Roland Announces the SP-404MKII Stones Throw Limited EditionRoland has announced the SP-404MKII Stones Throw Limited Edition, an exclusive version of the portable sampler. Co-curated with Stones Throw Records, this unique SP model collaboration is more than just a tool—it’s a work of art. Featuring a high-shine aluminum faceplate with custom artwork, new sound banks crafted by the label’s roster, and a collector’s package with a seven-inch vinyl record and mixtape, the SP-404MKII Stones Throw Limited Edition celebrates the creative spirit of independent music artists everywhere.

Founded by producer and DJ Peanut Butter Wolf in 1996, Stones Throw Records has built an indie music empire by supporting diverse, cutting-edge artists and spreading the word through vinyl, merch, and events. Touchstone releases include albums by Madvillain, J Dilla, Madlib, NxWorries, Knxwledge, Sudan Archives, Mayer Hawthorne, Dâm-Funk, and Aloe Blacc, all widely considered modern musical masterpieces.

Stones Throw and its artists helped create the blueprint for contemporary independent music culture, and the label’s massive influence was spotlighted in the 2014 feature-length documentary Our Vinyl Weighs a Ton. Roland SP instruments have been key creative catalysts for the label's roster and fans, who continue to unlock new musical frontiers using the portable samplers’ fluid workflow and go-everywhere design.

To learn more, visit Roland.com.

SR Studio’s 1073-style preamp achieves a classic analogue sound at an extremely attractive price$599, monoprice.com
Neve’s 1073 preamp is a studio icon. But, today, just one module can set you back thousands of dollars. Thankfully, there are plenty of brands, just like Monoprice, who are offering a more affordable alternative.
Monoprice’s Stage Right range is a dual-channel microphone and line preamp based upon the classic Neve 1073 module. The original preamps first appeared in 1970, with 28 of them built into Neve’s A88 console, which became revered for its full-bodied, expansive ‘British’ sound.

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The design has been copied many times and we’ve reviewed several of them over the years – such as the diminutive Golden Age Project PRE-73 Jr and Warm Audio’s WA273-EQ, which emulates the design complete with the original console’s EQ section. Neve still offers a range of 1073 products, which feature its exclusive Marinair transformers, not found in any clones.
Though not an exact replica of Neve’s classic units, the SR Studio Stage Right’s front panel is neatly laid out in a conventional manner, without mimicking the quirky nature of the genuine 1073 design. The original (and currently available) Neve units employ an input gain control that allows access to either mic or line levels along various points of the dial. SR Studio’s unit, however, uses a nicely indented, blue colour-coded pot to adjust gain along with a toggle switch to select mic or line operation. It’s a far more intuitive approach and one we welcome as a nod to modernity, rather than slavishly copying the historic design. This pot also controls the input level for the DI (direct input), unbalanced quarter-inch jack socket.
Mic gain range is 20 to 80 dB; more than enough for even the most insensitive, power-hungry microphones, while gain is reduced by 30 dB for line mode. The adjacent, red output control adjusts the level of the output to your recording interface or the next unit in your signal chain to prevent overloading. It’s worthwhile experimenting with the input and output controls, as dialling-in more gain while easing back the output will add more preamp colour to your signal. Driving the gain harder into the input transformer enables the creation of some warmly saturated tones for added grit and edge. Looking inside the unit reveals a neat layout, however the transformers are unbranded. A quick query as to their provenance provides us with the information that they are based upon a Carnhill design.
Besides the switch for mic/line operation, there are push-button switches for phase (polarity invert), 48v phantom power, DI and Low-Z. Low-Z sets the impedance level of the mic/line and DI, with 300 or 1200 Ohms selectable in mic mode. This can be used to select the best impedance match for any given microphone or to simply alter the tonal character for effect; after all, you won’t damage your mics by selecting the ‘wrong’ impedance.
Each channel has a four-step LED output meter, with three green LEDs and a fourth red one labelled ‘clip’. Don’t be alarmed by the clip LED, as in normal operation it should illuminate occasionally on the highest peaks. Only reduce level to prevent clipping if the red LED illuminates too frequently.
Monoprice SR Studio 2-Channel 1073-style Microphone Preamp
On the rear panel each channel has a mic/line input via a combination ¼-inch TRS/XLR socket, which accepts balanced signals from microphones and line-level sources. Balanced output is available from either an XLR connector or the ¼-inch TRS jack; alternatively, the jack outputs an unbalanced signal when using a ¼-inch TS cable. An insert socket is included to facilitate an external outboard device such as an equaliser or compressor. Also on the rear panel is a barrel connector for the supplied 24v AC power supply.
Right from the get-go, it’s clear that Monoprice/SR Studio has successfully achieved its goal of creating a preamp with the classic characteristics of the original 1073. Recording acoustic guitar with an AKG C414 B-ULS shows off this character, which is, as the company says, warm, punchy, sweet and musical. It’s a sound that flatters most audio sources, working particularly well with rock and pop recordings of all types. It’s not the most neutral or transparent of preamps though — the original 1073 never was – yet it imparts a huge, larger-than-life sound that adds power to drum kits, for example.
Bass instruments are well served by the preamp’s firm and muscular low-end response, with none of the weak-kneed flub we remember from the budget, semi-pro consoles prevalent in the pre-digital age.
Be aware though, that unlike the vast majority of preamps available today, this design does not incorporate a high-pass filter. But then neither does Neve’s own, currently available 1073 dedicated mic pre. This lack of filtering needn’t be too much of a problem though, especially if you have a mic with an on-board high pass and, in any case, undesirable subsonic rumble can be subsequently filtered out within your DAW.
Also in keeping with the well-loved sonic signature of the 1073 is the top end response, which is smooth and sweet, coating the treble region with a glossy sheen. It’s not the last word in super-top extension though, as more modern, transparent preamp designs might offer an extra degree of air and sparkle.
Where most ultra-clean mic-preamps can’t compete with this one however, is in the midrange, which is richly detailed with a velvet-like texture; there’s no brittle grain or hardness here. This lends a distinct sense of realism and vibrancy to vocals for example, with none of the indistinct and tonally grey sound of lesser preamps.
As the mid band is so expressive and impactful, it lends itself to a touch of high end boost on certain sources; think of the 16kHz top boost from a classic Pultec-like equaliser to add a sense of air to pristine vocals, for example.
To make pristine, clean sounds more exciting, it’s worth experimenting with the relationship between the input and output controls. Increasing the input gain to work the transformer hard provides colour, with added harmonics, while really driving the output produces rich saturation for that authentic analogue vintage vibe. Try this out with a bass guitar plugged into the DI socket to hear this effect. And if you have an outboard compressor to hand, use the insert function to create a great ready-to-record bass guitar tone.
Monoprice is onto a winner with the well-built and budget-friendly SR Studio mic preamp. It has heaps of vintage analogue character and a real rock ‘n’ roll heart.
Key features

