Singular Sound Announces Aeros Loop Studio Firmware 5.0With major new features like: 

Backing TracksOne of Singular Sound users' most requested features has arrived. You can now upload wav files as backing tracks for songs on the Aeros. Read the step-by-step process on the community forum.AutoquantizeCreate a Quantized song out of a freeform recording you make live, and do it on the fly. The algorithm will define the tempo of your track based upon the start and stop point of your recording.Hands-Free NavigationAeros revamped the entire user interface on the Aeros Loop Studio, making it a dream for live musicians and songwriters alike.  All new Hands-Free Slideout Menu gives you lightning-quick access to important options like Undo/Redo, Save/Clear/Repeat, Reverse and Fade settings, as well quick-nav to the Mixer Mode, 2x2, 6x6 and more.  

Here's a couple important reminders:Download Aeros Firmware 5.0 right on your device. Just make sure you have a Wi-Fi connection and follow the on-screen instructions.5.0 and all Firmware Updates are available on the original Aeros Loop Studio and Aeros Gold Edition. 

Tip Jar: The Mysterious Art of the Fade OutWhy do some songs fade out at the end? How does that choice affect the meaning of a song? And who came up with the idea, anyway? Jim Anderson—multi-Grammy winner and 2022 nominee for Immersive Audio album (Jane Ira Bloom’s Picturing the Invisible: Focus 1)—has answers.

Parts of the following interview are excerpted from Music, Lyrics, and Life: A Field Guide for the Advancing Songwriter, available everywhere, including: | Bookshop | Books Are Magic | Amazon  | Bandcamp (signed copies) 

The popular expression, “You never get a second chance to make a first impression,” has a less-celebrated corollary: You don’t get a second chance to make a last impression, either. A major songwriting challenge is how to construct those first and last impressions in order to bookend the musical universe writers have created.

Unlike artists who work in other forms (novels, paintings, etc.), songwriters have a tool that takes advantage of the audio medium: the fade out. Part technological, and part metaphorical, the fade out can imply continuity—the song goes on forever—as easily as loss—the song goes on forever without you. One reason a fade is so expressive is because it reintroduces us to the universal language of silence—fade outs remind us that, as in life, silence always gets the last word. 

There’s just one problem: At the moment of this writing, fades are very out of fashion. I teach songwriting at several universities, and when a student of mine uses one, they get applause from classmates for the audacity. Fades are retro. They’re vintage. They’re even cinematic, which is actually true: the term “fade” is borrowed from film, which originated around the same time as recorded music. The gradual deprivation of sound in a fade out parallels the deprivation of sight when a scene “fades to black.”

In order to better understand why writers and producers choose to fade, I spoke with Jim Anderson, producer and sound engineer; former president of the Audio Engineering Society; multi-Grammy Award–winner; and nominee (along with partner Ulrike Schwartz) for this year’s Grammy for Immersive Audio Album, Jane Ira Bloom’s Picturing the Invisible: Focus 1.

What causes someone to decide on a fade? I think sometimes the song kind of tells you what it wants to do at the end. Sometimes it’s an artistic choice, and sometimes you really don’t have an ending, or you just want to vamp and let it go. Years ago, I observed [bassist] Jaco Pastorius recording the Word of Mouth album at [New York City recording studio] Power Station. It was Jack DeJohnette [drums], Herbie Hancock [keys], Toots Thielemans [harmonica], and a room full of brass players and all that kind of thing. And I heard Jaco say to the engineer, “What we’re going to do is, when we get to the end of the chart, they’re going to vamp and I’m going to leave the room. And one of two things is going to happen: We’re going to run out of tape; or the whole thing will just fall apart, and that’ll be my fade.” It’s another bow in the quiver.

To what degree did fades come from the limitations of the studio—the wax rolls, tape reels, and such? 

Well, popular music was always being dictated by the medium or by the technology. So, if you had a cylinder or a 78, you were always limited to two and a half, three minutes. If the song went on beyond that, you had to fade. Then they developed the slightly ultrafine groove—Edison came up with this—so you could get about four minutes on a cylinder. But when the 45 came out, you were still kind of locked into something in the neighborhood of two and a half to three minutes. And so on.

Are there fades that predate technology? 

The first one that I’m aware of, and it’s fairly famous, is the Haydn Symphony No. 45 [“Farewell,” 1772]. Basically, the story was that Haydn and his musicians were held longer than anticipated [at patron Prince Nikolaus Esterházy’s Hungarian summer palace], and they wanted to go home and be with their families. So, Haydn wrote an extra movement after the piece: Every musician played their part, and when they were done, they’d blow out the candle on their music stand and leave the stage. Eventually, all that was left were two violinists sitting there, and [Esterházy] got the hint. 

