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      UJAM announce Beatmaker 3 With the launch of Beatmaker 3, virtual instrument experts UJAM have combined all of their Beatmaker titles into a single, unified plug-in that sports a redesigned user interface and enhanced browsing features.

      With the launch of Beatmaker 3, virtual instrument experts UJAM have combined all of their Beatmaker titles into a single, unified plug-in that sports a redesigned user interface and enhanced browsing features.

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        Give your mixes a lo-fi flavour with the second iteration of Lese’s Codec pluginLese has launched the second version of its Codec plugin, which uses internet compression algorithms to give your mixes a vintage, lo-fi quality.
        Codec 2.0 introduced a smattering of new features designed to give you greater control over how your mixes are affected.

        READ MORE: The best free and paid-for plugins you need to know about this week

        Essentially, Codec divides an audio file into individual packets, and users can drop some of them out using its Loss control. The plugin then attempts to conceal the packet loss, leading to a digitally degraded sound. Additionally, there’s a choice of three modes, with each affecting how the packet loss is handled by the plugin.
        New to Codec 2.0, though, is a new Disorder control, which tweaks the order of the packets processed by the internal decoder to create a somewhat glitchy effect, and a new Noise function which adds noise to an audio file before it’s fed into the encoder.

        Before the encoding stage, a Crunch control lets you turn up the gain on a frequency range and dials it back down once the plugin compresses the audio. This helps you to create more distortion artefacts on your track without any extra volume.
        “Unlike other plugins that simulate degradation in “old school” ways like vinyl, tape or cassette, Codec degrades sound in the most common way we hear today, through internet compression algorithms!” Lese explains.
        “Codec is essentially a container that holds an audio compressor (not that kind of compressor) so you can compress and then decompress your sound, in real time, in your DAW of choice.”
        Codec 2.0 is available to both PC and Mac users in AU and VST formats. You can download it free of charge from Lese.
        The post Give your mixes a lo-fi flavour with the second iteration of Lese’s Codec plugin appeared first on MusicTech.

        Lese has launched the second version of its Codec plugin, which uses internet compression algorithms to give your mixes a lo-fi quality.

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          New York kills ticket resale restrictionsVotes on bills that would put modest restrictions on New York State ticket resellers have been delayed until at least next year. Instead, a one-year extension of the existing ticketing laws until June 30, 2026 was introduced on Sunday night.
          The post New York kills ticket resale restrictions appeared first on Hypebot.

          New York kills ticket resale restrictions, extending current state laws until 2026. Discover the impact on ticket sales and rights.

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            Soule DSP releases an early version of the Resonarium free experimental waveguide synth
            Soule DSP releases an early version of the free experimental, semi-modular, waveguide synth, Resonarium, for macOS and Windows. First and foremost, Resonarium is still in development (version 0.0.10), and this is the time for constructive feedback. In addition to the typical bugs and crashes that we might expect from any early-stage software, the developer reminds [...]
            View post: Soule DSP releases an early version of the Resonarium free experimental waveguide synth

            Soule DSP releases an early version of the free experimental, semi-modular, waveguide synth, Resonarium, for macOS and Windows. First and foremost, Resonarium is still in development (version 0.0.10), and this is the time for constructive feedback. In addition to the typical bugs and crashes that we might expect from any early-stage software, the developer reminds

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              Why Music Fans Are Traveling for Connection, Not Just ConcertsToday’s ticket buyers aren’t just going to concerts, they are looking for deeper experiences. Learn why music fans are travelling and how artists are transforming shows into unforgettable journeys of connection and community.
              The post Why Music Fans Are Traveling for Connection, Not Just Concerts appeared first on Hypebot.

              Learn why music fans are travelling and how artists are transforming shows into unforgettable journeys of connection and community.

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                Epidemic Sound Removes Rights and Royalties From the EquationThis week, Ari is joined by Oscar Höglund, co-founder and CEO of Epidemic Sound, a leading music and soundtracking platform for content creators.

