Behringer’s Vintage plugin “has not been officially launched”, says brand as it admits leakLast week, eagle-eyed customers spotted a glitch on Behringer’s website. A registration page was available for its first free synth plugin, Vintage, despite there being no word of it elsewhere. While some may have been quick on the draw to fill in the registration form, the page was quickly taken down.

READ MORE: Behringer releases its first synth plugin, Vintage, for free…or does it?

Behringer has since explained the situation in a Facebook comment in response to a Computer Music news story. “The Vintage VST has not been officially launched and the Weblink for our testers has accidentally leaked,” Behringer explains. “We’re in the process of finalising the plugin and launching it soon.”
The company has also responded to comments on a MusicRadar Facebook post about the breach, clarifying that the new plugin was not created with Tone2 Audiosoftware.
“The look and feel of the recently released Behringer Vintage has caused confusion among our customers. Behringer Vintage is not a new version of Tone2 Saurus,” Tone2 Audiosoftware wrote. “Both products have a different synthesis architecture and sound different. We are not involved in the development of Behringer Vintage.”
Behringer has also added one extra layer of information. Speaking to MusicRadar, it reveals that the VST has apparently been designed by a “famous designer who creates sound engines for many leading VST brands” and says that it hopes to release more free plugins in the future.
“We’re very proud of this partnership and will introduce many more VSTs for free or a minimal fee to empower musicians that ‘have not and cannot,’” Behringer tells MusicRadar. “We’re closely working with Playing For Change Foundation and encourage you to donate whatever you can. We will match any donation up to $1 million USD.”
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“It doesn’t come for free”: Twitch CEO says DJs will soon have to share revenue from streams with labelsDan Clancy, CEO of live streaming platform Twitch, says DJs using its platform to stream sets will soon have to share their revenue with labels. However, Twitch will be splitting the costs with you.
Clancy proposes that in order for this to happen, Twitch may need to track all music played by DJs. If it detects copyrighted music, it will require the streamer to disclose the money earned from the stream to the applicable labels.

READ MORE: Coachella’s Quasar stage illuminates the art of longer-form DJing – we’re here for it

No information on when this new system will come into play is yet available, but it will reportedly apply only to DJ streams (as per DJ Mag), and not live streams and videos on demand, which have different regulations regarding the use of copyrighted music.
Clancy made the statement during a live interview with TweakMusicClips hosted on Twitch, in which he said: “Pretty soon we’re gonna have a structure so that in the end we are gonna have to share money with the labels, it doesn’t come for free.
“I’ve already told a number of DJs this, and they realise of course they would rather not have to share some money but we’re gonna kind of split whatever the cost is. So we’re gonna pay a portion of it, and then the streamer will need to contribute a portion in terms of the revenue.”
Take a look below:

Twitch will soon require DJs to share part of their revenue with the music industry.
"We're going to have a structure, where we are going to have to share money with the labels, it doesn't come for free… we're going to split whatever the cost is."#TwitchNews #TOSg pic.twitter.com/YndPV8JIcH
— Zach Bussey (@zachbussey) April 10, 2024

Clany seemingly hopes that this new change will prevent DJs from receiving takedown notices, and allow both artists and the platform to share revenue. Interestingly, Engadget reports that currently, Twitch pays labels money for the use of copyrighted tracks, but “it’s not a sustainable long-term solution”.
The website also says that the labels are only okay with this deal for now because “they know Twitch is working on another solution that will make them (more) money”.
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Antares launches Auto-Tune Pro 11 – what’s new?Antares has unveiled the latest version of its popular autotune software, Antares Auto-Tune Pro 11, and its available now to buy on Plugin Boutique. Building upon two decades, this latest edition introduces new features such as integration with its new Harmony Engine, two new Auto and Graph modes, and MIDI mapping.

READ MORE: Best new mixing plugins, effects and VST instruments out this week

Auto-Tune Pro 11 is now powered by the brand’s Harmony Engine, which you can adjust through its new Harmony Player section. The engine gives you “four individual harmonies that can be mixed and MIDI-triggered for instrument-like playability”.

