FL Studio 21.2’s stem separation is amazing, and FL Cloud is a workflow boonSignature Edition £245 / $299 / €299
Producer Edition £164 / $199 / €199
FL Cloud add-on £6.99 / $7.99 / €7.99 per month or £49.99 / $79.99 / €79.99 per year
image-line.com
Image Line’s FL Studio has long been unusual among leading DAWs — not just for its unique workflow and approach to programming but also for having a policy of free lifetime updates. One consequence of that business model is that Image Line doesn’t save up all the new feature updates for major version updates, since they’re not really trying to upsell users of the current version to the next version. Instead, new tools and upgrades are rolled out fairly regularly.

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There’s differentiation between paid versions of the DAW of course, with different pricing for basic, Producer and Signature, and you can upgrade within that structure. But for the version you have, you’ll get updates for life.

Still, the developers need to keep generating income. So the 21.2 update to FL Studio introduces a new service – FL Cloud. This is pretty much what you’d imagine from the name, plus quite a lot more besides. Alongside numerous smaller changes, the update also introduces a revolutionary built-in stem separation tool that can ‘de-mix’ stereo files and separate them out with uncanny accuracy. These new features add to what is already a seriously hefty package, but are they game-changing?
How does FL Studio compare to other DAWs?
Compared to the other big DAWs like Logic Pro, Cubase, Pro Tools and Ableton Live, FL Studio has its own way of doing things when it comes to workflow. For existing users, this is entirely familiar and doesn’t warrant a second thought. But if you’re coming from another platform, it can be a little disorienting.
FL Studio’s workflow, particularly its Patterns feature, is slightly different to the likes of Logic and Pro Tools but, once you get the hang of it, it’s easy to see how capable it is. There’s everything you might expect in terms of audio recording and editing, effects, instruments, expansive MIDI programming capabilities, a powerful mixer and a highly customisable user interface. That said, it doesn’t quite measure up to other top-end DAWs when it comes to features such as surround sound mixing, scoring or video support, but those may not be high on your list of must-haves.
FL Studio 21.2 mixer
What is FL Studio’s stem separation like?
The most exciting addition to FL Studio 21.2 is stem separation. The ability to ‘de-mix’ mixed stereo files – any music track – is something of a holy grail of modern music production. With AI and machine learning playing an increasing part in all walks of life, tasks that would once have seemed impossible are becoming a reality. Even the release of a recent ‘lost’ Beatles song was made possible when a way was found to properly separate out elements of an old recording to create something new.
FL Studio 21.2 stem separation
Available in all except the basic version of FL Studio 21.2, this new tool requires an in-app (but free) download the first time you use it. Then, click on an audio clip’s options menu and choose Extract Stems From Sample. You can choose to extract up to four elements – drums, bass, instruments and vocals – and after around a minute of processing per minute of the track, the elements are extracted to new tracks. There are no real settings to make, no sensitivity or accuracy choices – it’s just fire and forget.
And it’s incredible. Whatever machine learning is being employed here is very clever. Anyone who has ever EQ’d a mix or master knows that there’s a ton of frequency crossover in a finished file; the top end of the guitars or keys are in the same range as some of the vocals or the snare, the kick drum and bass can occupy much the same space at points. This is why simply using EQ to try to isolate one element in a track is difficult and almost always imperfect. You just can’t fully do it – or at least you couldn’t before now.
FL Studio 21.2 stem separation
We feed it a range of material and somehow it copes amazingly well with all of it. Classic Hendrix tracks? Guitars, bass, drums and vocals are all accurately separated. Underworld’s Big Mouth? Despite being an entirely different instrumentation, an equally impressive result. We try it on some of our own material that we are intimately familiar with and we’re not disappointed.
FL Studio 21.2 stem separation
Any negatives, you may ask? It seems churlish to pick holes since it will surely be improved over time, and it’s quite remarkable even in its initial form. There’s the odd thing that gets misidentified, like choral backing vocals being included with ‘instruments’ in a couple of cases, presumably because they have a sonic signature similar to strings or pads. And it can’t yet pick out individual instruments, so everything that’s not vocals, bass or drums gets put into that stem. But really, these are small things and may well evolve in time. For remixers, sound designers and even people wanting to revisit old tracks of their own when only stereo mixes remain, it’s an amazing, supremely valuable new tool.
What is FL Cloud?
The other big new feature is FL Cloud, which costs £6.99 per month or £49.99 a year on an introductory offer. New and existing users also get a month for free. This provides three main things; the first is access to a large library of loops and samples, directly accessible from the main window and from where you can drag and drop content directly from the cloud into a project. A wide range of styles are covered, with useful one-shots and loops in lots of genres.
FL Cloud
The second is AI-powered mastering. A new export option lets you send content for immediate mastering, taking just a few moments, with subscribers able to select from a range of genre presets and free users, just a single preset. Again, there are only a few options here – you can A/B or try a different genre preset, and select from target-specific loudness standards like Apple Music, Spotify and so on.
FL Studio 21.2 mastering
Mastered files can be saved locally and the results are effective, adding gain via limiting and a pinch of EQ sweetening. It’s certainly a huge help for anyone who isn’t yet at the point where they feel confident mastering their music by hand.
The third aspect of FL Cloud is integrated digital distribution to major platforms like Apple Music, Spotify and many more, helpfully streamlining what can otherwise be a tedious process. Powered by Distrokid, this is another welcome tool for musicians and is nicely integrated, though getting your music onto platforms is just the first step in the process of actually getting it heard and purchased.
FL Studio 21.2 mastering
Is FL Studio 21.2 worth the money?
For £164 with lifetime updates, the Producer Edition is fantastic value, and so too is the Signature Edition at £245, if you want extra plugins. FL Studio has a ton of features and, as a result, can sometimes be a little overwhelming – everything seems right-clickable through endless menus – and for the uninitiated, the learning curve is real.
As a package however, there’s a wealth of functionality to be found if you dig into it. The FL Cloud is handy and good value even if you don’t use every aspect of it, but the stem separation tools really steal the show. We expect that the competition is paying close attention.
Key features

