Bolt CEO Ryan Breslow explains his troubled $30M personal loan, announces new ‘super app’Bolt CEO Ryan Breslow defended the $30M personal loan he took out from his startup, while announcing Bolt's latest launch.
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Concord to acquire Stem in $50m+ deal, say MBW sourcesWe also hear that Raine Group is in the middle of it.
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Live Music stocks close down again TuesdayLive music stocks continued their multi-day slide on Tuesday.
The post Live Music stocks close down again Tuesday appeared first on Hypebot.

Arturia Keylab 88 Mk3The Arturia KeyLab 88 mk3 is a top-tier MIDI keyboard controller designed for the modern music creator. It combines a premium 88-key hammer-action keybed with a comprehensive suite of creative... Read More

A Magic Eye Tube Does All The Work In This KitWe’re used to low cost parts and a diversity of electronic functions to choose from in our projects, to the extent that our antecedents would be green with envy. Back when tubes were king, electronics was a much more expensive pursuit with new parts, so designers had to be much more clever in their work. [Thomas Scherrer OZ2CPU] has just such a design on his bench, it’s a Heathkit Capaci-Tester designed in 1959, and we love it for the clever tricks it uses.
It’s typical of Heathkits of this era, with a sturdy chassis and components mounted on tag strips. As the name suggests, it’s a capacitor tester, and it uses a magic eye tube as its display. It’s looking for short circuits, open circuits, and low equivalent resistance, and it achieves this by looking at the loading the device under test places on a 19 MHz oscillator. But here comes that economy of parts; there’s no rectifier so the circuit runs on an AC HT voltage from a transformer, and that magic eye tube performs the task of oscillator as well as display.
He finds it to be in good condition in the video below the break, though he removes a capacitor placed from one of the mains input lines to chassis. It runs, and confirms his test capacitor is still good. It can’t measure the capacitance, but we’re guessing the resourceful engineer would also have constructed a bridge for that.

Arturia launch the KeyLab 88 Mk3 The latest announcement from Arturia sees the company add an 88-key model to their popular range of controller keyboards.

March 11, 2020: The Day Live Music DiedOn March 11, 2020 The World Health Organization declared COVID-19 a pandemic, Dr. Anthony Fauci warned Congress that “it’s going to get worse,” a spooked President Trump finally addressed the nation from the Oval Office and schools, business, sports and the live music industry began a near total shutdown.
The post March 11, 2020: The Day Live Music Died appeared first on Hypebot.

“This could be really, really terrible for creatives”: Music lawyer explains why she’s “scared” of Spotify’s upcoming premium tierWith the likes of Snoop Dogg jumping ship and leaving Spotify, it’s clear that artists are becoming increasingly frustrated with the streaming giant’s royalties system. And, according to YouTuber Top Music Attorney, Spotify’s upcoming Music Pro tier might mean the “dilution” of revenue for artists.
While Spotify’s new ‘Music Pro’ tier is set to finally introduce lossless audio to the platform, Top Music Attorney’s Miss Krystle says the tier could negatively impact independent artists.
She draws attention to the tier’s access to exclusive tickets and other fan experiences. “Music platforms and distributors are seeing that the best way to make money is not just from streams,” she says. “It’s selling merch, selling tickets, selling experiences.”

READ MORE: So…How did Apple Music become a hero of streaming services, and Spotify a supervillain?

But in Miss Krystle’s opinion, the increasing integration of merch and ticket sales into the Spotify ecosystem will lead to the “dilution of royalties” for artists.
“Spotify keeps bundling things together…” she explains. “Spotify is [diluting] the pool by adding in audiobooks, listening experiences… [it’s not just] music.”
She recalls Universal Music Group’s pitch to investors last year, which preached the importance of selling “directly to fans”. Music Business Worldwide attended the company’s pitch at 2024’s Capital Markets Day, where UMG’s Executive Vice President and Chief Digital Officer Michael Nash vowed that “more and more of [UMG’s] business will continue to be direct to consumer.”
“We are developing more and more products and experiences for our most passionate and engaged fans,” Nash said, noting examples such as in-person listening parties, and Universal’s collaborations with Roblox, including the company’s Beat Galaxy music hub, virtual performances, and “fully immersive, 360-degree virtual Rolling Stones store”.
The focus is on the “superfans”, those willing to spend mass amounts on the artists they love. “The superfan DTC opportunity is not just a complimentary high growth revenue opportunity, it’s also an important competitive advantage that is increasing our appeal to artists and giving us the capability to do more for them than our competitors,” Nash added.
According to Music Business Worldwide, Nash also revealed Universal’s direct-to-consumer revenues. He claimed the company has seen a compound annual growth rate of 33% thanks to direct-to-consumer tactics.

 
The new tier is also rumoured to add remix and mashup functions, however, mashups could be a grey area in terms of ownership and who is entitled to royalties. As Miss Krystle says, if a user mashes up two artist’s tracks, then uses an AI filter to shift the genre, “who the hell does the mash up song belong to?”
“I think that this is something that could be really, really terrible for creatives,” she emphasises. “Even for me – I’m an independent artist, and I’m scared about what this means.”