There are intuitive controls, so you can play with the formant, pan, and level adjustments, crafting intricate harmonies becomes seamless. Advanced mix options, including EQ and stereo width adjustments, offer unparalleled control over vocal textures.
Auto-Tune Pro 11 also has a new Auto Mode which lets you correct pitch in real-time, and a Graph Mode for meticulous hands-on editing. The Graph Mode lets you ​​easily change notes manually, fine-tuning parameters such as retune speed, vibrato, and formant on a note-by-note basis.
Credit: Antares
The plugin also updates its support for ARA2 technology in Logic, Studio One, and Cubase/Nuendo, enhancing workflow efficiency, and enabling seamless exchange of audio data, tempo, pitch, and rhythm in real-time. Additionally, smart MIDI mapping simplifies the assignment of MIDI controllers to Auto-Tune Pro functions, facilitating intuitive real-time control.
Another cool addition to Antares’ plugin is Multi-View. This mode means you can process multiple vocals at the same time within one window. There’s also an updated Presets Manager, featuring exclusive artist presets.
Antares Auto-Tune Pro 11 is available to buy for $459 at Plugin Boutique.
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“Every penny we make with Justice, we invest into stuff that’s not necessarily commercially viable”: Justice say every record they make renders them “bankrupt”It can be expensive to make music. Given that you’re here, you probably know that already, but it seems that even electronic giants such as Justice struggle with the costs of putting out records.
The duo, Gaspard Augé and Xavier de Rosnay, are to release their brand new album Hyperdrama on 26 April. It marks their fourth record and is their first studio release since 2016’s Woman. Like many artists, Justice say they put every penny they earn from their releases right back into their musical projects.

READ MORE: Kanye West allegedly samples underground producer TSVI without permission: “We’re at the bottom; he’s at the top with billions in his bank”

In an interview with Billboard, de Rosnay says, “[We] have no idea how much we get paid from streams. Not that we don’t care, but we don’t really look out for that.” He continues, “Every time we finish making a record, we are, like, ruined.”
“Like, bankrupt,” Augé says. The duo’s concert film IRIS: A Space Opera by Justice, which landed in 2019, is an example of one of their costly grandeur projects, but as de Rosnay goes on to explain, they don’t mind so much that money gets tight, as they’re grateful for what they already have.
“Like, we don’t have any money left, because every penny we make with Justice, we invest into stuff that’s not necessarily commercially viable,” he states. “As long as we are not in dire need, we don’t need to earn more money. We have houses. We have fun. We have food. It sounds cliché, but that’s the truth.”
Check out their latest single from the forthcoming album, Saturnine, below:

Justice are performing at Coachella festival on Friday 19 April. They will be touring following this date, and you can view all of their upcoming shows via their official website.
The post “Every penny we make with Justice, we invest into stuff that’s not necessarily commercially viable”: Justice say every record they make renders them “bankrupt” appeared first on MusicTech.

Austrian Audio Hi-X55 / OC818 offer Until 31 May 2024, those who purchase an OC818 will receive a complimentary pair of Hi‑X55 headphones.

4 tips for making your own drum kits
From layering to labeling, here are four tips to keep in mind if you're interested in making your own drum kits from scratch.

NAMM Foundation Celebrates 25 Years of 'Best Communities for Music Education'The NAMM Foundation celebrates and recognizes over 1,000 school districts and individual schools across 43 states for their support and commitment to music education and their efforts to ensure access to music for all students as part of a well-rounded education.READ MORECelebrate the 2024 Scholarship and Award RecipientsRead MoreJoin the Worldwide Celebration of Music, June 21Learn MoreThree scholarships that offer support to attend The 2025 NAMM Show in Anaheim, CA, are available. They are open to college students exploring careers in music, college faculty creating innovative music curricula, and mid-career music business professionals striving for career advancement. APPLYIMPORTANT DATES & EVENTSApril 15Scholarship Applications OpenApplyJune 21Make Music DayLearn MoreJan. 21-25The 2025 NAMM ShowLearn More