For PC and Mac, but can also run as a VST plugin
Lifetime free updates
Audio and MIDI recording, editing and arranging
Bundled instruments and effects
Playlist system for song creation
FL Cloud sounds, mastering and distribution (with subscription)
Stem separation tools
Customisable user interface
External controller support
Audio analysis plugins

The post FL Studio 21.2’s stem separation is amazing, and FL Cloud is a workflow boon appeared first on MusicTech.

Speed house herald, CHYL, reveals the plugins behind her “high-energy, fast-paced beats and infectious” soundStrap in – CHYL’s at the wheel. She’s an LA-based bass house & speed house producer who shifted from working in finance after Columbia University, enrolling at LA-based music school, ICON Collective. Her high-speed, bass-heavy tracks have attracted plays from the likes of Habstrakt, Julian Jordan, Ghastly, and Wuki, and her viral remix of Kanye West’s Mercy deservedly blew up in electronic circles.

READ MORE: “Analogue warmth and imperfections are vital”, says producer-singer, Jessica Winter

Now, the LA-based bass house and speed house producer has crashed onto Monstercat for the third time with Fool Me and Ignite, delivering her distinctive fast-paced, hard house and hardstyle-inspired sound. These releases don’t hesitate to cause a ruckus on the dancefloor, with each track blending modern EDM synths with energetic donk-esque sounds, sprinkled with a layer of carefree, characterful rave joy and vocals from CHYL herself. Vroom vroom.
Ignite by CHYL & Haus of Panda feat. MYLK
Hey, CHYL! What first attracted you to this speed house sound?
Speed house is a genre that resonated with me from the moment I first heard it (initially from Haus of Panda and ALRT). Its high-energy, fast-paced beats and infectious rhythms immediately drew me in. While I haven’t always made speed house music, I’ve always been passionate about bass house. Over time, I found that speed house allowed me to express my creativity and energy in a way that is even more exciting than bass house.
Who else in this genre should we be keeping an eye on?
Definitely Haus of Panda, as he is the founder of speed house! We have a song on Monstercat called IGNITE with MYLK. I’m not too sure if ALRT still makes it, but his older speed house tracks are insane. My other personal favorites: Fahjah, ZOOTAH, Murry Monolite, Use Caution, Subschock & Evangelos, and many more! Haus of Panda’s label Speed House Movement is the best place to discover new speed house tunes.
What other styles of music feed into this genre? Donk? Hardstyle? Hard house? Trance? Do you find yourself taking elements from each of these?
Yes, absolutely, there are a lot of influences from these genres. I personally use donks a lot in my tracks, and I like to add screeches typically from hardstyle songs. The lead sound design is usually very similar to what I’d create in bass house tracks.
What’s your latest plugin purchase?
My latest purchase is this plugin called RANDOM by Beatsurfing. Its main feature is that you can just randomise it and create an infinite amount of sounds. I figured it’s a great way to spark some inspiration from randomising sound designs so I bought it. It’s been so fun to play around with it. The bass sounds are super gritty.
RANDOM by Beatsurfing
What’s the best free plugin you own?
The best free plugin is LABS by Spitfire Audio. I don’t know how they can keep this synth free for all, and it’s awesome. It has an incredible amount of organic instrument selections and is way faster to load than something like Kontakt (no shade to Kontakt). The piano, guitars, strings, and choirs all feel alive and dynamic.