20 – 80dB gain
Switchable 300/1200 Ohm impedance
Switchable phantom power and absolute phase
DI input for instruments
4-step LED output meter
Insert jack for outboard equipment
20Hz – 20kHz frequency response (+/- 5dB)

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TikTok Music just launched publicly in Australia, Singapore and Mexico… without Universal Music’s catalogUniversal's recorded music catalog remains available on TikTok Music in Brazil and Indonesia
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Analyst that double-downgraded Universal Music Group over AI, streaming concerns earlier this year just upgraded firm’s stockWilliam Packer at BNP Paribas Exane has been impressed by UMG's Deezer deal and its work with AI companies
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Waves Kramer HLS Channel Is FREE Until October 21st!
Waves Audio and Gearspace offer the Kramer HLS Channel ($29.99 value) plugin as a FREE download for a limited time. Kramer HLS Channel is a virtual console channel strip plugin with a built-in equalizer and preamp saturation. It emulates the Helios analog mixing console located at Olympic Studios in London. The equalizer has a simple [...]
View post: Waves Kramer HLS Channel Is FREE Until October 21st!

Amazon Music for Artists revamps site, adds Case Study & How-To VideosAmazon Music for Artists continues its string of improvements with a new website design, instructional videos, and the first in a series of “For The Record” artist case studies. Conexión. Continue reading
The post Amazon Music for Artists revamps site, adds Case Study & How-To Videos appeared first on Hypebot.

Roland SP-404MKII Stones Throw Limited Edition features Jeff Jank design and new soundsRoland and LA-based hip-hop record label Stones Throw Records have teamed up to launch the SP-404MKII Stones Throw Limited Edition, an exclusive take on the popular portable sampler with a new look and new sounds.

READ MORE: How the Roland SP-404 inspired a new generation of producers and beatmakers

This version of the SP-404 MKII is covered in the Stones Throw logo with a custom aluminium faceplate, giving the unit a distinct, sturdy look. It was the work of Jeff Jank, an artist known for his work with the label, having created album artwork for Madlib & MF DOOM’s Madvillainy, Quasimoto – The Unseen and J Dilla’s 2006 album, Donuts.
Roland
The SP-404MKII Stones Throw Limited Edition, as well as looking cool, includes ten new sound collections from Stones Throw artists like Kiefer, Sudan Archives, and Mndsgn.
When you purchase the new limited edition sampler, you also relieve a seven-inch vinyl record featuring two tracks by Kiefer and Mndsgn, created using their own SP sound banks. There’s a cassette mixtape by the renowned turntablist J.Rocc, featuring an exclusive 30-minute remix of music from the SP-404MKII x Stones Throw artists, making it a one-of-a-kind addition for collectors.

