-delivery terms matter because work is lumpy, clients are often cash-constrained, and engineer time cannot easily be resold once a session is missed.
Who they sell to
Customers are typically independent artists, artist managers, small labels, venues, local media producers and owner-managed businesses commissioning adverts, podcasts or filmed content. The buyer is often the performer, manager or producer; on commercial briefs it may be a marketing lead, venue manager or freelance production coordinator. Contract size is usually modest and tied to a defined deliverable, so trust, diary availability, sound quality and examples of prior work carry more weight than formal procurement. Sales cycles tend to be short for rehearsal and session work, longer where a whole project needs production, release planning or multiple stakeholders.
What they buy
Most music recording firms tend to spend on booking administration, payments, accounting, basic CRM, website maintenance, search visibility, email marketing and social media content, alongside the core studio stack of audio software, storage, backup and file-transfer tools. Physical and services spend is often more material: acoustic treatment, maintenance, electrical testing, insurance, equipment finance, freelance engineers, session musicians, legal templates and copyright advice. Because many operators are owner-managed, purchases that reduce admin time or improve room utilisation are easier to justify than broad business systems that need lengthy implementation or dedicated operations staff.
Why and how to sell to them
Music recording buyers tend to evaluate vendors when a calendar starts filling, a room is refitted, a new service line is added, or a studio shifts from informal referrals to repeat commercial briefs. Other triggers include new premises, equipment replacement, a backlog of mixes, rising freelance spend, rights disputes, late payments and the need to make bookings less dependent on one owner’s memory. Outbound tends to work better when it references practical constraints: reducing no-shows, protecting files, speeding estimates, keeping sessions billable, or helping small studios market spare capacity without sounding like a generic local-services pitch.
How this list is built
Data sources
This list is built from UK Companies House filings, XBRL accounts data, and semantic analysis of each company's public website. Revenue and headcount figures come from the most recent filed accounts; where the company has not filed, values are estimated using a model trained on filed history and peer benchmarks and are labelled as estimates.
Classification
Rather than relying solely on SIC codes, Firmbase classifies each company semantically: the company's website is crawled, an AI model reads what the company actually sells, and the company is placed into the relevant industry and subsectors. SIC codes are used as one signal but not the only one. This means a company that registered under a generic SIC code but pivoted into (for example) fintech is correctly identified as fintech, not as its original SIC category.
Freshness
The underlying company data is refreshed from Companies House continuously; filings appear in the list within days of submission. The curated list ordering is regenerated when the underlying data moves meaningfully (company count changes by more than 5%, a new company enters the top-ranked segment, or the filed-revenue numbers for the top firms change). You can see the last-updated timestamp near the top of the page.
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Frequently asked questions
How many music recording companies are there in Derby?
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Which are the largest music recording companies in Derby?
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How does Derby music recording compare internationally?
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