                This week, Ari is joined by Oscar Höglund, co-founder and CEO of Epidemic Sound, a leading music and soundtracking platform for content crea

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                  Best wired headphones under $500 in 2025: Our picks for mixing, recording and moreWhether you’re mixing in your home studio, recording in a professional space or making beats on the go, having a reliable pair of headphones to work on is vital. But – ‘closed-back?’ ‘Impedance?’ What do these terms mean, and how should they factor into your decision when searching for the perfect pair?
                  Open-back vs. closed-back
                  When picking a set of headphones, you’ll want to decide whether to opt for closed or open-back.
                  Largely considered to be ideal for mixing, open-back headphones allow air to pass through the ear cups to the driver. Because pressure doesn’t build up, this tends to create a more natural and spacious sound.
                  Closed-back headphones, on the other hand, offer better isolation. This makes them ideal if you’re recording or if you’re an engineer working in a live environment. They also have their place in mixing – particularly if you find yourself working in a noisy environment.
                  Impedance
                  In a nutshell, the higher the impedance on a set of headphones, the more power you need to make the drivers move and project audio. Consumer-grade audio gear, like your phone, offers weak amplification and so tends to work better with low-impedance headphones.
                  So, if they’re harder to drive, why on earth would you want a high-impedance set of headphones? Well, for one thing, they won’t blow out when you plug into something with more power – which includes a fair amount of pro-audio equipment.
                  The best all-purpose headphones at a glance:

                  RØDE NTH-100
                  Beyerdynamic DT 770 Pro X
                  Austrian Audio Hi-X65
                  Sony MDR-M1
                  Audeze MM-100
                  AIAIAI TMA-2
                  ADAM Audio H200
                  Sennheiser HD600

                  Our top pick for mixing: RØDE NTH-100

                  [products ids=”75Bm4BrBuuJOCYoshARtlt”]
                  RØDE is best known for its line of respected, affordable microphones, but scored a flawless 10/10 in our review with its first pair of studio headphones, the closed-back NTH-100. Our reviewer, John Pickford, found no negatives, instead commenting on the full range and a transparent sound that doesn’t shy away from crucial mid-range detail like many headphones do. CoolTech-laden memory foam ensures max comfort, while the competitive price tag is another definite plus.
                  In our review, we said: “RØDE means business here. The beautifully contoured looks and fantastic functionality are only half the story… The NTH-100’s sonic abilities are nothing short of breathtaking.”

                  Price: $149
                  Type: closed-back
                  Impedance: 32 Ohms
                  Frequency range: 5Hz – 35kHz

                  Loved by the industry: Beyerdynamic DT770 Pro X

                  [products ids=”197g2De6ZETpHAFTGI7J8N”]
                  The closed-back D T770 Pro Xs from Beyerdynamic have been a reliable studio staple for many years, and for good reason. They offer decent isolation when tracking, their frequency response is not scooped or boomy like many closed-back competitors, and they’re comfortable and extremely reasonably priced. We’ve seen a pair of these in a ton of recording studios over the years, from lavish gear-laden spaces to barebones bedroom setups.
                  In our recent 9/10 review of the DT 770 Pro X Limited Edition, we said that “At this price, they have always been, and remain, a very easy recommendation and something of a steal.”
                  Pair these with Sonarworks’ SoundID Reference for Headphones, and you have a killer, articulate and calibrated monitoring set-up that sounds many times more expensive than the total spend.

                  Price: $199/£169
                  Type: Closed-back
                  Impedance: 48 Ohms
                  Frequency range: 5Hz – 40kHz

                  Most comfortable: Austrian Audio Hi-X65

                  [products ids=”5bR3JlBtcVTEC9sM3z0OkR”]
                  These open-back headphones from the ex-AKG team at Austrian Audio impress with their pinpoint clarity, accurate stereo field and articulate low-end. They immerse you within the music, revealing every important detail in a mix, master or influential commercial reference track. Their brightness takes some getting used to, but we find our personal headphones sound dull when swapping back to them.
                  These are among the most comfortable headphones we’ve ever tested, so much so that you tend to forget they’re even on your head. What’s more, all the memory foam ear cups and headband parts are user-replaceable, so you can tend anything worn or grubby after intensive use.

                  Price: $399/£269
                  Type: open-back
                  Impedance: 24 Ohms
                  Frequency range: 5Hz – 28kHz

                  Great for revealing a bad mix: Sony MDR-M1
                  Credit: Sony
                  [products ids=”3UUAnJVAKoqWOj4p5ceB3U”]
                  A more affordable version of the beloved MDR-MV1 headphones, Sony’s wired reference cans cost around half as much while offering performance that’s pretty close in everyday listening scenarios. In our review, we praised the headphones’ neutral, clean and open sound, crazy wide frequency response and comfort when wearing for long listening sessions.
                  Being closed back in design, they boast minimal sound leaking, which is helpful for studio and recording use. Meanwhile, their precise drivers reveal deficiencies in imperfect mixes and masters, allowing you to improve your tracks. As well as being great to mix and master on, they are also very suitable for everyday studio use and general listening, presenting a balanced and uncoloured soundstage to give you a true picture of what’s going on in your audio.

