Nvidia reports record sales as the AI boom continuesNvidia's revenue hit $46.7 billion in the second quarter, a 56% increase compared to the same period last year.

Bitwig Studio 6 first impressions: It’s been a long wait, but it’s been worth itAs somebody who cut their teeth on Cubase, Pro Tools, and other conventional DAWs, what struck me most the first time I used Bitwig Studio – and still does every time – is how much it feels like an elaborate instrument in its own right. Any sense of working in an emulation of a traditional studio takes a backseat in favour of a much more integrated and fluid creative environment.
But version 5 was released over two years ago, ample time for things to start feeling a bit same-y, and for minor irritations to become more irksome as one continually bounces up against them. Thankfully, the wait is now over and the all-new Bitwig Studio 6 has landed, replete with some very cool new tools and across-the-board streamlining – let’s see what’s new.
Interface updates in Bitwig 6
To start with, there are some obligatory user interface tweaks. Bitwig’s attractive colour scheme of muted dark grey screen furniture with vibrantly coloured controls and objects remains, but the Arrange window background is now also a dark grey (which looks nicer), and grid lines are now shown on top of clips. Also, the info readout panel has been centralised on the program window title bar, which makes more sense than having it pushed to the left as it was previously.
There are loads of other little visual tweaks, but my favourite is the addition of an ever-present palette for selecting the various cursor tools – pointer, time selection, pencil, etc. This is much better than having to rely on context-sensitive right-click menus (although memorising keyboard shortcuts has always been an option). Furthermore, there are two new cursor tools to play with: Spray Can and Audition.
Image: Bitwig
The Spray Can tool’s main function is to create rows of notes at the current beat interval when working within the Edit view; it can also be used to quickly create new looping regions on note and audio tracks, and for drawing held automation points (see below) on automation lanes.
The Audition tool is even more useful. Clicking with it on any clip solos that clip and plays it back from the clicked point, which is far more immediate than having to first solo a track in order to hear it in isolation.
Automation improvements
Bitwig’s system of assignable modulators is one of the slickest in any DAW, but its track and clip automation tools have tended to leave a bit more to be desired. Recognising this, Bitwig have poured a lot of attention into this area in Bitwig Studio 6.
The segments between automation points can now be curved rather than be just straight lines. This means that drawing automation with the pencil tool results in a more accurate representation of the shape you drew using fewer points, resulting in automation data that’s much easier to work with. Moreover, bringing the mouse pointer close to a segment now highlights that segment so that it can be dragged up and down as a whole (better than editing individual points), or have its curvature adjusted.
Something new here that I really like is that it’s now possible to move the position of automation points without being blocked by other points. That is, if you drag an automation point past another point, then that point is removed, where previously it would have acted as a barrier preventing you from dragging beyond it. It’s a small thing, but very handy!

Automation points have also gained Spread and Hold parameters. The former introduces a randomisation within a specified Spread percentage range, whilst the latter causes a point’s value to be held until the next automation point is reached (these are what can be painted on automation lanes using the new Spray Can tool).
Without a doubt, the most exciting new automation feature is Automation Clips. These allow automation data to be worked with in exactly the same way as Note and Audio clips, and to exist independently of any related Note or Audio clip, whether used in the Clip Launcher or Arranger timeline. Automation Clips can be moved to different lanes and tracks, can be saved to the library for later re-use, and can even be dragged to devices in place of standard MSEG (Multi Stage Envelope Generator) curves. Very nice!
Clip Aliases
Back in the dim and distant past, before the days of the all-in-one DAW, MIDI sequencing software often had the ability to duplicate a part/clip as an alias rather than as an entirely new and independent part/clip. This was done as a means of saving on memory usage back when 4MB was considered a large amount of system RAM, but was phased out once we all started working on computers packed with gigabytes of memory.
Aliases were, however, exceptionally useful compositional tools irrespective of memory saving, because any changes made to a part/clip would also apply to any aliases of that part/clip. So I’m stoked to see Bitwig adding Clip Aliases to Bitwig Studio 6!

