Universal just launched a fan platform in Germany that sounds a lot like its own version of Weverse. Here’s what’s in it…Universal Music Germany has launched YOUniverse, a 'virtual and interactive fan platform…where fans can meet and interact, and in future even meet their idols'.
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Touring in the US “not viable”, say The Chemical BrothersIconic British dance duo The Chemical Brothers have highlighted the rising costs of touring, bleakly admitting that taking their stage show to the US is “not viable”.

READ MORE: The Chemical Brothers and Beck join forces for new single Skipping Like a Stone

The Galvanize creators make the comments during a recent interview with Billboard in which they discuss their new album, For That Beautiful Feeling, how the Covid-19 pandemic affected its creation, and what keeps them inspired after 34 years.
“The costs have gone up so much,” band member Ed Simons says. “It’s just not really viable at the moment… I’m apologetic to the people who do want to see us that it is increasingly difficult for us to get to America, because we have had the times of our lives playing there.”
The pair go on to say that while there was “a debate that raged over Zoom,” sadly neither the duo nor their team could come to an agreement to tour the US in the way that the pair would have wanted – that is, with the live gear rig, large LED screens and animations that have become a mainstay of their live shows.

Speaking about their massive stage production, The Chemical brothers go on to tell Billboard why they made the decision to include all the theatrics.
“[The production] originally came from the fact that we didn’t want to inflict [audiences with] just the two of us awkwardly standing with the synthesisers,” says Simons, “so we wanted a big back job, but it’s just grown and grown, and now we’ve got these 40-foot clowns voicing the words.”
Buy For That Beautiful Feeling now via The Chemical Brothers’ website.
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“There’s going to be people who will make music in ways they weren’t previously able to”: James Blake on AIProducer and singer James Blake has commented on the benefits of AI technology in music production, predicting more accessibility for everyone as a result of it.

READ MORE: “Elevator music or commercial music is where you’ll see people out of jobs”: Bombay Bicycle Club’s lead guitarist on AI

Discussed during the latest episode of The Zane Lowe Show on Apple Podcasts, Blake also talks about Grimes’ democratising use of AI and his own stance on the controversial topic.
“AI is going to open up a lot of possibilities for composition.” He says. “I think there’s a lot of exciting things going on with it.
“For example, there’s this one guy who created a synth called Synplant – you can put in any sample and then the synth will recreate that sound on a synth, magically – it just does it. You don’t have to do anything. It’s like, you can just imagine a thing and it just… can be there.
“If you wanted to do that now, you’ve got to sit at a synth, know how to use it, figure it out. There’s going to be a lot of people who [will] make music, who weren’t previously able to in the ways that they want to. It’s really interesting.”

Blake and Lowe go on to discuss singer, producer and DJ Grimes as an example of an artist who embraces AI technology to democratise music creation, even if it means putting her name on art made by others. They refer to Elf.tech, Grimes’ AI platform that allows you to create and distribute your own music using her voice.
“She has democratised herself, right?” Says Blake. “Which is an interesting and new way of thinking about it.”
On whether it’s fair for the artist, he says: “It’s about making sure that the artists are remunerated. I just want to take part in making sure that it doesn’t end up creating music in people’s likenesses that are sold without them having shares in it.”
James Blake’s new album, Playing Robots Into Heaven, is out on 22 September. Pre-order it at his official website.
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“This project felt like being a beginner producer again. Suddenly everything is possible”: KOAN Sound on recording cello and piano on their new albumKOAN Sound has revealed why they chose to focus on cello and piano on their newest album, Led By Ancient Light.

READ MORE: What to expect from Apple Event: iPhone 15, USB-C connectivity & more

In an interview with MusicTech, the electronic duo explain why they used the two instruments for their newest project, which acts as a soundtrack to their 9,000 word story, written to accompany the album.
“We chose those instruments partly because they’re so versatile. We associate them on one hand with emotiveness and vulnerability,” says one half of the duo Jim Bastow.
“On the other hand, they could be transformed into these much more aggressive and foreboding elements. That was really fun for us to explore all the different types of energies that we could create through processing them in different ways,”
However, as both Bastow and Will Weeks explain, a lot of this fun comes from the experimental ways to record, and therefore transform the instrument.

“Being literally close to the instruments that we were recording you get these incredibly detailed and up close takes,” explains Will Weeks. “It makes you want to let them breathe and let them exist by themselves.”
During the recording process, Will Weeks discovered that the cello produces waveforms like a sawtooth wave when it plays low notes. He would then tune the cello down as low as possible and process those ‘saw waves’. He also used mallets and beaters to tap the wooden body of the cello, before transforming them into new forms on his DAW.
For the piano, Bastow borrowed a recording technique from Nils Frahm. This involved covering the strings of the piano with felt and placing the microphones extremely close to grab the mechanical sounds of the hammers and other internal components of the piano, which they then processed into oblivion.
“One of the most exciting things about this project is that it felt like being a beginner producer again. We tried so many new things; literally everything about the process was new,” continues Weeks. “It’s very freeing to reset to everything being new. Suddenly everything is possible.”
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Believe, TuneCore decry UMG, Deezer ‘reverse Robin Hood’ artist payoutsGlobal digital music company Believe has taken aim at plans by Deezer and UMG to change how streaming payments are calculated to what they call a “value sharing artist-centric” model.. Continue reading
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Blackstar launch HT Venue MK III Series The Venue MK III Series retains the versatile dual-channel design that made the range popular, but introduces built-in cabinet simulation and some technical improvments. 