                  Price: $248/£211
                  Type: Closed-back
                  Impedance: 50 Ohms
                  Frequency range: 5Hz – 80kHz

                  Find out more at Thomann.
                  Affordable planar magnetic: Audeze MM-100
                  The MM-100s
                  [products ids=”4U8IPDCHdlDKrhSEWaiq8j”]
                  Want a taste of premium-grade headphones at a fraction of the price? High-end headphone designer Audeze blew us away with its MM-100 open-backed planar magnetic headphones when we reviewed them recently. Priced at just £399 — an absolute steal for a pair from this company — we loved their premium fit and finish and praised the low impedance that makes them suitable for use with all kinds of hardware.
                  The 90mm transducers “offer great transient detail and rich low-end without the onset of distortion that could detract from critical details in the mix”, and while we found it necessary to tame the gritty high mids a little with external EQ, with a modicum of attention, the overall reproduction from these headphones is superb, and definitely warrants your attention even for mixing and mastering where precision is required.

                  Price: £399/$399
                  Type: Open-back
                  Impedance: 18 Ohms
                  Frequency range: 20Hz – 25kHz

                  Best for DJ-producers: AIAIAI TMA-2
                  AIAIAI TMA-2
                  [products ids=”4XkalKxGqMaPL8P3J8GPcn”]
                  AIAIAI invites you to build your own pair of headphones with the TMA-2 modular set. You can also replace parts of the headphones, including the speaker unit, headband, earpad and cable. This is fantastic news both your wallet and the planet, because you’re not forking out to replace or upgrade your headphones every few years.
                  There are multiple variations of the TMA-2 headphones with interchangeable parts suited for different needs. For example, the TMA-2 Studio models have highly detailed audio and lush comfort, while the DJ model focuses on providing punchy bass frequencies. Then, you can switch between a variety of punchy or detailed speaker diaphragms, on-ear or over-ear cushions, lightweight or padded headbands and cables dependent on length and style, coiled or straight.
                  These are excellent for artists who want one pair of reliable headphones for DJing and producing.

                  Studio: $230/£169
                  DJ: $200/£159
                  Type: Closed-back
                  Impedance: 32 OHMs
                  Frequency range: 10Hz to 40kHz

                  Excellent value: ADAM Audio H200
                  Image: Press
                  [products ids=”pZPvFSOExuWjyipj8pJ4N”]
                  A snip at around $150, when we reviewed ADAM Audio’s H200 headphones, we were suitably impressed by their amazingly accurate natural sound right out of the box, effective isolation for use when tracking, a companion plugin and a flexible, detachable cable. At the low end, they can reproduce sounds at a frankly crazy 2Hz, while the top end isn’t quite so extreme, topping out at 23.5kHz. Nonetheless, you will be impressed by their musicality, too.
                  Replaceable components mean they can be repaired rather than left for dead if they should happen to suffer damage from the rigours of studio use. Meanwhile, the DAW plugin lets you optimise and set up your headphones to better reproduce the effect of loudspeaker mixes when working on headphones. They also experience very low levels of distortion while being able to handle fairly high sound pressure levels. These are a worthy addition to any studio.

                  Price: $160/£140
                  Type: Closed-back
                  Impedance: 32 Ohms
                  Frequency range: 2Hz – 23.5kHz

                  Superb all-rounders: Sennheiser HD600

                  [products ids=”mm78dazR19Q9CNVAYqlsU”]
                  Deemed indispensable by a plethora of engineers, including Abbey Road’s Paul Pritchard, the Sennheiser HD600s are superb all-rounders that offer a natural and spacious sound, thanks to their open-back design. These headphones make use of what Sennheiser terms computer-optimised magnet systems to reduce distortion and deliver a more transparent sound.
                  Compared to their siblings, the HD650s, which add a small bass and mid-bass boost, these offer a flatter frequency response curve and are ideal for mixing and critical listening.

                  Price: $299
                  Type: open-back
                  Impedance: 300 Ohms
                  Frequency range: 12Hz – 40kHz

                  The post Best wired headphones under $500 in 2025: Our picks for mixing, recording and more appeared first on MusicTech.

                  Mixing at home, recording in the studio or producing on the go? Here are some of the best wired headphones under $500 that punch way above their price tag.

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                    NoirSonance Releases Three FREE Compressor Plugins + a BPB Giveaway!
                    NoirSonance has released free “Lite” versions of its three new compressor plugins: D-Comp Lite, B-Comp Lite, and S-Comp Lite. We’re also giving away five free copies of the complete NoirSonance Compressor Bundle to five lucky BPB readers! Each of the three new NoirSonance compressor plugins offers a different type of compression in an easy-to-use form [...]
                    View post: NoirSonance Releases Three FREE Compressor Plugins + a BPB Giveaway!