Any Audio, Note or Automation clip can have aliases created from it, and these aliases can be used in the regular Arranger timeline or in the Clip Launcher. And if you want to make changes to a specific instance of a Clip Alias, then it’s dead easy to convert it back into a standard unique clip.
The method of creating Clip Aliases is a little lumpy and feels like it still needs some streamlining, but it’s a welcome addition nonetheless.
…And there’s more
Given Bitwig’s focus on contemporary music styles, it is perhaps surprising that its Note Clips and tracks don’t offer a step input mode. Not so Bitwig 6, so you can now happily create crazy basslines and arpeggios without having to develop virtuoso keyboard skills. The feature is still somewhat basic, only allowing the creation of new notes and being unable to re-pitch existing notes, but it’s /step/ in the right direction (sorry – couldn’t resist the obvious pun).
The last big new feature I want to highlight is that projects can now have a global key signature assigned to them. This is picked up by any devices that generate or work with notes, such as Arpeggiator or the new Key Filter+ device. And whilst the key signature is project-wide, it can be changed using automation and/or modulators if needed.
More helpfully, the project-wide key signature can be used in the Note editor, highlighting the note lanes that match the current key and marking any notes that are outside of that key. A Snap to Key feature ensures that any notes entered with the Pencil or Spray Can tools are forced to the nearest in-key note, although, sadly, the new Step Input feature doesn’t interact with the project’s key signature, and changing the project key doesn’t automatically re-pitch your Note Clips. There is however, a Quantise To Key command that will re-pitch any out-of-key notes.
We’ll be digging deeper into all of these new features and putting them to the test in some real-world scenarios for our upcoming full review of Bitwig Studio 6. For now, though, it’s clear that Bitwig has delivered a raft of significant and well-judged upgrades to its eponymous DAW. It’s been a long wait, but based on what I’ve seen so far, it’s been worth it!
Our full review of Bitwig Studio 6 will come soon. Read more music tech news. 
The post Bitwig Studio 6 first impressions: It’s been a long wait, but it’s been worth it appeared first on MusicTech.

A New Screen Upgrade for the GBAThe Game Boy Advance (GBA) was released in 2001 to breathe some new life into the handheld market, and it did it with remarkable success. Unfortunately, the original models had a glaring problem: their unlit LCD screens could be very difficult to see. For that reason, console modders who work on these systems tend to improve the screen first like this project which brings a few other upgrades as well.
The fully open-source modification is called the Open AGB Display and brings an IPS display to the classic console. The new screen has 480×480 resolution which is slightly larger than the original resolution but handles upscaling with no noticeable artifacts and even supports adding some back in like scanlines and pixelation to keep the early 00s aesthetic. The build does require permanently modifying the case though, but for the original GBA we don’t see much downside. [Tobi] also goes through a ton of detail on how the mod works as well, for those who want to take a deep dive into the background theory.
There has been a lot of activity in the Game Boy Advance communities lately though as the hardware and software become more understood. If you don’t want to modify original hardware, want an upgraded experience, but still want to use the original game cartridges we might recommend something like the Game Bub instead.

Dave Matthews at the KIA Forum, Los Angeles, CADave Matthews Band (DMB) played the KIA Forum in Los Angeles, CA for the first time in 27 years on Friday, August 22nd. With no opening act, the band took the stage just before 8 p.m. before a sold out crowd, with the show lasting around 2.5 hours. As a jam band, the setlist changes every night—you never know what to expect—and DMB wasted no time breaking right into one of their biggest hits “You & Me” for their opening song. This year marks the 15th anniversary of "You & Me" being played at the GRAMMYs for an unforgettable performance alongside an orchestra and choir. DMB is comprised of Dave Matthews (Guitar, Vocals), original members, Carter Beauford (Drums), and Stefan Lessard (Bass), Tim Reynolds (Guitar), Jeff Coffin (Sax) (who replaced original member LeRoi Moore after his passing in 2008), Rashawn Ross (Trumpet), and Buddy Strong (Keys) (who joined in 2018). The 19-song setlist included hits like “ Crush,” “Ants Marching,” and “So Much to Say.” Keyboardist Cory Henry guested on “Lying in the Hands of God” and “Tripping Billies.” After “Too Much,” the band returned for an encore of “Take All Day” and “Warehouse.” The most recent album release for DMB was in 2023 with Walk Around the Moon, and prior to that was Come Tomorrow which was released in 2018 and became No. 1 following six other No. 1 albums. Walk the Moon hit No. 5 on the Billboard 200. DMB’s first release, Under the Table and Dreaming, went 6x Platinum followed by Crash, which went 7x Platinum. This was followed by Before These Crowded Streets, which went 4x Platinum and was the first of seven consecutive No. 1 albums. DMB has also had a number of live albums including venues such as Red Rocks, The United Center, Wrigley Field, and the Hollywood Bowl.Photos by Alex KluftThe post Dave Matthews at the KIA Forum, Los Angeles, CA first appeared on Music Connection Magazine.

