Turns out the Seinfeld theme was “Frankenstein-engineered from multiple sampled bass guitars”The Seinfeld theme is one of the most recognisable bass lines in history – and as a result many have questioned how it came to be.
Used in the long-running US sitcom to underscore Jerry’s opening monologue – and also used in between scene transitions – the bass line has puzzle many for years as to its origins. Suggestions have included a preset from an ’80s synth, the Yamaha DX7, the Korg M1 and the 360 Systems MIDI Bass.
However, an innocent comment on social media has ended up paving the way for revealing the answer once and for all. When an Instagram user suggested that he thought it was the 360 Systems MIDI Bass that was used, he got a response from Seinfeld soundtracker Jonathan Wolff.

“I never owned any product from 360 Systems,” he confirmed. In fact, none of the suggestions were correct – it turns out that the Seinfeld bass sounds were “Frankenstein-engineered from multiple sampled bass guitars using sample edits, compression, EQ, phase manipulation and gain staging.”
“I selected a narrow frequency (filtered obviously through a separate bus), reverse-phased it and (slightly flanged, delayed, and detuned to avoid cancellation) added it off-center back into the mix,” Wolff continued, after adding a ‘nerd warning’. “Full stereo, it looked weird on a scope but had little audible effect. However, when summed mono, it created a sharp nasal edge to the bass.”
However, videos exist of Wolff appearing to play the sound of a Kurzweil synth. “I triggered the notes using a keyboard controller, which (to nice folks viewing interview videos of me working) is sometimes confused with the actual source,” Wolff explains. “No synth for you.”

Wolff had previously revealed that the slap bass links changed episode to episode to fit with the beats of the monologue. The sound itself, he explained, has also evolved over time.
“It got to the point that the peeps in my office would leave me little sampled bass sounds when they had a minute and got weird sounds out of it,” Wolff told Mel Magazine in 2021. “I’d often incorporate them into Seinfeld cues, so in that way, it stayed fresh, while evolving to become a little more aggressive, more nasal, more weird.”
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Musician Jackie Venson calls out predatory behavior by venues, promotersBy many measures, independent musician Jackie Venson is having a great year. But shifts in booking, venue, and merch policies are threatening the one source of income she and most. Continue reading
The post Musician Jackie Venson calls out predatory behavior by venues, promoters appeared first on Hypebot.

Why TikTok launching a music streaming service matters so muchWe’ve heard whispers in the industry of TikTok launching its own music streaming service for a while now. Finally, they’ve just rolled out the first iterations of it in select. Continue reading
The post Why TikTok launching a music streaming service matters so much appeared first on Hypebot.

8 Tips to help you successfully pre-promote your next releaseMaking the music is only half the battle, now that it’s time for promoting you may have a lot to learn when it comes to getting the word out about. Continue reading
The post 8 Tips to help you successfully pre-promote your next release appeared first on Hypebot.

Fatboy Slim’s Broadway musical, Here Lies Love, “turns the theatre into a dance floor”First, we had Damon Albarn scoring an opera. Now, we have Fatboy Slim providing music for a disco-themed Broadway musical. Here Lies Love, scored in collaboration with David Byrne, made its debut in New York on Thursday.

READ MORE: Show Off Your Studio: Jay Robinson gives Fatboy Slim’s Rockafeller Skank the TB-03 treatment

The immersive musical, set in a neon-clad nightclub, follows the life of Imelda Marcos, the ex-first lady of the Philippines. The story focuses on the People Power Revolution that led to the removal of her and her husband, dictator Ferdinand Marcos, from power in 1986.
Developed and directed by Alex Timbers, with choreography by Annie-B Parson, Here Lies Love was first written in the mid-2000s. Byrne and Fatboy Slim, real name Norman Cook, then released a concept album soundtracking the story in 2010.
Since then, the show evolved into a complete theatre production, with successful runs taking place at the Massachusetts Museum of Contemporary Art in 2012, New York’s Public Theater in 2013, London’s National Theater in 2014, and the Seattle Repertory Theater in 2017. This is the first time the musical has been taken to Broadway. Byrne and Cook posed about the show on Instagram, which you can see below:

