Soundtrack Loops Trap Tensions Soundtrack Loops presents Trap Tensions. —a versatile pack that goes beyond the realm of music production. While expertly crafted for modern tense Trap music, it also holds cinematic... Read More

Soundtrack Loops Delicious LoFi Boom Bap Soundtrack Loops presents Delicious LoFi Boom Bap. Dive into the cutting-edge sound of the mid-2000s with our classic 2000s inspired Hip Hop loops and samples pack. Channel the infectious... Read More

ERC-20 inventor discusses origins, new blockchains, BRC-20 and moreFabian Vogelsteller has been working full-time to create his new blockchain since 2018, with its mainnet launching just this May.

‘Monthly Active Users’ tells us something, but not nearly enough…The following MBW analysis comes from Russ Crupnick, Managing Partner of MusicWatch
Source

Celestion Introduces Low Freq DriverCelestion, one of the world’s leading suppliers of professional loudspeakers and compression drivers for sound reinforcement applications is proud to introduce the FTR12-4080DL (4-ohm) 12-inch, cast aluminium chassis, ferrite magnet low frequency driver which is specifically designed for subwoofer applications. Well-established as an 8-ohm driver, this purpose-built subwoofer is newly available in 4-ohm, making it ideal for applications that are hungry for every watt of amplifier power when delivering uncompromising bass. The Celestion FTR12-4080DL features a 4-inch (100 mm) voice coil, providing 1400W of continuous power handling and 88dB sensitivity with an output frequency range of 20-300Hz. The half-roll elastomer surround offers improved modal distribution for reduced distortion and enables greater stability at extremes of excursion (with an Xmax of 13.6mm) for a solid, deep bass response. The Airflow vented magnet assembly allows for dynamic heat dispersion, minimising power compression and enhancing product longevity. The driver features optimised double suspension for enhanced control and linearity and the glass loaded paper cone features a weather-resistant impregnation for extreme durability..Developed at Celestion’s headquarters in Ipswich, England, this loudspeaker was designed using specialist FEA (Finite Element Analysis) modelling techniques, enabling the Celestion engineering team rapidly to achieve genuine increases in performance, including greater efficiency, and exceptionally low distortion. The new FTR12-4080DL cast aluminium loudspeaker emphasizes Celestion’s continuing commitment to delivering a wide range of high-quality solutions for sound reinforcement and professional audio applications. FTR12-4080DL SpecificationsNominal diameter                 305mm / 12inNominal power rating          700WContinuous power rating    1400WRated impedance                4Ω or 8ΩSensitivity                             88dBFrequency range                  20-300HzChassis type                         Cast aluminiumMagnet type                          FerriteMagnet weight                      3.6kg / 126ozVoice coil diameter               100mm / 4inVoice coil material                 Round copperFormer material                     AluminiumCone material                       Glass loaded paper (weather-resistant)Surround material                 ElastomerSuspension                           DoubleGap height (Hg)                    9.5mm / 0.37inVC winding height (Hvc)      32mm / 1.26inXmax                                   13.6mm / 0.54in

