Brian Eno hates the “arsehole chord” – but what exactly is it?Ambient pioneer and David Bowie collaborator Brian Eno has revealed his distaste for a certain chord, which he calls the “arsehole chord”.

READ MORE: Brian Eno has 25 new tracks “built entirely out of stems and samples from his own material” coming your way

Musicians often are tempted into ending a sequence with this chord, he says in a recent YouTube-based discussion with James Blake, who apparently did so on one of his most popular tracks to date, Retrograde.

“You once accused me of using the ‘arsehole chord”. Could you explain what the arsehole chord is?” Asks Blake.
“There’s a way of resolving things in songs which always disappoints me,” Eno responds. “You know, you have a sort of set-up, and then you think, ‘Don’t go to that one, don’t go to that one.’ And it goes to that one and you think, ‘Oh, God.’”
“That was in my most popular song, Retrograde,” Blake says.
“So it starts with a G major chord which is the nice chord. The bottom G in the right hand, I moved up to an A flat, just to see what that does, and that made it a kind of diminished over a G bass. That was when your head cocked, like a dog listening to a high pitch, and you said ‘That’s the arsehole chord’.”

The two go on to joke about how the awkward moment “impacted” Blake, with the Retrograde producer claiming it cost him a fictional “20k” in therapy fees before Eno explains further his distaste for the chord.
“For songwriters,” Eno says, “I really think they often think, ‘Oh, it’s all majors. I better put in a minor’. Fucking why? You don’t have to put sugar in everything you cook. I used to say, ‘Ban all minor chords,’ just to annoy people – just to make them think differently about what they were doing.”
Check out James Blake’s new album, Playing Robots Into Heaven, via jamesblake.com.
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Arturia update PolyBrute firmware The latest PolyBrute firmware update brings with it a range of new features including additional effects, improved routing, new tuning and layering modes and more.

Stability AI launches new text-to-music AI sound generatorStability AI – the company behind image generator Stable Diffusion – has announced the launch of Stable Audio, a new AI-powered text-to-music audio generator.
The new tool is Stability AI’s first foray into music and can generate high-quality music clips and sound effects of up to 90 seconds in length. It can also respond to detailed instructions on genre, instrumentation, mood, BPM and more.

READ MORE: Waves launches AI-powered mastering tool, Waves Online Mastering

Stable Audio was trained on a dataset of over 800,000 audio files from the stock music library AudioSparx. Stability AI says the new platform is “ideal for musicians seeking to create samples to use in their music”.
The examples they gave in a blog post of what the generator can do showed, for example, that it is capable of generating a music sample to any given BPM, something which previous AI music generators created by the likes of Meta and Google have so far not yet been capable of doing.
Stable Audio also has the advantage of being able to create structured musical ideas, thanks to it being trained to account for “audio file duration and start time” in addition to musical attributes like genre and instrumentation. This circumvents an issue many AI generators have had, whereby they have created random sections of a song that start or end in the middle of a phrase.
Stable Audio will generate audio samples of up to 20 seconds for free, while a paid version costing $11.99 a month will let users generate up to 500 tracks a month, each lasting up to 90 seconds.
“As the only independent, open and multimodal generative AI company, we are thrilled to use our expertise to develop a product in support of music creators,” said Emad Mostaque, CEO of Stability AI. “Our hope is that Stable Audio will empower music enthusiasts and creative professionals to generate new content with the help of AI, and we look forward to the endless innovations it will inspire.”
The post Stability AI launches new text-to-music AI sound generator appeared first on MusicTech.

Rupert Neve Designs unveil Master Bus Transformer Rupert Neve Designs' latest all-in-one processor combines EQ, compression and stereo width sections with the latest iteration of the their acclaimed Silk circuitry.

Concord buys again as it swoops for Mojo Music & Media’s catalog of more than 30,000 songsThe catalog includes the works of the bands REO Speedwagon, KISS, and Cheap Trick
Source

InMusic protest Serato sale to Pioneer DJ in New Zealand newspaper advertInMusic has protested to the sale of Serato by Pioneer DJ in a New Zealand newspaper advertisement.