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A post shared by Fatboy Slim (@officialfatboyslim)

The show has been a hit among critics. In a four-star review of the show by The Guardian, theatre review Lauren Mechling describes the production as a ”roof-raising musical presented as interactive disco”, writing: “the audience was all too ready to dance off against a modern-day Marie Antoinette.”
When not scoring Broadway musicals with David Byrne, Fatboy Slim is performing expectedly fun stage shows, like the one we witnessed at Glastonbury 2023. However, in a not-so-expected revelation, the Rockafeller Skank star recently told a podcast host about the time he learned to play the violin with Labour leader, Kier Starmer.
The musical runs until September. Find out more information about Here Lies Love and book tickets via herelieslovebroadway.com.
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Watch: Alan Meyerson - Mixing The Movies In our latest feature video, producer and mix engineer Alan Meyerson talks us through his career, from...

PreSonus Studio One 6.2 update now available As well as introducing a range of editing, arranging and mixing improvements to their popular DAW, PreSonus have also announced that PreSonus Sphere, their all-in-one subscription package, has been renamed to Studio One+.

We’re giving away a pair of KRK GoAux 3 monitors worth $349What’s your monitor setup looking like right now? Due an upgrade? On the hunt for your first ever pair? Need an extra set? Whatever your sonic situation is, we can help.
READ MORE: Best speakers to buy in 2023: 11 best small studio monitors
KRK’s GoAux series, comprised of the GoAux 3 (with a 3-inch woofer) and the GoAux 4, (with a 4-inch woofer), was launched in October 2022. We’re giving away the GoAux 3 to one lucky MusicTech reader, so long as they can answer just one question.
Both models are incredibly portable, offering remarkable sound quality and performance given their compact size, with the GoAux 3 boasting a frequency range of ​​60 Hz – 22 kHz. They also have cool customisation options that are user-friendly and take away unnecessary complexity.
The GoAux 3 features convenient Bluetooth connectivity and plug in and play funcitonality, making it a brilliant solution for those making music on the move. They come with a practical nylon carrying bag that accommodates both the monitors and the handy adjustable stands provided, along with any additional cables you may need.

In our review of the GoAux series, we wrote: “Unzipping the plush KRK-branded carry case reveals a stylish pair of monitors that seem built to last and are ready for action,”
“The grilles protecting the drivers are sturdy, while the main rotary control on the front isn’t at all wobbly. Aside from a difference in construction materials, the overall build quality reminds us of the popular (and more expensive) Genelec 8020s – another popular choice for monitoring on location.
“KRK proves that accurate monitoring on the go is indeed possible, all at a reasonable price.”
To have a chance at getting your hands on the GoAux 3 monitor by KRK, you simply need to answer the question below and subscribe to the MusicTech newsletter for more news, reviews, interviews, guides, and giveaways.
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Amelie Lens’ EXHALE community is not an audience, it’s a family: “It’s about championing the underground”Since storming onto the scene in 2014, Amelie Lens has soared to the top of the techno ladder. On her way, she’s established a distinctive, relentless high-energy sound recognisable from a mile off and built a dedicated fanbase.
READ MORE: Farrago on creating “techno 2.0” with banks of self-recorded hooks, drums and effects