Plasma Cutter on the Cheap ReviewedIf you have a well-equipped shop, it isn’t unusual to have a welder. Stick welders have become a commodity and even some that use shield gas are cheap if you don’t count buying the bottle of gas. But plasma cutters are still a bit pricey. Can you get one from China for under $300? Yes. Do you want one that cheap? [Metal Massacre Fab Shop] answers that question in the video below.
First impressions count, and having plasma misspelled on the unit (plasme) isn’t promising. The instructions were unclear, and some of the fittings didn’t make him happy, so he replaced them with some he had on hand. He also added some pipe tape to stop any leaking.
The first test was a piece of quarter-inch steel at 35 amps. The machine itself is rated to 50 amps. Sparks ensued, and with a little boost in amperage, it made a fair-looking cut. At 50 amps, it was time to try a thicker workpiece. It made the cut, although it wasn’t beautiful. The leaking regulator and the fact that he can’t run the compressor simultaneously as the cutter didn’t help.
From the look of it, for light duty, this would be workable with a little practice and maybe some new fittings. Unsurprisingly, it probably isn’t as capable as a professional unit. Still could be very handy to have.
It is possible to convert a welder into a plasma cutter. A handheld unit like this probably won’t benefit from a Sharpie.

Meta thinks it’s a good idea for students to wear Quest headsets in classMeta continues to field criticism over how it handles younger consumers using its platforms, but the company is also planning new products that will cater to them. On Monday, the company announced in a blog post that later this year it will be launching a new education product for Quest to position its VR headset […]
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3D Printing a Cassette Is Good Retro FunThe cassette is one of the coolest music formats ever, in that you could chuck them about with abandon and they’d usually still work. [Chris Borge] recently decided to see if he could recreate these plastic audio packages himself, with great success.
He kicked off his project by printing some examples of an open source cassette model he found online. The model was nicely accurate to the original Compact Cassette design, but wasn’t exactly optimized for 3D printing. It required a great deal of support material and wasn’t easy to customize.
[Chris] ended up splitting the model into multiple components, which could then be assembled with glue later. He then set about customizing the cassette shells with Minecraft artwork. Details of the artwork are baked into the model at varying heights just 1/10th of the total layer height. This makes it easy to designate which sections should be printed with which filament during his multi-colored print. And yet, because the height difference is below a full layer height, the details all end up on the same layer to avoid any ugly gaps between the sections. From there, it’s a simple matter of transferring over the mechanical parts from an existing cassette tape to make the final thing work.
It’s a neat trick, and the final results are impressive. [Chris] was able to create multicolored cassettes that look great. It’s one of the better uses we’ve seen for a multi-colored printer. This would be an epic way to customize a mixtape for a friend!
We’ve seen some great 3D printed cassettes before, too, like these retro reel-to-reel lookalikes.

SounDevice Digital release Randomachine  SounDevice Digital's latest plug-in has been designed to quickly add variation to repetitive samples by randomising its six built-in effects.

Latin music veteran Gustavo Lopez launches Globalatino Music Partners; acquires majority stake in Cigol MusicLopez was a longtime Universal executive and CEO of Saban Music Latin, which was recently acquired by Virgin Music Group

Source

Spotify working on remix feature which will allow users to alter speed and pitch of songsIf you’re a regular TikTok user, you’ll know sped-up versions of well-known songs and short-form vertical videos, for some reason, go hand in hand. Perhaps condensing a musical hook into a shorter time frame helps capture people’s attention in that all-important two-or-three-second window.
Whatever the case, sped-up songs seem to work, and thus the demand for features that allow creators to make them is increasing. 