Mastering The Mix Faster MasterFASTER MASTER analyzes your song and delivers 10 custom-tailored presets that give you a professional starting point. Pick the vibe that fits best, then fine-tune the details to make it your own. Every adjustment is automatically level-matched, so you hear the real impact of your changes without being fooled by volume differences, leading to more confident, pro-level decisions: Get professional, release-ready masters fast. Every move is level-matched, so your decisions are always honest. Import reference tracks and instantly match their sonic profile. Smart presets adapt to your song for tailored results every time. Read More

The Complete Guide to Solfege for Elementary Music TeachersDo, Re, Mi, and all their friends have been around for the past 1,000 years for a reason: they’re among the most powerful tools for music educators at any level when it comes to developing the inner ear.

The power isn’t in the words themselves—though these syllables are used around the world, creating a kind of universal musical language—it’s in the sound concept. With solfege, we label pitch relationships and build students’ abilities to:

Sing in tune

Read music

Sight-read

Transpose

Improvise more creatively

…and much more!

In this complete guide to solfege for elementary music teachers, you’ll find a solid foundation of what solfege is, how it works, how to use it in your classroom, and practical ideas for developing students’ musical literacy and independence. Let’s get singing!

What Is Solfege?

Solfege is a syllable system that helps musicians connect their understanding of pitch relationships with sound and language.

In short, it’s a tool for singing and reading pitches in music. The commonly used syllables are: do, re, mi, fa, sol, la, and ti.

The system dates back to the 11th century and a monk named Guido d’Arezzo. As the one responsible for preparing singers for mass and other services, he needed a faster way to teach reading and singing. From that challenge, solfege was born.

The original syllables came from the first syllable of each line of a Latin hymn: ut, re, mi, fa, sol, la.

Yes, you read that right—“ut” was the starting pitch. (Not exactly the most singable, right?) It was later replaced with “do.”

You’ll also notice the absence of “ti” in the original system. It wasn’t because Guido preferred coffee (pun intended). At the time, people believed the tritone (the augmented fourth) invoked the devil. Leaving out the seventh scale degree meant avoiding any risk of demonic possession.

Eventually, musicians overcame that superstition and added the syllable “si” for the leading tone. But this created confusion with “sol.” To resolve it, most teachers now use “ti” instead—a practice so common you’d be hard-pressed to find a music educator who doesn’t!

Fixed Do Vs. Movable Do In Solfege

There are two main solfege systems: movable do and fixed do. 

Fixed do is a syllable replacement system. In this system, you use the syllables as a straight-up, 1-to-1 replacement for the common pitch letters A, B, C, D, E, F, and G. 

In this system, the following syllables are exchanged for the letters:

Letter PitchFixed Do – Soflege EquivalentCDoDReEMiFFaGSol / SoALaBTi

Movable Do is a relative pitch system where the note Do changes to match the tonic scale degree of whatever key you’re in. For example, if you’re in the key of D major, then D becomes Do, E becomes Re, F# becomes Mi, and so on. 

This system is used by the majority of music teachers as it emphasizes the intervallic (interval) relationship of the pitches and helps singers and instrumentalists more accurately place their notes from only a starting pitch. 

In the elementary music world, movable do is much more practical as you’ll be able to switch keys with any of your songs without needing to worry about students learning new syllables or mixing up all the chromatic and altered pitch nonsense. 

Benefits of Teaching Solfege to Elementary Students

Teaching music to young children can sometimes feel overwhelming, but solfege offers a clear, engaging framework that makes music accessible and fun. By giving students a simple set of syllables tied to pitches, solfege turns an abstract concept into something concrete they can see, hear, and feel.