Now in its third year, the multi-faceted EXHALE, a record label, radio show, event series and general communal space for techno fans, is Lens’ way of giving back to those who have supported her journey. Made up of residents Pan-Pot, 999999999, Airod, Farrago, Milo Spykers, Ahl Iver and Regal, it’s an inclusive collective that sees its followers not simply as ravers or listeners, but as a family.
We speak to label manager Max, artist & brand manager Liz and Amelie Lens about how EXHALE supports underground artists, what’s in store for its DC-10 parties, what it means for fans to have this sense of belonging in a community, and their vision for the future.
From left to right: Liz, Farrago, Ugur Akkus, Amelie Lens
EXHALE crew, hello! What’s the ethos behind EXHALE? It’s clearly not just about the music. What can you tell us about the sense of community you evoke through the project?
Liz: It’s really touching to us that you ask this, and so powerful that you see this. EXHALE has is about championing the underground, giving artists and producers a chance and, most importantly, providing a community where old friends meet and new friends come together.
How many times have you gone to a rave alone? Would you feel comfortable to? Amelie was always going out by herself in the early days, which is a big inspiration for us. It’s safe to say our team is a bunch of dedicated ravers who have all done the same.
Max: During the lockdown, many talented young producers had a lot of time to spend in the studio, which resulted in EXHALE receiving a huge amount of incredible music within just a few months in 2020. We’ve always been keen on pushing fresh talents at our events but as clubs had to shut down, we thought that starting a label and showcasing what these artists are capable of would be a great way to give something back to the community.
What’s changed since 2020 when you launched the label?
Liz: We started EXHALE Records in 2020 but EXHALE as an event series started in 2016. The events were hosted in Belgium until going international in 2018 at Fabric in London.
Like any being that grows, your voice, personality, and awareness grow with it. If you compare EXHALE to a person, we would say we are at the late-teenage stage. Where you’re out of the house of your parents and ready to explore the world; when you know what you like but are still open to change.
What’s changed since 2020 is that we learned how to move with what (unexpected) changes can come, and to be flexible without wavering in what we believe in.
Max: The label has grown a lot, and on top of the [various artist compilations] that we keep releasing to push fresh talent, we also started releasing singles and EPs from artists who share our vision of techno – and there’s definitely more to come in the next months.
Tell us about the sense of community you’ve built up through EXHALE. Do you feel there’s a duty today to be more than artists, more than label owners and to connect with fans on a deeper level?
Liz: It’s not our duty, it’s who we are. Amelie, Farrago and our team thrive on connections.
We don’t want to just ‘know our audience,’ we want our audience to know us. We want to shape our audience and let our audience shape us. It’s some sort of symbiosis; the very definition of a strong community that we’re all part of. We don’t even feel comfortable using the word ‘audience’ [laughs]!
People’s openness to connect through EXHALE isn’t something you’ll find everywhere. When we say ‘people’ we mean all people: DJs, artists, producers, dancers, ravers, bartenders at our events… This sense of community evoked a new mission: we aim to break the barrier between the DJ booth and the dance floor as much as possible.
The best way to understand our sense of community is to join us somewhere. It’s a feeling, more than anything.

How do EXHALE residents inspire and support one another? And how do you support new artists joining the roster?
Liz: Our EXHALE residents are our extended family. We’ve watched them grow by supporting their sound and who they are as artists. We watched and heard as they supported each other not only at EXHALE gigs but anywhere in the world. It’s incredible to watch their journeys, like Ahl Iver and Milo Spykers and AIROD.
For new artists, we support them by offering press and content on our channels. It’s always fun getting to know them all, hearing their stories and how Amelie or EXHALE reached them (or vice versa).
Amelie offers support on a personal level as advice to artists and producers, and on a global level through her channels.
Image: Zeb Daemen
EXHALE is bringing techno to DC-10 this summer. What can punters expect from these nights?
Liz: We aren’t the first, by any means, to bring techno to the island. But the sound and pace of techno sure has changed since Cocoon and Minus in the hay day. Yes, it’s darker and heavier but with a smiling DJ usually.
We welcome all ‘punters’, as you said, to come down to DC-10, forget about the VIP tables, get lost in the rhythms and allow themselves to feel rather than be seen.