No, you can’t make $1200 monthly playing a song on repeat, says Spotify CEOA new analysis by JP Morgan showed that an artist could earn $1,200 a month in royalties if they upload a 30-second or longer track and then play it on. Continue reading
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Native Instruments releases Kontrol S-Series MK3 MIDI controller keyboards, described as the “ultimate studio centrepiece” Native Instruments has today (12 September) launched its new Kontrol S-Series MK3 MIDI controller keyboards – the S49, S61, and S88.
The keyboards are said to offer “seamless hardware and software integration, unique expressive control”, and have an industrial design.

READ MORE: Ozone 11, Nectar 4 and Guitar Rig 7 Pro are unleashed in Native Instruments’ Music Production Suite 6

The S-Series MK3 models connect “intuitively” to instruments, effects, and DAWs, and each has a high-res, glass screen. They are available in three size options – 49 semi-weighted keys, 61 semi-weighted keys, or 88 fully weighted hammer-action keys – and even have light guides that illuminate switches, key zones, scales, and more.
A new polyphonic aftertouch functionality allows users to control cutoff, pitch, vibrato, and more without an extra encoder or dial. The keybeds on each model have been developed in collaboration with Italian manufacturer, Fatar, which was founded back in 1956.
The Kontrol S-Series controllers also come with a range of software included. These are:

Komplete 14 Select – an “essential” production suite, including synths, drums, percussion, effects, and an array of customizable sounds
Komplete Kontrol – this software organises instruments, effects, loops, and samples, mapping everything to the keyboard controller
Other bonus software includes – Stradivari Cello, Hypha, Guitar Rig LE, iZotope Elements Suite, and Ableton Live Lite

Each model also has USB and bus-powered USBC connectivity, plus inputs for a sustain pedal, an expression pedal, and two assignable pedals as well. Currently, pricing for the Kontrol S49 MK3 is listed at £649,00, with the S61 at £749,00, and the S88 at £1129,00.
Last month (August) the brand also launched the third edition of its Traktor X1 DJ controller, with an improved layout for better usability, enhanced effects control, playback manipulation, looping, adjusted mixer mapping, and more.
Pre-orders start today for the S-Series MK3 range, with full availability online and in-stores coming in October (when the pre-orders will also ship).
Find out more at Native Instruments.
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How to prepare your music portfolio: 8 tips for what to include
A music portfolio is an invaluable resource for applying to music-focused programs, networking, and more—here are eight tips for how to prepare yours.

What Photography has taught me about musicAndrew Tasselmyer explains how his new found passion for photography taught him how to change his mindset about making music and overall improving his creative process. by ANDREW TASSELMYER of. Continue reading
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Tongue and cheek: the Rolling Stones and the unpalatable ascendancy of fauxganic marketingThe following op-ed comes from long-time music industry journalist Eamonn Forde
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AI deepfake of Drake and The Weeknd not eligible for Grammy as vocals not legally obtainedHeart On My Sleeve, which uses AI-generated deep fake vocals by Drake and The Weeknd will no longer be eligible for a Grammy, as the vocals were not legally obtained.

READ MORE: “Load up a plugin you don’t know what the f**k it does – just try s**t”: Steven Wilson advises producers to experiment with new plugins

In a post to Instagram, Harvey Mason Jr., the CEO of the Recording Academy explains that the AI-generated track had been taken out of the running after it was declared that the vocals had not been legally obtained.
“Let me be extra, extra clear, even though it was written by a human creator, the vocals were not legally obtained, the vocals were not cleared by the label or the artists and the song is not commercially available and because of that, it’s not eligible,” Mason reveals.
He adds, “I take this stuff very seriously. It’s all complicated, and it’s moving, really, really quickly. I’m sure things are going to continue to have to evolve and change. But please, please, do not be confused. The Academy is here to support and advocate and protect and represent human artists, and human creators period.”