The post “This could be really, really terrible for creatives”: Music lawyer explains why she’s “scared” of Spotify’s upcoming premium tier appeared first on MusicTech.

Vain Audio updates FREE Orange Gate gate plugin for Windows
If you need more dynamic processing tools, Vain Audio offers an updated version of Orange Gate for free in VST3 format for Windows only. Orange gate consists of two modules that do gating and compressing, respectively. The plug-in also boasts a spectrum analyzer and a sidechain filter, giving you additional control over dynamic processing. First [...]
View post: Vain Audio updates FREE Orange Gate gate plugin for Windows

Safari Pedals Planet of the Cubs Vintage Amp FX Pack is FREE for a limited time
Planet of the Cubs is a lite version of Safari Pedals Planet of the Amps vintage guitar amp sim pack and it is free for a very limited time. At the time of publishing this article, the offer is set to expire in 17 hours. Planet of the Cubs aims to provide authentic amp-style dynamics [...]
View post: Safari Pedals Planet of the Cubs Vintage Amp FX Pack is FREE for a limited time

This car company is fitting its entire 2026 range with Dolby Atmos – here’s whyImmersive sound company Dolby has teamed up with General Motors to introduce Dolby Atmos across Cadillac’s entire 2026 electric vehicle lineup.
This integration will include the 2026 ESCALADE IQL, ESCALADE IQ, LYRIQ-V, OPTIQ, VISTIQ, and more. Select 2025 models will also receive Dolby Atmos through software updates. The rollout will start with the Cadillac OPTIQ and VISTIQ models, and will be available via Amazon Music.

READ MORE: New research suggests music with a “groove” is better than ambient music for productivity

Given the cinematic and immersive qualities of Dolby Atmos, you may be questioning why such technology is needed in a vehicle, but it seems people are spending more time than ever in their cars. A press release shared by the two brands cites recent reports from the Federal Highway Administration, which reveal that drivers in the United States collectively drive over three trillion miles per year.
This vast amount of time on the road coincides with growing demand among consumers for higher quality, immersive experiences. A recent survey from Dolby also found that nearly 90 per cent of music streaming subscribers agreed that enhanced audio quality is a “must-have” feature, with more than half strongly agreeing. This is further reflected in the fact that 93 per cent of Billboard’s 2024 Top 100 Artists are releasing their music in Dolby Atmos.
“Whether you are listening to music to pass the time on a long commute or sharing a special moment on a family road trip, music has the power to transform mundane moments into something remarkable,” comments John Couling, Senior Vice President of Entertainment at Dolby. “Cadillac’s lineup of Dolby Atmos equipped vehicles is re-imagining the driving experience, ensuring every journey is unforgettable no matter where it takes you.”
John Cockburn, Chief Engineer at Cadillac, adds, “Innovation is at the core of the Cadillac brand, and our collaboration with Dolby marks a transformative shift in how in-car entertainment elevates the driving experience. Together, we are taking audio to new heights by ensuring the music experience stays true to the artist’s original vision, delivering a sound experience that makes consumers feel like they are in the music studio with them.”
Find out more over at Dolby Atmos and Cadillac. 
The post This car company is fitting its entire 2026 range with Dolby Atmos – here’s why appeared first on MusicTech.

“Screw the gear. Develop your skills before you go and buy something”: Emma-Jean Thackray explains why musicians should invest in creativity, not gearWith thousands of new pieces of gear and software being released every day, it’s easy to assume that the key to making great music lies in having the perfect collection of tools. But for Emma-Jean Thackray, that assumption couldn’t be further from the truth.
The producer, composer and multi-instrumentalist – whose sophomore album, Weirdo, is due out 25 April – speaks in a new interview with MusicTech, where she opens up about her creative ethos and her views on gear.

READ MORE: YouTuber says music theory makes you a “good analyst or technician” – but not necessarily a good songwriter

According to Thackray, one of the biggest myths in music production is the idea that acquiring the right gear will get you to where you want to be.
“What really matters is your ideas and your performance. Sure, you can perhaps better communicate your ideas with good gear, but if you only have an iPhone, your voice, and a great song, then you can still do something really powerful,” she explains.
“Most of your effort should go into gaining more knowledge and working on your composition skills. A lot of post-production is unnecessary if you get the performance and sound right while tracking. If you can arrange well, some of the mixing process is done for you already.”
While a well-mixed track is, of course, “invaluable”, Thackray argues that it’s the “icing on the cake” and that the foundation of a song is far more crucial.
“It’s pointless icing a shit cake,” she says. “Develop your skills before you go and buy something.”
For Thackray, the most valuable investment a musician can make isn’t in gear — it’s in themselves. And she speaks from experience: her forthcoming album, Weirdo, is a testament to her philosophy. She didn’t just write and perform the songs — she recorded, mixed, produced, and arranged the entire project herself.
“Truthfully though, I think my biggest investment is me. I’m the one with all the ideas. Gear means nothing without the creativity behind it,” she says. “The investment is my education, the time I’ve spent listening to so much music, and the performing, composing, arranging, and mixing techniques I’ve honed over the years. Screw the gear.”
Listen to Thackray’s latest single Wanna Die below.