                    NoirSonance has released free “Lite” versions of its three new compressor plugins: D-Comp Lite, B-Comp Lite, and S-Comp Lite. We’re also giving away five free copies of the complete NoirSonance Compressor Bundle to five lucky BPB readers! Each of the three new NoirSonance compressor plugins offers a different type of compression in an easy-to-use form

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                      Sharon Osbourne slams labels for “bastardising” artists’ music: “There is no development currently at record labels. They take everything”Sharon Osbourne has slammed modern record labels and streaming platforms for “bastardising” the music of today’s artists.
                      With five decades in the business and a career managing her husband, metal icon Ozzy Osbourne, Sharon has seen the music industry evolve dramatically, and she’s less than impressed by where it’s ended up.
                      “There is no development currently at record labels,” the veteran manager proclaims in a new interview with Music Business UK. “They take everything.”
                      “Record labels developing (artists) doesn’t exist. A&R departments just go on the internet. That’s it,” Sharon says. “They’ll take your publishing, your merchandise and everything else, and all they do is press and distribute and stream you.”

                      READ MORE: “Labels have found a new way to put artists in a position where they seem to be making a lot of money, but they essentially own nothing”: Rick Beato and Anthony Fantano discuss the impact of Spotify and streaming

                      Taking aim at the streaming economy, in particular, Osbourne continues, “Most of the record companies own the streaming anyway and all of this about, ‘Oh, I’ve got a billion streams, it’s amazing.’ Well, you’re getting less than a fucking penny for a stream. It’s absolutely bastardising an artist’s music.”
                      Which is why she urges artists, especially younger ones, to hold on to their publishing at all costs, explaining that giving it up too early can come back to haunt you financially.
                      “Never let your publishing go, until you get to the stage where you think you want to bail, and then you sell it all for a fortune. You look at where your songs could end up; you could get a couple of million each time your song is used in an advertisement.”
                      “Other people could cover your song and have a hit with a song that wasn’t a hit for you. It’s something which, now, I know a lot of artists, they go in, and they want deals, [and the] record companies want their publishing. It’s like, ‘Fuck you, no way.’”
                      Reflecting on how the role of the manager has changed over the years, Osbourne notes that true artist development – once a major part of management – is all but extinct.
                      “Managers in my day would support an artist so they didn’t have to support themselves, so they were able to write and hone their craft,” Sharon says. “You would literally put them in an apartment or a house, if it was a band, and you’d pay everything. You would invest your own money in an artist. That doesn’t happen today!”
                      She adds that performance skills, once honed through relentless gigging, have also taken a backseat in the age of social media where artists can gig “from their back garden” and “play to the dogs”.
                      “The years of trailing around the world, trying to break territories. It’s just instant now, which is fantastic for the artists,” she says, “but then you have to wait for the artist to develop their performance skills, because they didn’t have to tour and know how to work with an audience and all of that.”
                      “Even mic techniques, you get young kids today that don’t understand how to even work with a microphone. They just stand in front of it.”
                      Her sentiments echo those of other artists who’ve grown wary of the strategies of modern majors. Avenged Sevenfold’s M. Shadows previously criticised modern record labels for offering little support for musicians beyond chasing online clout.
                      “When Avenged Sevenfold were on Warner Bros., they were trying to figure out how to create a viral TikTok moment,” he said. “What? I’m a fucking 42-year-old man, I’m not trying to figure out how to do a viral TikTok moment. I’m sorry. You’re going to take 24 cents on our dollar and that’s all you can do, come up with a fucking fake viral TikTok moment?”
                      The post Sharon Osbourne slams labels for “bastardising” artists’ music: “There is no development currently at record labels. They take everything” appeared first on MusicTech.

                      https://musictech.com/news/music/sharon-osbourne-labels-artist-development/?utm_source=rss&utm_medium=rss&utm_campaign=sharon-osbourne-labels-artist-development
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                        Eminem files $109 million lawsuit against Meta for unauthorised use of his musicEminem is suing Meta, the parent company of Facebook, Instagram and Whatsapp, for allegedly using his songs without permission.
                        According to The Wrap, the lawsuit, filed 30 May by Eminem’s music publishing company Eight Mile Style, accuses the social media giant of distributing the rapper’s song without a valid license via its Reels Remix and Original Audio features.
                        Eight Mile Style is seeking statutory damages of up to $150,000 per track, per platform – a figure that could total as much as $109.35 million.