What’s the best-value plugin you own?
I would definitely say Serum! As do most producers I would imagine. I don’t think I can ever produce a track without Serum; I rely on it heavily as my go-to synth. The value to me is infinite.
Serum plugin
What’s the most expensive plugin you’ve ever bought?
I bought Disperser from Kilohearts and never really used it; the same goes for Dumpster Fire and MISHBY from Freakshow Industries. I think I bought them because they looked hilarious but never really used them afterwards.
What’s a DAW stock plugin you use all the time?
Definitely multiband compression/OTT in Ableton Live. I can’t live without it! It’s way better than the OG OTT in my opinion. I love to use it to adjust my high-mids. I also use it on the master sometimes to glue everything together.

What plugins go on your master bus without fail?
It is the FabFilter Pro-L2 for me. I don’t master my own tracks but when I need to bounce a quick master to play out before sending to my mix and mastering engineer, I will slap a Pro-L2 on it and push the limiter to a reasonable degree. I suggest turning on the true peak limiting mode (at the bottom) to minimise distortion.
FabFilter Pro L-2
What plugin would your latest single, Ignite, be incomplete without?
My songs wouldn’t be complete without Soundtoys Decapitator! I just love the saturation sound so much from Decapitator. It creates a clean, warm effect while beefing my leads up. I like to use the Decapitator with some parallel processing on the leads and bassline. I usually don’t use the presets and just push the drive while dialling the tone to get a good result. If you want to feel a little bit spicy, try putting Punish mode on and play around with the modes at the bottom.
Soundtoys Decapitator
Is there a go-to sample pack you use?
I usually use MOONBOY’s sample packs. I get inspired by a lot of the bass loops he creates as well. For vocals, you can find a lot of vocals I used in Dropgun sample packs pitched up or down.
Do you have any secret sauce plugins?
My secret sauce is the Waves CLA Vocals on all my vocal bus. It just somehow makes the tone of the vocals a lot brighter and stand out from the mix. I don’t fully understand how it works; I think it’s a combination of compression, reverb, saturation and stereo imaging, but it just sounds incredible once I put them on vocals. I use it on all my vocals, especially on any bootleg remixes where the acapella is not super clear. That is one of my secret sauce plugins.
Check out CHYL’s music via her Soundcloud.
The post Speed house herald, CHYL, reveals the plugins behind her “high-energy, fast-paced beats and infectious” sound appeared first on MusicTech.

PLASMA Voice Eurorack module from Gamechanger Audio The PLASMA Voice brings Gamechanger Audio's signature high-voltage circuitry to the Eurorack market.

Roland introduces GALAXIAS, a “super instrument” with access to iconic gear sounds from the last 50 yearsRoland has announced the launch of a brand-new software-based “super instrument” called GALAXIAS, available exclusively on Roland Cloud.
GALAXIAS allows creators to work with any instrument on Roland Cloud and instantly access a searchable library with over 20,000 sounds. Iconic Roland gear from over the last 50 years – such as the Jupiter-8, TR-808, and D-50 – are available to use, as well as modern instruments like Zenology and System-8.