ReverbNation is relaunched by BandLab Technologies with a new visual identityAlmost two years after its acquisition, ReverbNation has been given a visual revamp by its parent company BandLab Technologies. With the rebrand, ReverbNation promises an “unwavering commitment to being the ultimate destination for artists to launch their careers.”
READ MORE: d4vd on creating music using BandLab: “I literally just looked up: ‘How to make music on iPhone’”
ReverbNation’s new visual identity can be seen in its new logo, refreshed website, and all of its web and social media channels. The website will continue to assist musicians in forging a career with features such as fan engagement tools and analytics.
BandLab Technologies’ rebrand of ReverbNation also sheds light on plans to “invest into new features and expand ReverbNation’s suite of artist services.” This includes creating additional roles to enhance the service offerings, and provide “better funnels” for artists to connect with teams that will help them to succeed.
The platform has been used by artists such as Sylvan Esso, Nicki Minaj, Mac Miller, Cage The Elephant, Charlie Puth and many more.
“Driven by an unwavering passion to empower artists, ReverbNation has consistently offered a wealth of tools and opportunities, enabling musicians that choose to stay independent to distribute their music, amplify their voices and grow their fanbase,” says BandLab Technologies CEO & Co-founder Meng Ru Kuok.
“As we empower more creators at unprecedented levels around the world, we see it our responsibility to continue to invest in the flourishing independent artist ecosystem and its future as well. This new look is in keeping with that dedication.
“Additionally, ReverbNation will build further on our current feature set, create additional roles to enrich our artist services offerings as well as further opportunities and develop better funnels for our artists to connect with professional management, labels, and teams to support their musical careers.”
BandLab Technologies’ announcement follows the news of its rebranding of coveted DAW, Cakewalk by BandLab. The revised Cakewalk model will include two new versions of the music-making software: Cakewalk Sonar and Cakewalk Next. The full details of both applications are yet to be announced.
Check out ReverbNation’s rebrand at reverbnation.com.
[Editor’s Note: BandLab Technologies is part of Caldecott Music Group, which owns NME Networks, MusicTech’s parent company.]
The post ReverbNation is relaunched by BandLab Technologies with a new visual identity appeared first on MusicTech.

TextToSample Is A Free AI Sample Generator Plugin!
Samplab has just released a free standalone application and VST3 plugin called TextToSample, and it’s available for both Mac and Windows users. The main purpose of TextToSample is to generate short audio samples from a text prompt by employing the current state-of-the-art generative AI models. It’s trained after Meta’s MusicGen model weights, particularly the weights [...]
View post: TextToSample Is A Free AI Sample Generator Plugin!

Minimal Audio Releases Fuse Compressor (One FREE Copy Inside)
Minimal Audio has been very busy lately, and here they are with another brand new release, Fuse Compressor. Fuse Compressor is a dynamic sculpting effect that provides up to six bands of dual compression. Dual compression means that each band allows you to apply downward and upward compression, set downward and upward thresholds, and use [...]
View post: Minimal Audio Releases Fuse Compressor (One FREE Copy Inside)

AIAIAI’s new 168g TMA-2 DJ XE headphones are a DJ’s dreamHeadphone brand AIAIAI has introduced the new TMA-2 DJ XE headphones, made for DJs with a focus on flexibility, mobility, and versatility.

READ MORE: Best headphones 2023: 10 of the best all-purpose wired headphones under $500

If you’re a DJ, sound quality and noise cancellation are at the top of the list of priorities for a pair of headphones. However, you’ll know weight is also important, especially if you’re dancing your way through a marathon set. Thankfully, this new pair weighs only 168g. That’s more than 20g less than AIAIAI’s flagship TMA-2s, which come in at 190g.
AIAIAI TMA-2 DJ XE
The TMA-2 DJ XE headphones feature a balanced sound offered as a result of the brand’s 40mm signature bio-cellulose diaphragm. This also reduces distortion.
DJs can also get that all-important enhanced isolation with soft on-ear foam cushions with PU leather covering. Thanks to the thick material, leather offers better passive noise isolation and improves the bass response, which is important for feeling those kick drums in a club setting.
As with all AIAIAI headphones, the TMA-2 DJ XE are modular. You can customise your pair by mixing and matching the earpads, cables, and speaker units with different types offered on other AIAIAI headphone models. This doesn’t just mean you can build a perfect pair of headphones to cater to your needs, it also means you’re not forking out money on a whole pair each time you need an upgrade. Plus, it results in less waste for the planet.
If parts of your headphones are looking tired, but you’re still waiting on your DJ fee from that dodgy promoter, AIAIAI is looking out for you again. The brand also offers a unique lifetime trade-in service for swapping used or non-functional parts.
“The process of making music today is more dynamic than ever.” Says Frederik Jørgensen, AIAIAI Founder. “Creators demand to pursue inspiration wherever and whenever it strikes. Our XE line is designed for this – more versatile, cross-functional, and lightweight – ready for any scenario.”
AIAIAI TMA-2 DJ XE headphones are $155.90. Check them out at Thomann.
The post AIAIAI’s new 168g TMA-2 DJ XE headphones are a DJ’s dream appeared first on MusicTech.