Kind of the opposite of how a bar will turn the house lights on at the end of the night.  Yeah, you know—lights on, and out come the vacuum cleaners, and it’s time to go. 

Outros can be dangerous, because they can serve as clearinghouses for all the extra ideas that didn’t make it into a tight, well-constructed song: wanky solos, excessive drum fills, vocal histrionics, endless space jams that linger like guests who aren’t getting the hint that the party’s over. In order to make a great last impression, I recommend a few possibilities:

1. Keep it. Whatever your music is getting people to do is something they want to keep doing. Dancing, running, chilling, sexing—you know. Don’t kill the vibe. Be the vibe. Extend the vibe. (But do a radio edit, too.)

2. Cut it. Many pop songs over the past decade end at the very last note of the final chorus. In short: Once you’ve said what you wanted to say, stop saying it. 

3. Fade it. Let your songs admit to their own impermanence and slip from the listener’s grasp. 

Which one gives the listener the best last impression?

This is a question that instinct and practice will answer. When we’re really lucky, we don’t make the decision—the song does. Some songs want to use traditional forms the way water fills a bucket. Others break the forms into the shapes they need to finish themselves. In those moments, it’s not entirely clear who’s doing the writing, who’s in the room, who’s pushing the pen or finishing the melodic phrases without your conscious assistance.

These are magical moments that keep songwriters coming back over and over, and that sense of runaway songwriting never fully leaves the finished product. You can hear it in there, forever. 

Why did Universal ask YouTube to take down an AI-generated Eminem ‘cat-rap’ track?On this occasion, UMGs concern was with the music, rather than with the AI vocals, say MBW sources
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‘You can’t work with someone if they’re not going to trust you. That’s when it all goes out the window.’Nonstop Management founder Jaime Zeluck-Hindlin talks about her career to date and how her clients had a hand in two of the biggest tracks of the year
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Most Popular Playlists On SpotifyHere is an updated list of Spotify’s most popular playlists based on followers. Today’s Top Hits – 33.4M followers Top 50 Global – 17.2M RapCaviar – 15.2M Viva Latino –. Continue reading
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Stream farms and the West African music market: an insider’s viewMdundo’s Regional Music Licensing Lead for West Africa speaks with the team at Byta about how music stream farms in Nigeria affect the entire music ecosystem. from Byta Umeadi Onyekwelu. Continue reading
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Recording Academy extends Grammys eligibility period after pushbackThe Recording Academy has extended the eligibility period for its 2024 Awards to Sept. 15,2023, two weeks later than the Aug. 31rd date it set just a month ago. “After listening. Continue reading
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GAMMA Introduces Six New Guitar Effects PedalsFollowing closely on the heels of the launch of the GAMMA G25 and G50 combo guitar amplifiers, Acoustic Control Corporation announces the launch of the GAMMA Guitar Effects Pedal line — six pedals featuring crafted blends of carefully selected components and expertly engineered circuitry for reverb, echo, chorus and dynamic distortions. The range includes the ATLAS Boosted Overdrive Guitar Effects Pedal, BACCHUS Dynamic Driver Guitar Effects Pedal, CUMULUS 3-Way Reverb Guitar Effects Pedal, EROS Clean Chorus Guitar Effects Pedal, HADES Metal Distortion Guitar Effects Pedal, and NARCISSUS Warm Delay Guitar Effects Pedal. All models feature intuitive operation, a stunning metal flake paint finish, heavy-duty full-sized metal chassis with metal knobs, and operation from either a 9-volt battery or 9-volt DC power supply. Each can be used as a sole pedal unit or as a pedal board component. Additionally, all pedals feature mono audio input and output, with buffered bypass for consistent tone in any setup.

The ATLAS Boosted Overdrive allows you to add nuanced, tube amp-style overdrive to your guitar sound. Featuring classic Level, Tone and Drive controls, plus a Boost switch that pushes low frequencies and adds more high-end bite to the drive sound, the ATLAS Boosted Overdrive’s distortion preserves your dynamics and articulation, and is nicely responsive to volume, tone and pickup adjustments you make on your guitar.

The BACCHUS Dynamic Driver is a versatile overdrive with wide-ranging Level, Tone and Drive controls, plus a Fat switch for those times when you want a little more low-frequency push. Go from smooth blues through dynamic crunch to full-bore distortion, while reflecting all the nuance of your individual playing style, guitar choice, and pickup configuration.

The CUMULUS 3-Way Reverb allows you to add inspiring ambience to your guitar sound, with a choice of three classic flavors of reverb with Mix, Tone and Decay controls. In the Studio setting, it emulates a crafted recording studio space, with a well-controlled decay that avoids muddying up your sound. In the Spring setting, it emulates the splash and bounce of the spring reverb hardware of vintage guitar amps. The Plate setting emulates the sound of a classic studio plate reverb, for smooth, mellow ambience.