If you are new or curious about the techno scene and haven’t been to a party like EXHALE yet, our residency at DC-10 is the perfect place to dive in and explore.
You also ran a DJ competition recently. How did it go?
Liz: The DJ competition was so good! We received over 500 mixes. The idea came from Amelie. It is really important that there is always a local DJ on the line-up, which is where the vision started and then evolved to give a chance to the greater community.
MØSENGGE, the winner, is an Ibizan born and raised. It’s fun for us to imagine what it is like grow up in Ibiza. He was part of our EXHALE Ibiza ambassador group last year; he attended every community meet-up we had with open decks as well as every EXHALE event at DC-10. But that’s not why he won. The opening set is the most difficult one and MØSENGGE nailed it. He understood the task at hand, and we were really excited when we listened to it.
Max: We are very happy to have MØSENGGE on board and we always try to give fresh talent a stage to showcase their skills, no matter if it’s for our event series or for the label. EXHALE is always on the lookout for young talented producers and DJs. We want EXHALE to help pushing new trends and supporting young artists who will be the future of Techno.
Image: Zeb Daemen
Amelie, your third release of 2023, Feel It, has elements of trance embedded. Is there a crossover between industrial techno and trance music today?
Amelie: I have never really been a fan of labelling anything creative, especially not music. It’s always been about good or bad music for me, personally. I’ve always played some trance or trance-influenced tracks in my sets, and I just think it’s all about having a balance and if the music fits for the moment and vibe, or not.

There is definitely a huge crossover of different music genres – especially with BPMs going up that allows DJs to play many kinds of different styles now.
It’s been three years since you started. Where do you see the project in three years’ time?
Liz: If you really want to know… EXHALE Antwerp 2-Day Festival. That’s the dream; check in with us in three years (or sooner) to see if we made it.
Image: Sander Goossens
Find out more about EXHALE at exhalemusic.net. Want to be a part of the community? Drop an email to info@exhalemusic.net.
The post Amelie Lens’ EXHALE community is not an audience, it’s a family: “It’s about championing the underground” appeared first on MusicTech.

House of Marley launches sustainable earbuds and over-ear headphonesHouse Of Marley has unveiled two new pairs of headphones – Positive Vibration Frequency Over-Ear Headphones and Champion 2 Bluetooth Wireless Earbuds.
The products come with enhanced features for superior sound quality, and, with all House Of Marley products, have sustainability at the core of their designs. They have been made with responsibly sourced materials, many of which have been recycled, and are encased in recyclable packaging.

READ MORE: Nearly 120 historic hip-hop artefacts – including a ring designed by Tupac – go on sale in Sotheby’s auction

The new Positive Vibration Frequency Over-Ear Headphones are designed with soft ear cushions and a padded headband and ensure noise isolation for distraction-free listening. They feature 34 hours of playtime, 40mm drivers, Bluetooth v5.2 with a range of over 15m, and onboard controls.
They are compatible with both iOS and Android and are made from FSC-certified wood, recyclable aluminium, and the brand’s REWIND fabric, which is made from organic cotton, reclaimed hemp and recycled PET.
Meanwhile, the Champion 2 Wireless Earbuds offer 35 hours of playtime, with 10 hours of playtime per single charge per earbud, and come with customisable controls and adjustable audio equalisation through the Marley App. They also feature Bluetooth v5.2, an on-board mic, compatibility with iOS and Android, and eco-friendly materials like bamboo, natural wood fibre composite, and REGRIND silicone, House Of Marley’s signature silicone made from upcycled post-consumer scraps.
They also have an enclosed and adjustable sport wing to keep them in place for hassle-free listening, especially when exercising.
House Of Marley launched in 2008 in collaboration with the family of the late Bob Marley, with his love of both music and the environment in mind. The brand also runs a global give-back initiative called Product Marley, through which they support global reforestation efforts.
The over-ear headphones are available now for $99.99 (£77) and the earbuds for $89.99 (£70).
Learn more at houseofmarley.co.uk.
The post House of Marley launches sustainable earbuds and over-ear headphones appeared first on MusicTech.

Stereo7 Audio Classicord Classicord Virtual Piano for full version of the Kontakt. Our classic piano perfectly captures the rich, authentic sound of a traditional grand piano, with its... Read More

Hidizs’ AP80 PRO-X portable player is like an iPod for high-res musicChinese audio manufacturer Hidizs has released the AP80 PRO-X digital audio player in the US and UK, and it’s the perfect companion for users looking for a portable hi-res music solution.