ReverbNation Lives! Bandlab just gave the legacy platform a makeoverOnce a leading platform for D..I.Y artist services, ReverbNation has been quiet in recent years, particularly since its November 2021 acquisition by BandLab Technologies. Today BandLab unveiled fresh branding for. Continue reading
The post ReverbNation Lives! Bandlab just gave the legacy platform a makeover appeared first on Hypebot.

What could Apple’s Vision Pro mixed-reality headset mean for music production?It feels far-fetched, doesn’t it – mixed-reality goggles being useful to music producers and DJs? But Apple wasted no time at WWDC23 in showing that you can slap on the Vision Pro headset and start scratching virtual vinyl with an augmented-reality version of Algoriddim’s djay app.
The dust has settled since WWDC, but with the Vision Pro’s “infinite screen real estate,” gestural input systems and “advanced audio experiences,” as Apple says, it feels like more music production opportunities in spatial computing are on the horizon.
READ MORE: What does AI mastering mean for artists, engineers, and music?
Algoriddim djay
Ready Studio One
Candidly, creating music in a lonely mixed-reality bubble initially feels like it paints a dismal, dystopian picture. Collaborating with your peers becomes a completely different experience, and wearing that headset for long production sessions with headphones seems uncomfortable. And will this thing really be able to run massive projects with chains of plugins and virtual instruments? Let’s not even think about that price tag just yet.
Let’s face it, though, many producers often do create in isolation, whether in a bedroom or a studio. And mixed-reality music-making apps aren’t new – SynthVR gives you a modular rig in a virtual space, while Tribe XR gives you access to emulations of high-end Pioneer DJ gear to hone and show off your DJ skills with other users. This month, Korg officially released Gadget VR, a virtual 360-degree studio environment complete with synths, drum machines, MIDI piano rolls, and other arrangement features.
Apple’s clearly not shying away from more hands-on experiences with Logic Pro, either. Last month, it announced Logic Pro for iPad, which is almost a complete port of the desktop DAW to iPadOS. One might wager that, if Vision Pro is a success, the brand will look to ‘spatialise’ its flagship creator apps, Logic Pro and Final Cut Pro.

But whatever Vision Pro can provide, the question is, ‘Who actually cares?’ Who’s going to drop $3,499 on a headset to get a few extra screens and some quirky music apps? Not me. Maybe not you. But maybe Jesse Ray Ernster.
Mixing Reality
With production and engineering credits for the likes of Doja Cat, Kanye West, and Burna Boy, Jesse has spent endless hours mixing and recording in music studios. And you can bet that he’s found plenty of workflow papercuts that a Vision Pro, or another XR headset, may well remedy.
Image: Michelle Mosqueda
“Immediately, this can replace the need for a display monitor in the room, which has always caused significant issues for me,” he says. “I’m either experiencing a bizarre reflection from the monitor in front of me, or I have a sore neck from looking at it across the room or down on the floor; I just can’t seem to win!”
Though Jesse’s home workspace is fairly snug, he says that he’s “excited for a reality where I can sit down to mix from the comfort of my living room couch, mix in a simulation of a million-dollar space, and get great results and mix approvals while doing it.
“No more upright chair, sore back, and picky sweet spot between the speakers in my flawed room. Rather, a consistent true north reference source that is easily accessible and comfortable for creating with.”
Virtual monitoring environments are already available, too. Waves’ Abbey Road Studio 3, for example, is a plugin that puts you in – you guessed it – a virtual representation of Abbey Road’s Studio Three, where you can mix in the same ‘room’ that Pink Floyd, The Beatles, Amy Winehouse and Kanye West have been produced. Meanwhile, dearVR can put you in a variety of virtual studio spaces to test your mixes.
Image: Michelle Mosqueda
With head-tracking and a more tactile experience with these plugins, XR headsets could completely change up your mixing workflow. This will be especially true when mixing in immersive formats, such as Dolby Atmos and Sony 360 Reality Audio.
On this point, Jesse adds that he uses Logic Pro to produce all of his Dolby Atmos mixes.
“Between the [Vision Pro] and the forward trajectory of Logic and spatial audio, it will be incredible to have creative writing sessions in virtual studios with virtual interactive instruments, equipment, consoles, and so on.”
Still, Jesse isn’t expecting to transport his entire mixing process into VR. “[This is] not necessarily a replacement for the real experiences in real rooms, but certainly inspiring to think about.”
Meta music-making
Metaverse maestro VNCCII is already inspired by the potential of mixed-reality applications in music production. Conducted by Australia’s Sami Tauber, the VNCCII project has been a means of exploring the vast possibilities in an ever-unfolding virtual landscape – including building the ‘Holoship’ recording studio.
Naturally, VNCCII has much to gain from the launch of a mass-appeal XR headset.