One of the biggest benefits of solfege is how it builds pitch accuracy and inner hearing. When children sing do, re, mi, they aren’t just memorizing notes—they’re learning how to audiate, or “hear the music inside their head.” This skill forms the foundation for strong musicianship later in life.

Solfege also strengthens music literacy. Instead of treating notes on a staff as random dots, students connect symbols to syllables and sounds. This bridges the gap between singing and reading, making it easier to progress into sight-singing and instrumental playing.

For younger students especially, solfege pairs perfectly with movement and visuals:

Hand signs that show pitch direction.

Floor ladders or posters that represent steps.

Games and call-and-response activities that get the whole body moving.

These tools support different learning styles and keep children engaged.

Finally, solfege encourages confidence and participation. Because every child can use their own voice, it levels the playing field in the classroom. Instead of worrying about “getting it wrong,” students join together in singing, which promotes teamwork and joy.

It’s not just about teaching notes—it’s about giving young learners a lifelong tool for listening, singing, and creating music with confidence.

Common Tools And Visuals For Teaching Solfege

Solfege is powerful because it’s not just about singing syllables—it’s about connecting sound, sight, and movement in ways that help students internalize music. Elementary students, especially, thrive when they have concrete, hands-on tools to make abstract concepts feel real. 

Curwen Hand Signs (Kodály Influence)

One of the most recognizable solfege tools is the set of Kodály-inspired Curwen hand signs. Each solfege syllable is paired with a specific hand position held at a specific level of your body, showing direction (high vs. low) and creating a visual memory for students.

Hand signs allow students to see the pitch contour.

They encourage active participation—everyone can join in, even without instruments.

They work beautifully for warm-ups, transitions, or full lessons.

It can be used without singing for inner hearing / audiation practice.

Solfege Ladders and Visuals

Younger learners often need something tangible to help them “see” pitch movement. Solfege ladders, posters, or wall displays give them a roadmap for where pitches sit in relation to one another. Some people will also use a Music Street Story with houses on a hill to visually show how the solfa fit together. 

Large classroom displays make it easy to reference during group singing.

Floor ladders or interactive charts can turn solfege practice into a fun, physical game.

Printable versions allow for individual or small-group practice.

Try pointing at the visual without saying a word to see if your students can sing on their own!

Color-Coding and Manipulatives

Many teachers add an extra layer of clarity by using colors to represent pitches. Pairing solfege with manipulatives helps kids engage multiple senses at once. 

America has a forgotten tradition of using shape notes to show which pitch belongs to which syllable. It’s a hangover from when few could read well and even fewer could read music. Flat.io has a font for using these shape notes AND the color-coding system. 

Examples include:

Boomwhackers or handbells color-matched to specific syllables.

Flashcards that pair syllables with colors and notes.

Magnetic boards where students can arrange pitches in order.

*This strategy is especially useful for visual learners and for keeping activities playful.

Body Movement and Kinesthetic Learning

For many children, music clicks when their whole body is involved. Using movement not only keeps lessons lively but also helps students internalize the physical “shape” of the scale.

Ways to integrate kinesthetic learning include:

Jumping or stepping on the floor to represent pitch direction.

Using scarves or arm movements to trace pitch contour.

Assigning different parts of the body to specific solfege syllables.

This is a powerful tool for wiggly, high-energy classes, and it helps reinforce memory through muscle movement.

With your younger kids, try the body solfege method. Use large motor movements instead of hand signs: 

SolfegeBody MovementDoHands on lapReHands on hipsMiArms across your bodyFaHands by your mouthSolHands on your headLaHands making “large eyebrows” just above your headTiHands pointing straight up

3 Steps For Teaching Solfege To Beginners

It’s no secret if you know anything about me that I’m a big fan of the Kodaly approach for introducing concepts. The Prepare-Present-Practice model (PPP) makes perfect sense to me, and it follows both the research into how we learn and how we learn to read. 

It’s all based on the idea of sound before symbol. We want to have students explore and build an understanding of the sound concept (rhythm or pitch) BEFORE we label them. 

Think about it like this: it’s easier to build a correct habit than it is to unlearn a bad one (and then RELEARN the correct one). 

For this reason, we approach and build an understanding (Prepare) first, then label the concept with the syllable/solfege and visual/staff (Present), and then further develop skills with scaffolding practice (Practice). 