The EROS Clean Chorus allows you to add bold or gentle modulation to your guitar sound. At low Depth settings, EROS’s classic chorus effect adds subtle richness that’s perfect for thickening up a solo or adding character and bounce to a rhythm guitar tone. High Depth or Speed settings transform your guitar tone into a richly modulated wash of sound. Level, Depth and Speed controls are also provided for sound-sculpting precision.

The HADES Metal Distortion empowers you to add aggressive yet articulate distortion to your guitar sound arsenal, with a particularly wide range of MID cut/boost for great tonal versatility. It’s the ideal choice when it’s time to unleash the “dark arts” of high gain, whether you’re chugging and palm muting, shredding intricate solos, or delivering soaring melody lines. Level and Drive control and three knob EQs allows you to carve your ideal sound — from death-and-doom to hyper-speed shred.

The NARCISSUS Warm Delay allows you to add inspiring echoes to your guitar sound, with a tone quality reminiscent of classic “bucket brigade” delay units of the past. The delay chip at the heart of this pedal provides echoes that get darker with each repeat, helping to ensure that the ambience NARCISSUS creates doesn’t obscure the new notes you are playing, as echoes of previous notes are fading away. And when it’s time to get spacey, cranking up the echoes knob to the max will take you into self-oscillation as your saturated echoes build into a dark and distortion-rich pulse of throbbing sound. Level, Echoes and Time controls are provided for sculpting the perfect sound.

The GAMMA Guitar Effects Pedals are currently available, with pricing as follows:

ATLAS Boosted Overdrive Guitar Effects Pedal: $69.99

BACCHUS Dynamic Driver Guitar Effects Pedal: $69.99

CUMULUS 3-Way Reverb Guitar Effects Pedal: $89.99

EROS Clean Chorus Guitar Effects Pedal: $69.99

HADES Metal Distortion Guitar Effects Pedal: $69.99

NARCISSUS Warm Delay Guitar Effects Pedal: $89.99

For more information on the complete range of Acoustic Control Corporation musical instruments, visit www.AcousticControlCorp.com.

Why the power of AI may hold the key to distributing wealth throughout the music industry (Part 1)This MBW op/ed comes from Ran Geffen, founder of XR connect development agency OMR and CEO of Amusica Song Management in Israel.
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UMG wants to change how streamers pay artists: Here’s howRecent announcements of UMG experiments with music streamers Deezer and Tidal and subsequent interviews offer a glimpse of how the world’s largest music group wants to change how Spotify, Apple. Continue reading
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Global on-demand music streams surpassed 1 TRILLION in last 3 monthsGlobal on-demand music streams crossed a record one trillion mark on Friday, March 31, 2023, according to Luminate, the data insights company that fuels the Billboard Charts. The stats do. Continue reading
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What is first-party live event data, and why should it be a priority?Everyone, from ticketing companies to social media platforms, is collecting fan data, and almost no one wants to share it – even with the venues and artists whose patrons and. Continue reading
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Meta faces competition probe in Italy after pulling music by Italian songwriters from its platformsInvestigation launched over Meta's handling of licensing negotiations with the Italian Society of Authors and Publishers
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YouTube to expand livestreams, artist interactions and shopping at Coachella 2023For the first time, YouTube will live-stream all the stages at the iconic music festival
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Beatroot Music Signs 7-Year-Old King Moore to Distribution DealBeatroot Music, a leading independent music distributor and part of the Made in Memphis Entertainment (MIME) family of companies, has signed a distribution deal with 7-year-old recording artist King Moore. Under the deal, Beatroot will ensure Moore’s singles and albums are available on all major DSPs, pitch his songs for playlist placements and sync opportunities, and provide his team access to advanced analytics.

Known for his larger-than-life personality, Moore recently released the single “Big Dreams,” which has racked up over 1 million streams and counting while helping him amass over 300,000 followers on Instagram and over 40,000 followers on TikTok. His next single, “Pen Game,” will be released by Beatroot on April 21 and can be pre-saved here: https://beatroot.ffm.to/pengame.

“We are excited to add such a young and enthusiastic artist to our Beatroot family,” said Steve Corn, Director of Operations at Beatroot. “I am confident that his talent and enthusiasm will take him far, and we look forward to being part of his journey.”

King Moore has been featured in publications including The Source, LA Weekly, Atlanta News World, Hip Hop On Deck, The American Reporter, US Times Now, and Time Bulletin. Moore will also soon be making his feature film debut in the indie dark comedy Cora Bora, due for release this spring.

For more information on Beatroot, visit beatroot.com.