“The Apple Vision Pro and Vision OS launch is super exciting for the VNCCII project and positive for the entire XR/VR/AR ecosystem,” Tauber says. “It unlocks a cornucopia of opportunities for creators and developers.
“I would love to see real-time music production sessions and mixed-reality concerts with the Apple Vision Pro headset,” continues Tauber. “Imagine stepping inside VNCCII’s Holoship music studio environment and providing real-time feedback or co-producing with VNCCII.”
Maybe mixed reality won’t be so isolated after all?

However, the real challenge, Tauber says, is ensuring that audio developers are swift to adapt to Vision Pro and tailor apps to the headset. “Developers must create augmented reality and virtual reality apps specific to the headset and they must apply for the Apple vision pro developer kit.
“I already use Apple’s ARKit for animating the face mocap of my VNCCII avatar in Unreal Engine with the Apple iPhone’s 52 blend shapes for LiveLink. Remarkably, Apple will update ARKit and RealityKit to suit the XR headset – ARkit is a renowned tool in the XR space that enables world tracking, image anchoring, scene reconstruction, plane estimation, and hand tracking to build immersive experiences.”
Tauber adds that generative AI for music and mixed-reality apps will be “super-compelling content” for the Vision Pro. Spatial Audio with Dolby Atmos will also play a crucial role in audiovisual experiences – Tauber stresses that the audio format will form the “nucleus” of mixed reality.
Tribal headset
VNCCII’s utopia of shared virtual experiences is already underway in one corner of the mixed-reality universe. Tribe XR is currently the leading brand in VR DJing, offering budding disc jockeys the chance to practice with the most sought-after decks and mixers in the industry. With accurate gesture tracking, users can move the faders and pots of a simulated DJ mixer and turntables to blend tracks as in real life. You can even invite friends to DJ and dance along with you.