Prepare

During the prepare phase we are exploring a specific pitch or solfege concept kinesthetically, aurally, and visually. We usually use neutral syllables and general body motions to prepare the correct concept. We’ll also use visual icons rather than actual staff to show intervals as well. (More on all this later…)

Present

Once students have a firm grasp on the idea of the pitch, we label it with the correct solfa, the hand sign (if using them), and then how the pitch fits on the staff in relation to the other solfege pitches. This last doesn’t always have to be on the same day, often, it’s later. 

Practice

After labeled, we practice echoing, decoding, writing, reading, audiating (inner hearing), arranging, composing, and improvising with the solfege using known songs and patterns as well as unknown ones. 

9 Classroom Activities & Games For Teaching Solfege In Elementary Music

There are an almost-infinite number of games and activities to help learn solfege pitches in the elementary music classroom. But here are just a few of my favorites: 

#1 Show Body Levels

Get a bank of 5-7 patterns using the solfege you want to teach ready. Have these where you can see them (the students will be responding aurally). Sing a pattern and while you do so, choose a body movement to follow the contour of the pattern. 

For example, if you’re practicing Mi-Re-Do, specifically, you might choose to do stomp for Do, pat for Re, and tap head for Mi. Have the students echo you while singing the patterns. 

Note: If you’re in the Prepare step of the solfege, you’ll want to use a neutral syllable or replacement word for the targeted solfa until they’ve got it down. 

After you go through all of your patterns, ask students for their ideas. Explain (or even better, use questions) that each movement was a low, middle, and high level for each pitch. Give students a chance to pick a motion, and then echo through all of the patterns again! Rinse and repeat! 

#2 Sing From Pictures

Take some pictures and arrange them at different levels to make patterns using the solfege you’d like to work on. Make sure to tell your students which one it starts on and hum the pitch for them before they sing. 

Create a bank of 5-7 of these patterns. I’m not super cutesy with the pictures, but I do like to connect it with a song they’re working on. Here’s a simple example of a sol-mi pattern I made in Google Slide. The song it’s related to is Star light, star bright. 

Have them go through the bank of patterns and sing each one. If you’re at the point where you’re using real syllables and hand signs, go for it. If not, have them use their neutral syllable (like “doo” or “bum”) and just point at the images. 

#3 Puzzle Patterns

Once again, create a bank of 5-7 pitch patterns using the solfege you want to practice. (Sensing a pattern here?) Print them off on sets of cards where the pattern is on one side and the answer is on the other. Laminate them if you want them to last. 

Split students up into groups of 2-5 (your choice). Explain that one student will have the card and quiz the others on how it should be sung. Encourage the use of solfege hand signs. Once one is done, pass the cards to the next leader, shuffle them up, and start over. You should circulate to check for work and help groups as needed. 

#4 Sing Only One Pitch

This is one of my favorites! You can do this with any song or set of solfege patterns you like! BUT the students need to be able to read and sing as a group pretty fluidly. 

Display the solfege for a song or set of patterns and sing through it all together. Now, the students must sing through it but ONLY sing one of the pitches. For the rest, they must show the hand sign and sing it inside their head. This audiating really helps to build pitch retention as well of the sense of unheard steady beat. 

Rotate through all the pitches the song uses! As kids get older, this becomes harder and harder (but sometimes that makes it more fun!). 

#5 Guess The Mystery Song

Easy version: Display the solfege to a known song. Have students sing through the solfege and then try to guess which song it is. 

Medium Version: Display the solfege to a song, but written backwards. Sing through it forwards and then backwards. Ask which one was a known song and which song it is. 

Hard Version: Display the solfege to a known song. Give them the starting pitch and ask them to sign it but not sing it. Ask them what the mystery song is. 

Super hard version: Show a solfege ladder or music street image. Sing the first pitch, then point at the pitches of the known song. Ask them which song it is. 

#6 Solfege Hop Scotch

I forgot about this activity until I started writing this article. I haven’t done it in a while because it requires some prep work and/or a floor that doesn’t force plates or papers to slide everywhere (mine does!). 

Go create a long hop scotch-style pattern either using chalk on an outside sidewalk or using paper plates on your floor. On each square or plate, write a solfege pitch. I like to start and end with Do. Students form a line and must choose which pitches they’ll jump on or skip. As they jump through it, they need to sing the pitches.