READ MORE: Roland announces plans for new global headquarters in Japan

GALAXIAS provides the ability to layer up to four instruments and create “massive sonic superclusters” called Scenes. Each layer has its own key range, transpose, and MIDI input settings, plus a dedicated arpeggiator. Scenes can also be organised into Setlists for live performances, and users can utilise gapless transitions to keep the music seamless and flowing during a gig.
There’s also learn and drag functionality so users can build soundscapes which are more intricate and engaging. “Ultra-powerful” macro controls are on board for simultaneous operation of up to 128 parameters via internal LFOs or an external MIDI controller.
In addition to the onboard effects within each individual instrument, GALAXIAS also provides two insert effects per layer and two global send effects. A collection of Roland and BOSS effects are on hand (which will expand further following the launch), and you can route layers to various external destinations for further processing.
GALAXIAS is said to be “rapidly evolving,” with improvements, new sounds and capabilities to be added regularly. It is included with Roland Cloud Ultimate membership, and runs as a standalone application on macOS and Windows. It will also be available in VST3 and AU plugin formats for DAW music production within due course, but official date has yet been provided for this.
Roland GALAXIAS is available now in the US exclusively with the Roland Cloud Ultimate membership, which is $199 annually or $19.99 monthly. Find out more over at Roland.
The post Roland introduces GALAXIAS, a “super instrument” with access to iconic gear sounds from the last 50 years appeared first on MusicTech.

Upgraded Tesla Cyberquad for Kids back on sale after safety recallThe Tesla Cyberquad for Kids, a $1,900 mini on-road ATV inspired by the yet-to-be delivered Cybertruck, is once again available to purchase at the Tesla Shop after a previous model was recalled in 2022 due to safety concerns. The Consumer Product Safety Commission said at the time that the mini ATV failed “to comply with […]
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AIR Music Technology Jura Chorus Jura Chorus is a plugin for your DAW or AKAI hardware meaning you can add lashings of vintage chorus to synths, guitars, bass, vocals and more. If you're looking for huge pads,... Read More

Another suitor wants BMI – and has put a $2bn+ proposal on the tableMBW sources tell us that a SPAC has made a significant proposition to BMI management
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New Christmas Album Benefits Pediatric Cancer PatientsCure 4 The Kids Foundation (C4K), Southern Nevada’s only pediatric cancer treatment center, has announced the release of Christmas 4 The Kids, a digital music compilation album containing 22 holiday music tracks.

The album, available on all major music streaming platforms, features a new version of the John Lennon classic “Happy Xmas” featuring Backstreet Boys’ Nick Carter and American Idol Casting Producer Kyle Khou. One hundred percent (100%) of the streaming proceeds from Christmas 4 The Kids go directly to kids battling cancer and rare diseases. Watch the Official Music Video HERE.

“I’m so happy and fortunate to be part of the Christmas 4 The Kids project,” said Nick Carter. “Cure 4 The Kids Foundation does incredible work serving Southern Nevada’s most vulnerable kids and listening to Christmas 4 The Kids is a simple and easy way to support these courageous kids.”

It has never been easier to help children battling pediatric cancer and other rare diseases. By simply streaming any of the 22 tracks on Christmas 4 The Kids, listeners will be making a small donation to C4K. The album is available on over 30 music streaming services including Apple Music, Spotify, Amazon Music Unlimited, Pandora and everywhere you can stream digital music. Listeners can find the tracks by searching for Christmas 4 The Kids or asking their smart speaker connected with a streaming service to play Christmas 4 The Kids.

“The Christmas holiday is a season of family, hope, love, and optimism. Listening to Christmas 4 The Kids is a simple way to help kids with cancer and rare diseases and provide hope and much-needed financial help to kids and families during the holiday season” said Annette Logan-Parker, Founder and CEO of Cure 4 The Kids Foundation. “We’ve had remarkable support in the entertainment community for this project and are grateful for the outpouring of support both in Las Vegas and around the country.”