In the words of co-founder Tom Impallomeni, Tribe XR is “on a mission to turn aspiring DJs and performers into professionals – essentially, give beginners all the tools, the virtual studio access and community access to teachers, workshops and so on.
“Then, we get them to the point where they can actually perform in the real world.”
Currently, Tribe XR is available on Meta Quest, Oculus Rift, Pico, Viveport and Steam VR platforms. That means it’s available right now – you certainly don’t have to wait for the Vision Pro to drop to start mixing tracks. Better yet, you can pick up headsets like the Meta Quest 2 for a tenth of the price of the Vision Pro’s projected price.
So why is Apple’s mixed-reality venture important for companies like Tribe XR?
“It’s a great signal that Apple is seeing the broader spatial computing market as not just games, but music technology, and learning and so on,” says Impallomeni.
Image: Apple
“People who want to use CDJs, and use them in Tribe XR and learn on them…part of the reason they want [use Tribe XR] that is because they don’t have, you know, £6,000 to £10,000 to spend on two decks and mixer or four decks and mixer. And so [Tribe XR] is an entry point for them to learn on this equipment.”
Even still, at $3,499, the Vision Pro combined with Tribe XR is still more affordable than a venue-standard DJing setup. Two Pioneer DJ CDJ-3000 players and a DJM-A9 mixer will set you back around $7,800. And in the virtual space of Tribe XR, you don’t have to rent out a studio or worry about upsetting the neighbours with blistering jump-up drum ‘n’ bass at 1 am.
With a Pioneer DJ partnership, Tribe XR’s arsenal of mixers and players is abundant, too. Want to swap from a DJM-A9 to a V10 six-channel mixer? Easy. Want another two CDJ-3000s in the cockpit? Done.
Image: Tribe XR
“It’s not a toy,” continues Impallomeni. “This is something that’s going to teach you [DJing]… We didn’t build Tribe, as a replacement for the CDJ. We built Tribe as a way to democratise access to this equipment.”
Tribe XR might sound like it’s serving a small, niche market, but Impallomeni cites rumours of Meta selling over 20 million Quest headsets. With Quest 3 arriving later this year, Impallomeni expects this audience to grow – and the Tribe platform to grow alongside it.
“[The market] will grow fairly quickly. At WWDC, Apple presented a very clear vision of why spatial computing is important. And, you know, we think that spatial computing is going to enable Tribe XR and other learning platforms… Apple is now a legit contender and it’s going to put a lot of pressure on Meta. So now we’re looking at Meta and thinking, ‘Okay, guys, now it’s time to step up with your products.’ And that’s exactly what the market needs. We need the big players investing heavily in the space because that’s what’s gonna help us get to real mass-market scale.”
Image: Tribe XR
Tribe XR’s potential audience and demographic may grow, but will die-hard DJs be willing to adapt to new technologies?
“The DJ market doesn’t move that quickly,” says the Tribe XR co-founder. “So if you look at the time it took to go from vinyl to digital DJing, and for CDJs to no longer need CDs, these things have taken time. Often there’s been scepticism, but what we’re finding is that once people see the value in new technologies, they can get really creative with them.
“With the current mixers and CDJs, you can do incredible things; you can pretty much produce music on the fly. There’s all this new technology, like stem separation and all that sort of stuff, that’s really adding to the creative armoury of a DJ. So. So, we’re bullish about the future of technology. But we do see that once DJs see value, they really embrace it.”
The Vision
Apple’s headset isn’t going to immediately change how we listen to or create music. It’s unlikely that producers will scramble to get their hands on the first version when it drops. The price alone is alienating for most of us – VNCCII agrees that the “monstrous” price tag will “automatically price out mass accessibility to the broader population.” She hopes, however, that the price will become more accessible over time; “like any new fancy toy, it charges a premium for accessibility.”
Image: Apple
Still, the potential of the Vision Pro is palpable, with tech that has surpassed many enthusiasts’ expectations. “I’m impressed with the high-performance Apple M2/R1 chips and the precise head and hand tracking, which powers real-time 3D generated avatars for immersive presence and connection,” continues VNCCII.
Impallomeni adds that Vision Pro’s hand tracking is an intriguing feature: “It’s basically eye tracking, which enables [developers] to sort of simplify the UX. So you can see where you’re looking, and you can pinch and grab audio… DJing is a good showcase for hand tracking within these headsets.”
Even with its impressive feature set, the Vision Pro will be a tough sell. Will Rick Rubin and Mark Ronson really be donning mixed-reality headsets in two years? Sceptics are already bemused by spatial audio mixes, so spatial computing is unlikely to take off so quickly. But, as Impallomeni said, it may well be worth embracing mixed reality, rather than shrugging it off – perhaps we’ll find these invaluable means of expanding our creativity aren’t so far-fetched after all.
Learn more about music technology trends. Find out more about the Vision Pro at apple.com. 
The post What could Apple’s Vision Pro mixed-reality headset mean for music production? appeared first on MusicTech.

Roland announce Zenology Pro Collection The Zenology Pro Collection bundles Roland's flagship soft synth with recreations of their Juno-106, Jupiter-8, SH-201, JD-800 and JX-8P instruments.

Primavera Sound will not return to Madrid in 2024, organisers confirmPrimavera Sound will not return to Madrid in 2024, organisers have confirmed.