#7 Double Solfege Hand Sign Challenge

Students sing and match the hand signs you show them. They do this while you show the signs, not echo. Do this as a whole group for a while (moving slowly). 

Then, split the class in two. You show hand signs with both hands, but now your hands aren’t doing the same hand sign. Move only one hand at a time (for your sake and theirs). This is wonderful for developing part-work skills AND forcing singers to become more independent in their singing. 

Want more part-work? Check out these 10 solfege rounds!

#8 Memorize The Patterns

Show a song or group of patterns. Make sure the notes are split up into measures. Have the class sing the entire song or group of patterns. 

Now, each time you do it, erase one more measure. Eventually, they’ll have to perform the entire pattern from memory! 

#9 Boomwhacker Whackiness

Split your students up into groups matching the number of pitches you’ll use for this activity. For example, if you’re using Do, Re, Mi, Sol, and La, each group will be five people. Now, have them each get a boomwhacker matching the pitch (in this case, we’ll be sticking with Do=C). 

Sing a pattern using solfege (or on a neutral syllable for a challenge). The group must then figure out how to play the pattern using their boomwhackers while singing the solfege. When they’ve got it, they must perform for you. 

This can also be done with patterns written on cards or students composing their own patterns for a whole other level. Additionally, I also love using hand bells for this purpose—although everyone playing at the same time gets a little crazy! 

Get Your Students Singing!

Hopefully, I’ve given you a bit of a start on using solfege in your classroom. It’s a useful tool with almost limitless potential to better build students’ pitch awareness, singing ability, and reading fluency. Let me know if you have any questions! 

Keep on singing!

The Bromley 750 is Marshall’s first-ever “party speaker” – and it has a built-in lighting rigMarshall – traditionally a guitar amp brand – is continuing its foray into the world of consumer audio with its first-ever “party speaker”, the Bromley 750.
What makes it a party speaker, you ask? Well, many things, but perhaps none more than the fact it has integrated stage lighting, which can sync up with the music being played through it.

READ MORE: With DMs, Spotify takes its next step towards becoming a fully-fledged social media platform

“Inspired by stage lighting, we’ve incorporated lights in a new way, enhancing the atmosphere and elevating the entire experience” says Ella Renneus, Senior Manager Design at Marshall Group.
Elsewhere, the Bromley 750 features 360-degree True Stereophonic sound, with an integrated Sound Character control which can be tweaked to fit the mood or setting.
When it comes time to fine-tune the output, there is a basic two-band EQ to take care of lows and highs. Then, for added clarity, there is a knob that adjusts between “loud” and “dynamic” settings, in case the historic power of Marshall is too much for a certain indoor space. For some fun coloring, another knob can activate delay and reverb effects.
Credit: Marshall
For the more remote situations, the Bromley 750 has 40+ hours of battery life. There is also a backup battery if 40 hours is just not enough. And if these out-of-the-way places are dirty (which is often the case), the build is dirt and splash-resistant, and it features a built-in handle and wheels for easy transport.
And if there are artists waiting in the wings, the Bromley 750 has two XLR inputs that swap between mic and instrument settings for whoever is getting ready to perform. Other inputs include RCA, USB-C, and an auxiliary in and out.
Marshall has collaborated with American rapper Denzel Curry on a video campaign to promote the launch of the speaker, which you can check out below.

“Meet Bromley 750. Our most powerful speaker to date just showed up to make your next party the LOUDEST around. And take it from us, no one knows how to throw a party like Denzel Curry,” Marshall writes, speaking of the artist . “We’re just getting started…Turn it up and let’s make it LOUD.”
The Bromley 750 is currently available for pre-order, priced at £899.99. Shipping begins September 23. Learn more at Marshall.
The post The Bromley 750 is Marshall’s first-ever “party speaker” – and it has a built-in lighting rig appeared first on MusicTech.

The RANE ONE MKII DJ controller offers a stems-focused workflow and delivers the tactile feedback of true turntablesDJ gear brand RANE has released the RANE ONE MKII, a “next generation” motorised DJ controller with a stems-focused workflow.
This MKII model builds on the original RANE ONE, launched in 2021. This new iteration utilises the stem technology within Serato DJ Pro that allows DJs to isolate tracks, manipulate instrumentals, and remix individual track elements in real time. It’s designed with open-format club DJs, bar performers, and mobile professionals in mind.