Among the 22 holiday tracks is a new version of the John Lennon classic “Happy Xmas” featuring Nick Carter of Backstreet Boys. American Idol Casting Producer Kyle Khou joins Carter in a passionate duet on the lead vocal for “Happy Xmas.” The track features professional musicians from shows on the Las Vegas Strip as well as many C4K cancer patients singing on the chorus. Two different mixes of the duet appear on the album from award-winning sound engineers Stephen Hart and Jon Muro. The digital album includes additional holiday tracks by The Smithereens, Ron Dante (former Barry Manilow producer), Alphabet Rockers, (2023 GRAMMY winner for Best Children’s Album) and many more.

In addition to the digital album, a music video for “Happy Xmas” is also available. It features well-known celebrities from the Las Vegas Strip including Blue Man Group, Murray SawChuck, the cast of History Channel’s Counting Cars, and others as well patients of Cure 4 The Kids Foundation and the C4K providers who care for them. The video was shot in the state-of-the-art virtual production studio Vū Studios in Las Vegas. The video is available on the Cure 4 The Kids Foundation YouTube Channel and Facebook page.

One hundred (100%) percent of the streaming proceeds will go directly to Cure 4 The Kids Foundation, a 501(c)3 nonprofit organization treating children with cancer and rare diseases - including those who are without medical insurance.

Amazon Music Unlimited - https://amzn.to/40CmhI3   https://bit.ly/3FUJV9h

Apple Music - https://apple.co/3QprRJ6

iTunes - https://apple.co/46YaxlC (download)

Pandora - https://bit.ly/3QEKjPg

Spotify - https://spoti.fi/40kLxCG

YouTube -https://bit.ly/3MpYBRr

Official Music Video - https://bit.ly/3SrSwYq

In addition to streaming songs, the public can support the Christmas 4 The Kids digital album project by making a donation to the Cure 4 The Kids Foundation GoFundMe campaign.

Track list:

Happy Xmas (War Is Over) [Jon Muro Mix] - Kyle Khou/Nick Carter

Santa Loves Las Vegas - Rob Hegel

Have Yourself A Merry Little Christmas - Ron Dante

Christmas Magic Is Real - Alphabet Rockers

Last Christmas - Sage Johnston

That Festive Feeling - Huuli

The Bells of St Victor - Andrew Gold

Happy Xmas (Cancer’s Over) [Stephen Hart Mix] - Kyle Khou/Nick Carter

Rockin’ Around the Christmas Tree – The Smithereens

Christmas (Baby Please Come Home) - Doc Oliver

I’m Coming Home For Christmas - Orleans

Away In A Manger - George Hill

Happy Xmas (Cancer’s Over) [Jon Muro Mix] - Kyle Khou

2000 Miles - The Black Donnellys

All I Want For Christmas Is You - Mary Wilson

I’m A Little Angel - Auntie Kayte

On Christmas Eve - Andrew Gold

Let It Snow, Let It Snow, Let It Snow - Jeff Jimerson

O Holy Night - Jessica Rosado

Happy Xmas (Cancer’s Over) [Stephen Hart Mix] - Kyle Khou

Happy Xmas (Cancer’s Over) [Instrumental] - C4K Kids

About Cure 4 The Kids Foundation

Founded in Las Vegas in 2007, Cure 4 The Kids Foundation provides high-quality, research-focused medical treatment to children battling cancer and other life-threatening conditions. Cure 4 The Kids Foundation operates the only outpatient childhood cancer treatment center in Nevada and is proudly accredited by The Joint Commission. This stringent medical accreditation and the required unannounced inspections ensure patients are getting the best care possible. A 501(c)(3) nonprofit organization, Cure 4 The Kids Foundation increases access to specialized treatments that improve patient outcomes. Its Charity Care Program provides high-quality treatment on a sliding-scale basis. No patient is ever turned away for financial reasons. For more information, visit www.cure4thekids.org.

Venn Audio Free Suite https://www.youtube.com/watch?v=KDErEtt_JRQ Free Suite is a completely free, performant, light weight, resizeable, zero fuss set of cross-platform audio plugins. All the tools... Read More

YouTube is clamping down on AI-generated clones of superstarsThe video platform is also rolling out mandatory labeling of AI-generated or "synthetic" content.
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Soundtoys announce International Rescue Committee donation Soundtoys have announced that a donation of $53,640 has been made to the International Rescue Committee (IRC) from the sales of their Radiator plug-in.