                        READ MORE: “It would basically kill the AI industry overnight”: Nick Clegg thinks asking artists for use permission is a bad thing

                        The suit alleges that Eminem’s songs were made available in Meta’s “Music Libraries” and used in user-generated content via tools like Reels Remix and Original Audio. This resulted in the songs being used in millions of videos and streamed billions of times.
                        Court documents also state that Meta sought to obtain licenses through Audiam, Inc., a digital music royalty collection company, though Eight Mile Style claims it did not grant them.
                        In the suit, the rapper’s team accuses Meta of “rampant infringement” and “knowing infringement” of his compositions, alleging the company “encourag[ed] billions of users of its online services to do so, all willfully, and without a license.”
                        It also argues that Meta is fully aware it “does not enjoy and is not eligible for the Digital Millennium Copyright Act’s (‘DMCA’) safe harbor provisions.”
                        While Meta has removed some of the songs including the 2002 hit Lose Yourself following complaints, Eminem’s lawyers say that the company “continues to host unauthorised cover and instrumental versions.”
                        In addition to statutory damages, Eight Mile Style is also seeking actual damages and lost profits, along with a permanent injunction against any future unlicensed use of Eminem’s music. Mata, meanwhile, has requested for a jury trial.
                        The news arrives less than a year after Eight Mile Style lost a long-running copyright infringement case against Spotify. At the time, Eight Mile Style sought around $30 million [per MusicRadar] from Spotify, claiming the streaming giant had racked up billions of plays on Eminem’s songs without proper licensing rights.
                        In September, a Tennessee judge ruled that while Spotify did not have the proper license (as the publisher claimed), the streaming giant would not be liable to cover the unpaid royalty bill. Instead, Kobalt Music Group – which handles rights and collects royalties for artists – had to pay.
                        The post Eminem files $109 million lawsuit against Meta for unauthorised use of his music appeared first on MusicTech.

                        Eminem is suing Meta, the parent company of Facebook, Instagram and Whatsapp, for allegedly using his songs without permission.

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                          Imaginando Celebrates 11th Anniversary with Massive Discounts up to 70%
                          Imaginando has launched the “We Turn 11” sale to mark its 11th anniversary, offering up to 70% off its full product range through June 13 (excluding GRFX). The sale includes everything from individual plugins to expansive bundles, with a unique twist: you can stack a 30% discount on your first purchase, making the deals even [...]
                          View post: Imaginando Celebrates 11th Anniversary with Massive Discounts up to 70%

                          Imaginando has launched the “We Turn 11” sale to mark its 11th anniversary, offering up to 70% off its full product range through June 13 (excluding GRFX). The sale includes everything from individual plugins to expansive bundles, with a unique twist: you can stack a 30% discount on your first purchase, making the deals even

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                            Release details
                            Release title:
                            f***ed by reality
                            Main artist name:
                            Plexine
                            Release date:
                            25th Apr, 2025
                            https://publme.lnk.to/fuckedbyreality
                            #newmusic #Release #Music #indepedent #artist #hiphop

                            Listen to fucked by reality by Plexine.

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                              iOS 19: All the rumored changes Apple could be bringing to its new operating systemAs Apple prepares to unveil iOS 19 at WWDC 2025, several rumors have surfaced, including a potential new name for the operating system and more.

                              As Apple prepares to unveil iOS 19 at WWDC 2025, several rumors have surfaced, including a potential new name for the operating system and more.

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                                Bringing a Father Ted Joke to LifeInspired by a gag from a mid-90s sitcom Father Ted, [Stephen] decided to create his own talking tape dispenser.
                                This project is a actually a follow-up to the first version of the dispenser he built back in 2022, and [Stephen] has documented the process thoroughly for anyone wanting to build their own. In the first version, he modified a tape dispenser to house a Raspberry Pi, enabling voice functionality. In the new version, he replaced the Raspberry Pi with a cheaper ESP8266 and designed an entirely 3D printed dispenser that looks closer to the screen-used version.
                                A clever change was replacing the rotary encoder with a custom encoder embedded in the printed parts. Using a photodiode and an LED, it measures the tape pulled from the spool. As you pull the tape, the encoder calculates the length and announces it through the speaker, just like in the show.
                                If you’re into prop recreations like this, be sure to check out the winners of our 2022 Sci-Fi Contest.

                                Inspired by a gag from a mid-90s sitcom Father Ted, [Stephen] decided to create his own talking tape dispenser. This project is a actually a follow-up to the first version of the dispenser he built…

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                                  What is jazz music? History, characteristics, and instruments
                                  Learn about the deep history of jazz music, its subgenres, key characteristics, signature instruments, and more.

                                  Learn about the deep history of jazz music, its subgenres, key characteristics, signature instruments, and more.

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