READ MORE: BOSS Gigcaster 8 is a powerful audio hub for recording, streaming and live mixing

Boasting Dual ESS9219C DACs alongside a FPGA chip, the AP80 PRO-X is said to deliver incredible audio performance that “greatly exceeds” that of smartphones and laptops.
Despite weighing just 72 grams, the PRO-X is capable of driving high quality headphones, wired or wirelessly, and is described as a great entry-level player for new audiophiles looking for a no-nonsense portable music solution
The PRO-X features Bidirectional Bluetooth 4.2, which allows it to function as a Bluetooth audio source and double as a professional Bluetooth DAC amp. Users can send and enhance all of their smartphone, laptop, tablet or gaming music wirelessly or use a dedicated USB cable for enhanced sound quality.
More importantly, the player supports just about any audio format out there. MQA files, Sony LDAC, and CSR APT-X are supported alongside HiBy UAT, the brand’s proprietary Bluetooth audio codec which allows for sampling frequencies up to 192kHZ. DSD512 playback is also possible and users can use the HiBy app to control music playback directly from their smartphone.
Meanwhile, micro SD cards are supported for storage (the PRO-X does not come with internal memory) — up to a maximum of 512GB. Battery life varies from 8 to 11 hours depending on the file format and whether you’re using the balanced output for playback.
At $169/£199, the AP80 PRO-X sits at a highly competitive price bracket for DAPs (consider its peers: the Fiio M6, Surfans F20, and Shanling M1s), though its ultra-pocketable size and impressive range of functions (step counter & E-book feature, excuse me?) might just cement it as the ideal audio companion for your next adventure.
Learn more at Hidizs.
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Cruise starts initial robotaxi testing in MiamiCruise, the self-driving arm of General Motors, has begun initial testing and data collection in Miami, the company said in a tweet Wednesday.
“Phase 1 is to familiarize our fleet with additional, diverse road conditions while collecting data,” the company said.
Cruise declined to provide any further information, like what Phase 2 entails and when it will begin, how many Cruise vehicles are currently in Miami and when the company plans to start testing.
The news comes two months after Cruise expanded to Houston and Dallas, where the AV company has begun supervised testing and is on track to begin driverless ride-hail service for members of the public “soon,” according to a Cruise spokesperson. Supervised testing just means there’s a human safety driver in the car. Cruise will switch to driverless testing before opening up the service for riders.
Most of Cruise’s operations have been in its hometown of San Francisco, where it competes head-to-head with Alphabet’s Waymo. The two companies are currently in permit limbo as they await California’s Public Utilities Commission to grant them both the right to charge for robotaxi services throughout the city 24/7. Despite support from the technology and business communities, Waymo and Cruise have run up against opposition from residents and city agencies, which may have caused the CPUC to delay hearings to approve their permits.
Cruise did not say whether it plans to launch its autonomous Chevrolet Bolts in Miami (although that might be tough now that GM has discontinued the vehicle) or if it’ll put its own Cruise Origins on streets instead. Cruise’s Origin is a purpose-built electric AV, built with no steering wheel or pedals for a human driver. In October 2021, Cruise’s then-CEO Dan Ammann said the company will launch “tens of thousands” of Origins on public roads in the next few years.
In March, Cruise’s current CEO Kyle Vogt said the company would begin testing its Origins on the streets in Austin within the coming weeks. While human-operated prototypes of the Origin have been manually collecting data used for AV perception system testing and validation, Cruise has not yet begun driverless tests in Austin. A spokesperson told TechCrunch Cruise would begin those tests “soon.”
Cruise isn’t the first AV company to make it to Miami. Last year, Ford-backed Argo AI began testing a driverless service in Miami. The plan was to put the service on Lyft’s platform, but Argo has since shut down.

Hackers compromise Uniswap founder’s Twitter account to promote scamHayden Adams’ account released a tweet encouraging its more than 254,000 followers to click on a malicious link, falsely claiming that users’ tokens were at risk.