YouTube to start cracking down on AI clones of musiciansYouTube is to start cracking down on AI clones of musicians, giving music labels the ability to take down content.

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According to a company blog post made public on YouTube, the move requires creators to begin labelling AI-generated content that they believe to be “realistic” when uploading videos.
While much of this new development is concerned with ensuring that viewers aren’t misled and harmed by false information and synthetically created content, there is also a real focus on giving music partners more control in determining whether something is the product of AI or not.
The AI-created track Heart On My Sleeve hit the headlines earlier this year after being uploaded to streaming services including YouTube, featuring the synthetically created vocals of The Weeknd and Drake. While it was taken down by Universal Music Group, now labels will be able to take swift action in either ensuring that it has been labelled as AI-generated, or it has been removed from YouTube.
“In determining whether to grant a removal request, we’ll consider factors such as whether content is the subject of news reporting, analysis or critique of the synthetic vocals,” explain YouTube Product Management vice presidents Jennifer Flannery O’Connor and Emily Moxley.
“These removal requests will be available to labels or distributors who represent artists participating in YouTube’s early AI music experiments.”
Regardless of their concern to keep artists and labels protected, YouTube appear to be excited by the potential of new technology, and what it can mean for the platform.
“We’re taking the time to balance these benefits with ensuring the continued safety of our community at this pivotal moment,” they continue, “and we’ll work hand-in-hand with creators, artists and others across the creative industries to build a future that benefits us all.”
The post YouTube to start cracking down on AI clones of musicians appeared first on MusicTech.

“It’s a fossil in my opinion”: Aluna slams Recording Academy over lack of diversity in dance/electronic Grammy nominationsDance artist Aluna has taken to Instagram to highlight the lack of diversity in the list of dance/electronic nominations for the 2024 Grammy Awards.

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Writing on Sunday 12 November, the singer and producer pointed out that out of all the nominations for the three dance-associated categories, Best Dance/Electronic Recording, Best Pop/Dance Recording and Best Dance/Electronic Music Album, none were from Black or minority ethnic backgrounds.
The nominations were announced on 10 November and include Aphex Twin, Disclosure, James Blake, Romy, Fred again.. and Skrillex.
“After the next five minutes, I’m never looking back at the Recording Academy; it’s a fossil in my opinion,” Aluna writes on Instagram, “and I speak from experience of having worked to make changes there for the past two years.
“The Best Dance/Electronic Album nominees this year are ALL WHITE MEN. Out of the three dance categories, no Black people were nominated – the dance/electronic categories only reward primary artists and producers,” she continues.

View this post on Instagram

A post shared by Aluna (@aluna)

“However, it’s okay because a new era is upon us, and the artists who were deserving of celebration this year are the future of dance music.”
Aluna goes on to point out the artists who, in her opinion, missed out on nominations for dance/electronic-based Grammy awards this year. These include the likes of Honey Dijon, Peggy Gou, Channel Tres, Jamie Jones, Nia Archives, Marc Kinchen, Austin Millz, TSHA, Jayda G, NAO, Michael Brun, Yaeji, Kaytramine, Kelela, Salute, Shermanology, Shygirl and THEMBA.
Commenting on the post, broadcaster Clara Amfo writes, “Never stop doing you, you’re so vital”, while Karma Kid says that the Recording Academy “missed all the best shit”, calling it “totally out of touch”.
Read more industry news via MusicTech.
The post “It’s a fossil in my opinion”: Aluna slams Recording Academy over lack of diversity in dance/electronic Grammy nominations appeared first on MusicTech.

Guide To Planning Your Next Release: Jay Gilbert shares a free updateReleasing music is easy; some would say it’s too easy. But doing it right takes planning. Fortunately, industry veteran and master music marketer Jay Gilbert has created – and just. Continue reading
The post Guide To Planning Your Next Release: Jay Gilbert shares a free update appeared first on Hypebot.