READ MORE: Waves launches AI-powered mastering tool, Waves Online Mastering

In a post to Reddit, a user has shared a page of Wellington-based newspaper, The Post, which shows an advert written by InMusic, protesting the sale of Kiwi-owned Serato by Pioneer DJ.
According to the ad, which was published yesterday (18 September), USA-based InMusic believes that the sale is going to “buy a monopoly and hurt the DJ community”.
“The move brings under the same umbrella Serato and Rekordbox DJ, which together account for a massive 90 percent of market share in the DJ software business,”, the advertisement quotes from an article published on MusicTech.
Image: Reddit – RuminatorNZ
The advertisement also explains that CEO of InMusic Jack O’Donnell has expressed fears over this purchase, as it means that Pioneer DJ will hold control of most of the “global market for DJ audio equipment”.
It seems as if the key concern is that if there’s no competitors for Pioneer, there will be no incentive for them to innovate and continue growing the market. There’s also concerns over the lack of diversity in the market, and the fear that smaller and independent manufacturers will disappear.
However, some of those in the comments of the Reddit post seem to disagree with InMusic’s stance, instead pointing to the fact that InMusic had the opportunity to purchase Serato, just like Pioneer.
“InMusic had a chance to purchase, they were in the running,” user djdescry writes. “However, they could not agree to the main term of sale: keep the company going as-is. Pioneer was the only company to agree to this term and this is why they were able to acquire.”
Pioneer DJ is yet to comment on the advertisement.
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Live music will drive ‘Funflation’ as consumer spending slows says BoA analysisThere’s good news for musicians and the live music sector in a new report from Bank of America analyst Jessica Reif Ehrlich. According to the analysis, funflation – the post-pandemic. Continue reading
The post Live music will drive ‘Funflation’ as consumer spending slows says BoA analysis appeared first on Hypebot.

Streaming’s problems will not be fixed by royalties alone [Mark Mulligan, MIDiA]After Universal and Deezer’s royalty proposal made headlines, Mark Mulligan of consultancy MIDiA explained that much more needs to be considered to fix the over-arching problems troubling music streaming. by. Continue reading
The post Streaming’s problems will not be fixed by royalties alone [Mark Mulligan, MIDiA] appeared first on Hypebot.

How to get more music gigs with cold emailingThe music industry is a competitive place, so sometimes you have to use ambitious strategies to be successful. Here’s a guide on how you can use cold emails to get. Continue reading
The post How to get more music gigs with cold emailing appeared first on Hypebot.

HDQTRZ online AI Audio Mastering services HDQTRZ AI Audio Mastering is a new online service launched by award-winning mastering engineer and Grammy judge Earle Holder.

RELEASE DETAILS
Release title:
Hagakure
Main artist name:
Sina Arpa
Release date:
20th Aug, 2019
https://publme.lnk.to/Hagakure
#newmusic #Release #Music #indepedent #artist #hiphop

RELEASE DETAILS
Release title:
Bavaram Kon
Main artist name:
Sina Arpa
Release date:
21st May, 2019
https://publme.lnk.to/BavaramKon
#newmusic #Release #Music #indepedent #artist #hiphop

IK Multimedia UNO Synth Pro X: the compact, analogue UNO Synth finds its perfect form at lastIK’s third UNO Synth is, as we discovered from its developers and fans in our interview, the version ‘that the synth community deserved from the start’. In fact, its announcement came as something of a surprise. The first version was affordable and beloved for its approachability, while the subsequent Pro model expanded as a desktop version with a virtual keyboard, alongside a larger model with a physical keyboard.

READ MORE: The Scarlett 4th Gen story: Focusrite’s journey from George Martin’s AIR to bedroom studios everywhere