READ MORE: Serato’s DJ Pro and DJ Lite software gets one of the “biggest updates yet”

The controller’s motorised platters offer a classic turntable feel, while its modern built-in controls and Serato DJ Pro software integration keeps things fresh. These tactile controls include dedicated Instant Stem Acapella and instrumental buttons for users to scratch, blend, and manipulate tracks. There’s an effects suite built directly into the controller, too.
16 responsive RGB performance pads are also on board, with 10 pad modes and one user-customizable mode for triggering samples, controlling effects, and manipulating stems. These are accompanied by secondary performance pad buttons with eight pad modes, including a Four-Part Stems mode and two new exclusive modes: Stem Roll and Stem FX.
Furthermore, you’ve also got two of RANE’s Precision Feel Faders as well as an “ultra-light”, adjustable MagFour Crossfader, two XLR combo microphone inputs for MCs, multiple output options, and compatibility with any sound system.

“The RANE ONE MKII represents the evolution of what it means to be a professional DJ,” comments Morgan Donoghue, VP Marketing, DJ Brands at inMusic. “We’ve taken everything DJs love about authentic turntable control and enhanced it with the creative flexibility that modern crowds demand. The RANE ONE MKII empowers DJs to read the room and deliver exactly what every moment needs.”
The RANE ONE MKII is available now for $1,499. Find out more via the RANE website.
The post The RANE ONE MKII DJ controller offers a stems-focused workflow and delivers the tactile feedback of true turntables appeared first on MusicTech.

“When a subscriber pays $8 for Vocana and listens to just four artists, those artists each get $2”: This indie platform reckons it’s onto the future of streamingVocana, a new music service with a “truly user-centric payout model”, is now in its public beta testing phase.
As well as boasting fair compensation for artists, the platform also offers fan contact information for artists and a full range of MySpace-inspired social features. According to Vocana, it’s built around the goals and habits of musicians and fans, rather than labels or algorithms.

READ MORE: This new app is like Pokémon GO for music lovers

Vocana has inked deals with CD Baby and DistroKid already, and reportedly has more on the way. It was co-founded by entrepreneurs Jim Knight and Dale Chorba, who want to resolve the “streaming penny fraction”, and enlisted the help of industry expert Neil Sheehan.
According to a press release from the company, emerging and niche artists will earn from their very first stream within Vocana: “In simplest terms, Vocana’s model means that when a subscriber pays $8 for Vocana and listens to just four artists, those artists each get $2, instead of sharing a fraction of a penny with Drake and Bieber and millions of others paid out from one big pot of money,” it explains.
Along with giving emerging and indie artists a fairer share of the royalties, its payout model also precludes fraud, as “there’s no way to divert subscriber fees to artists these subscribers didn’t listen to”.
Vocana also presents artists with data about who is listening to their music, and fans can opt-in to share their emails with artists they like. They can also chat with other fans within the platform, notably through the use of hubs that act as digital hang out spaces, and are dedicated to specific genres or artists.
Its playlists are human-curated, and artists will eventually be able to pitch these curators directly from within Vocana by filling out a form. These curators are non-commercial radio DJs, “tastemakers”, and music influencers.

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“Independent music is on the precipice of blowing up, and not just in streaming. The indie sector is growing faster than the overall music market, and by some estimates should reach more than $71B by 2030,” states Vocana President, Neil Sheehan. “It’s the real heartbeat of music in an era with fewer global superstars.”
Sheehan continues, “Right now, only about four million tracks out of more than 200 million are served up algorithmically to listeners on services like Spotify. We want to surface music that isn’t from that thin layer of top tracks.”
To find out more or join the public beta, head over to Vocana.
The post “When a subscriber pays $8 for Vocana and listens to just four artists, those artists each get $2”: This indie platform reckons it’s onto the future of streaming appeared first on MusicTech.

5 Things to Know Before Signing A Merch Deal: Just ask NBA YoungBoy Just like a record contract or any other deal, you need to know the risks before signing a merch deal. Not knowing recently landed NBA YoungBoy aka YoungBoy Never Broke Again in court.
The post 5 Things to Know Before Signing A Merch Deal: Just ask NBA YoungBoy  appeared first on Hypebot.