READ MORE: Spotify’s AI Playlist tool now builds playlists with your text prompts

Spotify has identified this, and is reportedly working on tools that will allow users to “speed up, mash up, and otherwise edit” tracks on the platform, according to the Wall Street Journal.
According to The Verge, content analysis firm Pex recently found that 38 percent of songs on TikTok had their speed or pitches modified in 2023, compared to 25 percent in 2022, showcasing an increasing demand for tempo and pitch/changing tools.
While such tools could open new avenues for video creators, they could also open a new revenue stream for artists. Audio detection algorithms on TikTok – and YouTube, for example – often fail to accurately identify copyright infringement if the speed or pitch of the source material is manipulated enough. This leads to lost revenue for artists. Spotify’s new tools would, in theory, tie any remixes to their original song, meaning revenue would make its way into the pockets of copyright holders.
It’s unclear how much these new audio manipulation tools will be, and whether they’ll be included in a standard subscription tier or as an optional add-on. The Verge also reports that code snippets for recent Spotify builds for Android indicate a “Music Pro” add-on coming in the future, which would potentially include both these tools and Spotify’s long-awaited HiFi feature for lossless audio.
No launch dates have been confirmed yet, but stay tuned to MusicTech for more updates.
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Grimes issues apology following Coachella DJ set – what went wrong?Coming face-to-face with technical issues during a DJ set evokes a drowning sensation. At Coachella, it can only be nightmarish. Technical obstacles are exactly what faced Grimes in front of thousands of people at Coachella festival this weekend, as all of her DJ-related nightmares rolled into one, later forcing her to apologise.
According to Coachella-goers, about 20 minutes into Grimes’ 50-minute DJ set, which took place on Saturday 13 April 2024 at 7.10pm on the Sahara stage, many of her songs played at double speed. This was a result of Rekordbox incorrectly analysing her tracks, identifying, say, a 128bpm song as 256 bpm.

READ MORE: “What do they do up there? Twiddle filter knobs and clap”: Deadmau5 says most DJs play pre-recorded sets at major festivals

Grimes stopped the set multiple times, letting out shrieks of frustration into the microphone, and explaining the issue to fans. See footage below:

Grimes had some technical difficulties at her Coachella set pic.twitter.com/vecHcokAbn
— Rave Moments (@Rave_Moments) April 14, 2024

“This is a difficult thing to explain,” she’s seen telling the crowd in separate footage. “We’re having a major technical error where all the song tempos are at double speed. I’ve not practiced the math and I’m not fast at math.”
Grimes is also seen in another video, saying, “All my tracks are twice as fast… Just don’t blame me, it’s not my fault. Well it’s partially my fault, but it’s not entirely my fault.”

Grimes dealt with technical difficulties throughout her set at Coachella on Saturday night, restarting songs and complaining about problematic track files
"All my tracks are twice as fast.. Just don't blame me, it's not my fault. Well it's partially my fault, but it's not… pic.twitter.com/fSLjvhQsjF
— SFGATE (@SFGate) April 14, 2024

The next day, on 14 April, in a since-deleted post to X, the EDM artist apologised to her fans, blaming herself for not noticing the incorrect tempos beforehand and admitting she “had a bad feeling beforehand”.
“To save time this was one of the first times I’ve outsourced essential things like rekordbox bpm’s and letting someone else organise the tracks on the SD card etc,” Grimes, as reported by Mixmag, wrote.
“I want to apologise for the technical issues with the show tonight. I wanted to come back really strong and usually I always handle every aspect of my show myself.
“I had a bad feeling beforehand not having run everything through the CDJs myself and tho I flagged it I wasn’t insistent,” she said.
“I will personally organise all the files next week. I will not let such a thing happen again. I’ve spent months on this show, making music and visuals, and admittedly am not in the best mood at the moment. But, yeah – next week will be flawless, everything will run through my hand.”
All of this drama, of course, has set the EDM community into a frenzy. EDM producer and DJ What So Not, started a thread on X on Sunday, writing that he “feels so bad for her”, making the point that there was no one on hand to help the situation, asking “It’s such a simple thing to fix/solve. Where’s her team at?”

The grimes @coachella DJ set discussion board:
— WHAT SO NOT (@WhatSoNot) April 14, 2024

Another commenter writes, “I can’t tell what’s going on. Is it her?… or actual technical issues? Regardless, I am in physical pain watching.”
“Sounds like rekordbox formatting is out so you just have to mix manually by ear”, responds What So Not. ““Mix manually by ear” meaning…. “Mix””, chimes in turntablist, A-Trak.
Grimes is set to DJ again at Coachella Weekend Two, which takes place between 19 and 21 April. Tickets are still available on the Coachella website.
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