There remained a feeling among some users, however, that much of the Pro’s power was being hidden behind a lacklustre physical interface. Users wanted to really get hands-on.
With product manager Enrico Dell’Aversana taking over, again in collaboration with Italian synth hardware specialists Soundmachines, the Pro X was redesigned and the user experience was made a priority. He even told us that the ‘X’ stands for ‘experience’. Alongside the physical revamp, the internals have been tweaked, too, though to a much lesser degree – it was already a powerful system, after all. The changes are significant enough, though, that patches from the Pro and the Pro X are incompatible with each other.
IK bills the synth as ultra-portable. That’s more than justified; weighing just 800g, it’s well-built but even more compact in reality than photos let on. Alongside the bundled power supply unit, the synth can also draw power from a USB-C device that provides at least 7.5W – pretty much all recent laptops or computers. The USB port also sends MIDI data back and forth and can be used with the companion software librarian and editor, which also works as a DAW plugin.
IK Multimedia Uno Synth Pro X filters. Image: Simon Vinall
Unfortunately, the USB connection can’t send audio out directly to your DAW. This would have been the icing on the cake for portability.
Despite its compact size, you get a wealth of I/O on the rear panel, starting with two full-size MIDI plugs for connecting to external gear as well as two CV/gate ins and outs for incorporating modular equipment into your system. There are two full-sized jack outputs for connecting to a mixer or interface, as well as a 3.5mm headphone output. There’s also an audio input that lets you send a mono signal into the synth, where you can apply the UNO’s filters and effects, or just pass it through for incorporation into the main output.
Moving to the front panel, you’ll see that there’s way more going on than in the older Pro. The bulk is taken up by the sound editing area, then to the right is the Global section. Along the base are the sequencer and arpeggiator. And in the top right is a small but serviceable screen, which provides visual feedback and combined with the animated backlighting, keeps you apprised of what’s going on.
The heart of the synth is its three-wave-morphing oscillator paraphonic sound engine and its dual filters. (A paraphonic synth is one in which multiple oscillators can be used to play different notes, but all the oscillators route through the same signal path – as opposed to a truly polyphonic synth where each oscillator has its own signal path). While its predecessor relies on menu-diving, the focus here has been placed firmly on putting control at your fingertips. There is still some sub-function stuff going on of course – there simply isn’t room to have one button for every single feature – and these are mostly accessed by using the shift button, with secondary functions generally indicated using text on the body.
IK Multimedia Uno Synth Pro X sound control knobs. Image: Simon Vinall
IK’s focus on the hands-on controls really makes the Pro feel more… well, pro. Being able to grab and change pretty much anything by sight rather than taking several steps lends it an air of greater seriousness. Plus, it’s also more fun and encourages your creativity.
The layout guides you from the oscillators through the fat filters – which sound amazing, incidentally; a button lets you switch between two and four poles and low-pass and high-pass options – and on to the envelope section. Here, the ADSR knob can be switched between tweaking the filter, amp and also a new Envelope 3 option that can be used in the modulation matrix.
The modulation matrix has also been redesigned, with three buttons: Source, Destination and Amount. Here you can choose from 16 slots and 38 sources and then, using the screen and dial or the sequencer buttons, assign a destination, including external gear via the CV in/outs.
There’s a decent selection of effects too, with 12 stereo effects in three slots plus an analogue drive effect with a dedicated knob on the front panel; this is ace for live tweaking and performance. The flanger and phaser have been ditched in favour of a new Uni-Vibe effect, boasting a slightly more psychedelic feel.
IK Multimedia Uno Synth Pro X rear panel. Image: Simon Vinall
Then there’s the sequencer, paraphonic with 64 steps, a 10-mode arpeggiator with pattern designer and even a Bassline mode that’s designed to give you the sequencing feel of a Roland TR-303.
One nice new touch is the ability to load both the patch and sequence when loading presets. You can also load either individually, should you be sending a sequence out to trigger external gear, for example. The sequencer also includes a new Random mode which many people will find useful for generating a bit of low-effort inspiration. MusicRadar noted the general usefulness of the pre-created sequences that ship with the synth, and we’d concur, offering a strong launchpad for new ideas.
Sonically, the Pro X still sounds rich – as mentioned, the sound engine hasn’t changed radically, as Gearnews noted in their review. So it’s still capable of everything from warm and lush pads to huge basses, vicious filter sweeps, pulsating leads and much more. Everything routed through the fat filters and the dirty drive section sounds awesome, especially when you throw in some of the other excellent onboard effects.

The main point, though, is that you’re just much more likely to feel creative with this model because of the immediacy with which you’re able to create and change things. The software editor still works perfectly fine and is a bonus, but most users will find it less essential for accessing the whole sound engine, thanks to the new physical layout of the synth.
The UNO Synth Pro X isn’t necessarily an instrument for beginners. But, as its developers told us, it’s a machine that you can grow with. Less experienced users might need to invest some time in synthesis basics – at least if they want to take control of what they’re doing – but the rewards are huge.
For the price, the Pro X is an impressively powerful and cool-sounding synth that perfects the UNO Synth as a product, unlocking the potential of its versatile sound engine. If this is where IK and Soundmachines’ collaborations have led, we can’t wait to see where they go next.
Key features

3 wave-morphing oscillators
3 super-fast envelopes with loop and retrigger options
Dual-filter design, OTA and SSI-chip based
12 studio-quality effects in 3 slots + analogue drive
Paraphonic, 64-step sequencer, 10-mode arpeggiator
New bassline mode; audio input to effects
16-slot modulation matrix
USB / MIDI / CV / gate in/out
Software editor / librarian
USB or PSU power (supplied)

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Miroslav Philharmonik 2 CE Is FREE Until September 30th
IK Multimedia is back at it again with another giveaway. To commemorate Classical Music Month, you can get Miroslav Philharmonik 2 CE ($149.99 value) in exchange for a subscription to the IK Multimedia newsletter. So, what is Miroslav Philharmonik 2 CE? This particular piece of software is a smaller cutdown version of the full Miroslav [...]
View post: Miroslav Philharmonik 2 CE Is FREE Until September 30th