MusiCares adds Free Health Support for Music ProfessionalsMusiCares has partnered with women's and family health virtual health clinic Maven to provide free health support for music professionals and musicians.
The post MusiCares adds Free Health Support for Music Professionals appeared first on Hypebot.

Bitwig Studio 6 beta now live Bitwig Studio 6 promises to represent a significant step forward for the DAW, introducing a range of new tools and functions while improving and expanding on its existing features.

Fracture Sounds releases Blueprint: Thumb Piano, a FREE characterful kalimba for Kontakt Player
I’ve been a fan of the Blueprint collection by Fracture Sounds from day one, and probably don’t need to repeat it, but I’m amazed at how far this series of free instruments has come. Their latest release is the Blueprint: Thumb Piano, a free characterful kalimba for Kontakt Player. The Blueprint collection now features over [...]
View post: Fracture Sounds releases Blueprint: Thumb Piano, a FREE characterful kalimba for Kontakt Player

Harmonox Audio releases BIRDS, a FREE bird sound library for Kontakt and WAV
Harmonox Audio offers the BIRDS ($10) Kontakt instrument and WAV sample pack for free for a limited time via Pluginomat. BIRDS is a collection of organic bird sounds designed for sound design, ambient composition, and anyone looking to add natural textures to their music. It includes samples from six different bird species and offers a [...]
View post: Harmonox Audio releases BIRDS, a FREE bird sound library for Kontakt and WAV

With DMs, Spotify takes its next step towards becoming a fully-fledged social media platformDMs are coming to Spotify. Yep, after the streaming giant integrated a continuous vertical scroll feature to its platform last year, it seems it’s taking another leaf out of the social media playbook by allowing users to direct message each other without ever leaving the app.
Spotify users have been able to share their favourite songs and playlists for some time, but have generally had to either copy and paste a link or send via WhatsApp, Messenger, Instagram or some other external social messaging service. 
Now, the platform aims to keep more of these word-of-mouth recommendations – which it calls “one of the most powerful ways for people to discover” music – within its own service.

READ MORE: Google DeepMind, ElevenLabs, LANDR, and more to lead music tech discussions at ADE

“Spotify users have told us they want a dedicated space within the app to share songs, podcasts, or audiobooks they’re excited about with friends and family, and an easy way to keep track of recommendations,” the company writes in a new post on its Newsroom.
“For artists, authors, and creators, easier sharing means more word-of-mouth recommendations and helps create new fans. Our goal is to give users what they want and make those moments of connection more seamless and streamlined in the Spotify app.
How does it work?
Credit: Spotify
Spotify Messages will begin rolling out this week to Free and Premium users aged 16 and over in “select markets” on mobile devices.
At launch, Messages will be confined to one-on-one conversations with other Spotify users where you can share content – tracks, albums, podcasts etc – and react using emojis, a staple of other social media platforms.
Users will be able to begin a conversation using the same Share button they’ll be used to, only now there’ll be this new option. They’ll also see suggested people to message based on previous interactions, like mutual Jams, Blends, collaborative playlists and so on.
What is Spotify saying about Messages?
While it seems, initially, like Messages are a bid by Spotify to migrate many of the music-centric social interactions which take place off Spotify to its own platform, it still encourages users to continue sharing on other platforms.
“Messages on Spotify are designed to complement these integrations, not replace them, and we’re excited to continue offering more ways to drive hype for the Spotify content you love, wherever you are,” it says.
With the rollout of Messages, Spotify aims to put users “in the driver’s seat”, by enabling them to accept or reject message requests as they wish. Additionally, Spotify Messages are protected by industry-standard encryption, while the company will utilise “proactive detection technology to scan messages for certain unlawful and harmful content”. 
“This is just the beginning,” Spotify writes. “We’re excited to continue building and refining the experience for more Spotify users around the globe in the months ahead.”
In other news, a number of artists have recently left Spotify – including Deerhoof, Xiu Xiu and King Gizzard & The Lizard Wizard – following a large investment by CEO Daniel Ek in AI-driven military weapons company Helsing.
The post With DMs, Spotify takes its next step towards becoming a fully-fledged social media platform appeared first on MusicTech.