 
The SP-404MKII was launched in 2021. It has a bright and detailed OLED display, 17 velocity-sensitive RGB pads with a pattern sequencer, a vast range of effects, USB-C and MIDI connectivity and a DJ Mode.
Shortly after its release in 2021, MusicTech was able to get its hands on an SP-404MKII. In our review, we commented on the new additions to the sampler, which was originally launched in 2005, writing: “Additional bells and whistles can be frustrating when fundamental functions become needlessly complicated or fall short of the mark, but with those things so well taken care of with the MKII, there’s very little to complain about here. Roland has brought its A-game to the SP-404MKII and re-established itself as an undisputed leader in the world of hardware sampling.”
To get your hands on the SP-404MKII Stones Throw Limited Edition, head to Roland.
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Streaming service Marine Snow moves to artist equity membership modelStreaming service Marine Snow is set to launch a new artist equity membership model which will pay artists both cash and equity.

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The move is hoped to level up how artists are treated by streaming services, ensuring they get paid more as the streaming service continues to grow.
Marine Snow is a streaming service founded by ex-Spotify music strategy and operations employee Tony Lashley. The organisation hit the headlines a year ago after announcing that it will pay artists equal to 500,00 Spotify streams upfront, with Lashley stating that “a song’s value should not be based on the number of plays it gets”.
The platform itself works on the basis of having sole streaming rights on a song for 90 days. This allows Marine Snow to pay artists more than other streaming services that pay artists depending on the number of streams.
In a new announcement, Lashley is taking this one step further, which is to pioneer a new model of subscription-as-investment – where all members pay a subscription, and if they choose to pay more, they’ll have more ownership of the platform. This in turn means that they have more to gain financially as the platform grows.
That ownership also allows them say in the curatorial governance of new songs acquired for the platform. Marine Snow state that this will empower the artists to help find “important music” for the platform.
“If you are a startup or tech in employee in 2023, you get paid a guaranteed cash amount with a bonus of equity in what you’re building. Why should music streaming be any different?” says Lashley in a statement.
“The major labels received ownership in Spotify early in its history, and never distributed the massive gains from the sale of this ownership to artists after Spotify’s IPO,” he continues. “We think it’s more sustainable to give the artists we work with ownership directly rather than a corporate intermediary”.
The new model is hoped to debut in the new year.
For more information, you can visit Marine Snow.
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Harrison launch 32Classic console Harrison's new 32Classic console delivers the sound of their iconic early designs and introduces some powerful modern functionality.

Harrison launch 32 Classic console Harrison's new 32 Classic console delivers the sound of their iconic early designs and introduces some powerful modern functionality.

“Don’t just showcase what you can do” in sessions, advises Post Malone producer, Carter LangPost Malone, SZA and Omar Apollo producer Carter Lang has shared his advice for collaborative producers, saying they should give artists “space” to “experiment and have fun”.

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The advice comes from a recent interview with MusicTech in which the producer and musician, who’s been nominated for five Grammy awards and produced SZA’s last two albums, shows off his vintage gear collection, tells readers how he uses it and discusses collaborating.
At one point, when talking about making music with some of these major artists such as Rihanna and Chance The Rapper. He says that it’s important to avoid making the session all about the producer and create room for the artist to take the limelight.
“For me,” he says, “it’s about making the experience comfortable and memorable for the artist. It’s not about showcasing what I can do but creating a fun and enjoyable atmosphere.
“I like to sit down with others and write together rather than having everything pre-prepared. It’s essential to let people experiment and have fun. You also need to know when to stop without being dismissive. It’s about giving space to let creativity flow naturally.”
Lang made the track Sunflower with Post Malone. The track, which you can listen to below, now has nearly three billion streams on Spotify.

 
He goes on to say that he feels privileged to be working with many of these artists. The collaboration doesn’t simply end at the close of a studio session, he says, and it can change either party’s perspectives on music making. It’s important to embrace the impact a collaboration can have on someone’s artistic outlook, Lang points out.
“It’s a privilege. Sometimes, you know, when you’re in a situation like that, you’re going to look back on it, and things are never going to be the same,” Carter tells MusicTech. “We have the opportunity to keep those things going with our friends, you know, with SZA, with Omar, with Post. These are things that are not one-and-done. We’re changing. We’re growing, and we’re allowing new relationships and new opportunities to come into our lives. And we deserve that for each other. That’s why we do it, you know?”
Read the full feature via MusicTech.
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How the Smartphones changed music and the music industry [Kyle Bylin]Kyle Bylin explores how the smartphone and the apps that followed have reshaped and continue to reshape music and the music industry. by Kyle Bylin SEVERAL WEEKS AGO, I found a. Continue reading
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