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Last week it was reported that the AI-generated track was submitted for consideration by The Grammy Awards for two categories: Best Rap Song and Song Of The Year.
The song was created by anonymous producer Ghostwriter. It reached an impressive 13 million views on TikTok when it began circulating earlier this year, and was eventually banned by Universal Music Group.
Back in June The Recording Academy announced that it would consider songs created by AI for a Grammy.
Mason then took to Grammy.com to explain what that means: “At this point, we are going to allow AI music and content to be submitted, but the Grammys will only be allowed to go to human creators who have contributed creatively in the appropriate categories.”
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“I owe more to Intellijel, who made the Metropolis sequencer, than I do to Stevie Wonder on this album”: James Blake on Playing Robots Into HeavenProducer-songwriter James Blake recently revealed just how instrumental the Intellijel Metropolis sequencer was in the making of his new album Playing Robots Into Heaven.

READ MORE: Take your low end to new heights with Mixland’s new Subloom drum mixing plugin

Discussing the record’s inspiration in a chat with Apple Music’s Zane Lowe, Blake said that it all began with him “fucking around with sounds and having fun”.
“I just had this increasingly large folder of modular jams that I’d been making,” explains the producer, who called modular “an amazing outlet for addiction or ADHD”.
“I had like 120 modular jams and they were all like an hour long, and I was just going through them,” he recalls. “I was just doing it for fun and eventually I started turning them into pieces of music that were listenable because you know a lot of that stuff, it can be a bit… some of it’s atonal, some of it’s not necessarily in song format. It’s just like long periods of synth exploration, shall we say.”
Blake says that despite his tendency to overthink, “a lot of the music on this record happened quite quickly and it’s not really that overwrought.”
“Every skill that was required to make this record was already there.”
The musician credits the help of one creative tool in particular, saying, “I owe more to Intellijel, who made the Metropolis sequencer, than I do to Stevie Wonder on this album. The machines definitely spoke for me in a lot of this.”
Also in the interview, Blake says while there’s been a lot of talk about AI recently, “generative music’s been around a long time.”
“AI’s going to open up a lot of possibilities for composition,” he adds. “I think there’s a lot of very exciting things going on with it. For example, there’s this one guy who creates a synth called Synplant, which is this thing where you can put in any sample – say it’s the sound of me going ‘derr’ – and then the synth would recreate that sound on a synth, magically. It just does it — you don’t have to do anything. You can imagine a thing and it just can be there.”
“So there’s going to be a lot of people who can make music who weren’t previously able to in the ways that they want to. I think it’s really interesting.”

The post “I owe more to Intellijel, who made the Metropolis sequencer, than I do to Stevie Wonder on this album”: James Blake on Playing Robots Into Heaven appeared first on MusicTech.

What to expect from Apple Event: iPhone 15, USB-C connectivity & moreYou may still be reeling after Apple’s action-packed WWDC 2023 event in June. Well, the tech giant is now set to unleash yet more juicy product news as part of its iPhone 15 announcement at 10 am PDT/1 pm EDT/6 pm BST.

READ MORE: It’s official: Language app Duolingo to launch music course

New iPhone connectivity could streamline portable music production processes, and there could be potential updates on the Apple Watch, AirPods Pro and other products such as the iPad.
The event, named ‘Wonderlust’ by Apple, will be streamed via YouTube. Tune in below:

MusicTech will be identifying the new features that could help music producers during the event. Until then, here are the key announcements the tech world is expecting:
iPhone 15 & AirPods: Direct USB-C connectivity
The biggest and most relevant expected new feature for music producers on the new iPhone 15 will be the introduction of a USB-C instead of a Lightning connector.
All new iPhone models are expected to be fitted with USB-C, which means you’ll be able to hook your MIDI instruments or audio interface directly to any iPhone 15 model without having to go through a lightning-to-MIDI cable or a USB-to-lightning adapter.
The iPhone 15 Pro and Pro Max are also expected to feature USB 3.2 or Thunderbolt 3 for faster data transfer and 35W charging rates. The Pro models may have a titanium frame, thinner bezels, and a faster A17 chip.
If iPhone 15 is to adopt a new USB-C port, then the same change is to be implemented on Apple’s AirPods wireless headphones. They’ll have a USB-C port for charging. Does that mean AirPods users now have to buy a new charger? Most likely. Is that a good thing? No comment.
Potential software updates for the AirPods Pro could also be announced, including features like Adaptive Audio, Conversation Awareness, and better automatic device switching, which were added at WWDC 2023.
What about Vision Pro?
One of the biggest revelations of Apple’s Worldwide Developers Conference in June was Vision Pro, an augmented reality headset, and we’re excited to see if any useful additions will be made to the high-end, sci-fi-esque product.
In our analysis of the $6,999 Vision Pro, we set about seeing what the new technology means exactly for music makers.
DJ apps like Tribe XR could make it easy for users to learn how to DJ without the needs for physical equipment. Who knows, perhaps Vision Pro will provide a platform for virtual reality DAWs that make for a more hands-on music production experience. We’ve witnessed that already with Korg’s Gadget VR, a virtual reality music studio.
Keep an eye on musictech.com for updates on new Apple products as they come in.
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Accentize release dxRevive Not only can dxRevive remove noise from dialogue recordings, it is also capable of restoring lost clarity and tone.