READ MORE: 165% increase in average number of songwriters on hits since 1970s, study shows

While the festival will continue to take place in it’s founding home, Barcelona, the festival will not take place in Madrid next year.
“Although both the city of Madrid and the whole region welcomed us with open arms, with a warmth that was mirrored in the institutions, the cultural agents and of course the audience,” says the festival’s director Almudena Heredero, “the external difficulties that the festival had to face in the final stretch of the pre-production gave rise to one of the most complicated events that Primavera Sound has ever had to face.”
Last year marked the first time the festival took place in two locations, with the same line-up performing in both Spanish cities – similar to Leeds and Reading festival in the UK.
Rumours have circulated about the future of the festival in Madrid after complications last year. Now festival organisers have confirmed its fate.
The first day of the Madrid site was cancelled due to adverse weather, and there were also issues at the Barcelona site including overcrowding, access to water, Covid “casualties”, and other logistical problems.
“As a consequence, although the evaluation of the festival was more than satisfactory on a musical level,” he continued. “The expectations we had were not fulfilled and the experience of the festivalgoers due to several logistical aspects was not the desired one.”
“And that leads us to understand that, now, the conditions are not right for Madrid to have a Primavera Sound as it deserves in 2024”.
According to Alfonso Lanza, director of Primavera Sound, the team will continue to explore Madrid as a possible Primavera location.
Primavera Sound will return to Barcelona from 30 May to 2 June 2024. Tickets are on sale now. 
The post Primavera Sound will not return to Madrid in 2024, organisers confirm appeared first on MusicTech.

Making sense of MIDiA’s global music forecastsTop MIDiA analyst Mark Mulligan looks at global music market forecasting and explains the methodology and most importantly, how to interpret them. by Mark Mulligan of MIDiA Music Industry Blog. Continue reading
The post Making sense of MIDiA’s global music forecasts appeared first on Hypebot.

Todd Edwards unpacks the floppy disk containing all 70 samples for Daft Punk’s Face To FaceDaft Punk fans have been searching for the source of the samples used in the duo’s 2001 track, Face To Face for many years. Now, Todd Edwards has thrown the actual floppy disk containing the samples onto the table – boy, is it a winning hand.

READ MORE: Thomas Bangalter on Daft Punk split: “The last thing I would want to be, in 2023, is a robot”

For those that have been following this lengthy Daft Punk sampling quest, it’s a huge revelation. That’s because the track Face To Face features a whopping 70 samples, as Edwards once confirmed in an interview, which many die-hard Daft Punk fans have been searching for many years.
Here’s the track in all its glory for those who don’t know:

Now, in an Instagram post, the regular Daft Punk collaborator has put the pursuit to bed by presenting the actual floppy disk which houses the samples. He also refers to a recent TikTok Live session in which he played through some of the samples.
“Did you ever wonder why on Daft Punk’s Discovery album most of the samples they used for their songs were from disco and R&B, except for one song in particular, Face To Face, where they used folk music and soft rock?” Says Edwards in the Instagram post.
“That’s because most of the samples came from my sample library. The thing is, for years before, I did sample disco and R&B but I got kind of tired of it…
“The day Thomas [Bangalter] and I worked on the track, the night before I sampled up 70 samples, they came in the next day and they sampled up 70 samples. And all those samples were recorded on this zip disk.”

View this post on Instagram

A post shared by Todd Edwards (@toddedwards3000)

One comment reads: “YouTubers who have [been] breaking down the samples for a decade and a half are about to lose their minds right now”. They’re not wrong.
Now, if you’re intrigued as to how these samples were re-contextualised by Edwards and the iconic dance duo, a YouTuber by the name of undrtune recently claimed to have dug out all the samples used in the track. Check out undrtune’s impressive Daft Punk Face To Face sample breakdown video below:

Edwards, who later provided vocals for Daft Punk’s 2013 track Fragments of Time, has been discussing the French duo, who broke up in 2021, a lot recently. In a podcast, he called his collaboration with them “life-changing”, later saying he “wouldn’t count out” a potential Daft Punk reunion. The sample hunt is over, but the dream of a reunion is not.
Daft Punk have been recently celebrating the 10th anniversary of their Random Access Memories album in a series of interviews with collaborators and fans. Check them out via their YouTube channel.
The post Todd Edwards unpacks the floppy disk containing all 70 samples for Daft Punk’s Face To Face appeared first on MusicTech.