The post “Screw the gear. Develop your skills before you go and buy something”: Emma-Jean Thackray explains why musicians should invest in creativity, not gear appeared first on MusicTech.

Carl Cox is bored of DJing: “Instruments don’t play themselves; you have to create the sounds”Oh yes, Carl Cox loves playing to crowds just as much as when he started four decades ago:

READ MORE: Deadmau5 sells his catalogue for $55 million: “We inherit a legacy that changed music forever”

“The idea of my performance is always excitement. What’s going to happen? The creativity of that — what can I achieve? How do I connect with people?” Cox says.
But these days, his excitement, creativity, and connection come from his live electronic set, not DJing. Cox has completed the DJ game. In this phase of his career, the 62-year-old steps on stage, and, with the help of a Pioneer V10, a bevy of machines, and his inimitable ability to respond to crowds, he creates music that will never be heard again.
“It’s only me, from my point of view, coming down from the DJ pedestal to go into realms of creativity. The machines don’t play themselves. You have to create the sounds. You have to find the rhythm. You have to find its soul. When it all comes together, it comes through the speakers, and everyone’s got their hands in the air — there’s your moment,” Cox says. “That’s where I’m happiest because I’m being challenged.”
Image: Dan Reid
Cox is currently preparing to debut his brand new live set, Evolution, at Ultra Music Festival on 29 March. But he’s been seeking challenges onstage long before he developed this show.
“I’ve always had aspirations of being a live electronic artist,” Cox says. He recalls watching Liam Howlett perform for The Prodigy with an Ensoniq SQ-80 in the early 90s, when Cox was opening for him as a DJ.
Inspired, Cox decided to start the Carl Cox Concept, a trio that included Cox on keys, MC Magika on the mic engaging with the crowd, and Neil McLellan, a producer who worked on The Fat of the Land and other albums from The Prodigy, also using an SQ-80.
But Cox stopped the trio — he was too in-demand as a DJ and hungry for growth.. “I hadn’t reached the highest heights as a DJ to be able to say to myself, ‘I’m going as a live act.’ So I dropped the live,” Cox says.
Cox didn’t perform a live electronic set from 1992 until 2010, when he finally assembled a couple of shows in Melbourne for his album All Roads Lead To The Dancefloor. The album got a lukewarm reception, despite his diligent work with vocalists and instrumentalists, so he quickly reverted to DJing and swore he was never going to make another album. 10 years later, two things happened in quick succession in 2020: the pandemic eliminated live events and he received a beta version of the Pioneer DJ V10.
Image: Pres
“I said to the world, ‘That mixer is a game changer’. People were like, ‘How much is he getting paid to say that?’ But every DJ now wants to use a V10 mixer,” Cox says. “I never was a massive Pioneer fan. I always felt that the sound of Pioneer would be cheapened based on the components they used to use back in the day, but now it’s as good as any [premium] mixer out there.”
The most groundbreaking aspect of the V10, for Cox, is its ability to separately record each channel into Ableton Live, while many other mixers can only output a stereo feed. “When I told people you can record each channel like they’re stems in Ableton, people thought I was mad. I was using Richie Hawtin’s Model One mixer before I changed over to the Pioneer. It doesn’t do that.”
With this new tech available while he was on a forced break from touring in 2020, Cox spent his time off the road jamming on hardware. He would plug his Moog Labyrinth, Moog DFAM, Roland TR-8S, and various other machines into the V10, link them with Ableton, hit record, and start making music.
Image: Press
After one particularly fruitful jam session, he realized he had a whole album’s worth of material recorded into Ableton — after just 90 minutes. Just as new tracks unfold before him during his live set, new tracks were revealing themselves to him in the studio. That material became his 2022 album, Electronic Generations.
“I found as I was doing all these different ideas while I was jamming that I was actually making a live album. I wasn’t expecting to do an album. But everything that was coming about, I could tell — ‘That’s another track. That’s another track. That’s another track.’ I found myself doing about 25 tracks,” Cox says. This process birthed the new live setup he’s been touring since events resumed.
“I didn’t want to come out of COVID and just continue to DJ. I [like to] dive into the machines, swim around in all their components, and find out all these wonderful things that can come out of them that turn a corner on people’s expectations,” Cox says.
Cox will always be a legendary DJ but many of his world-class contemporaries are yet to follow him on this creative path. David Guetta put it similarly in 2024 — “In our profession, there are now…Entertainers and DJs.” These ‘entertainers’, says Guetta, stand behind decks of CDJs playing their own songs in their entirety, with little improvisation and a focus on props and stage production. “I don’t think that’s DJing,” adds Guetta.
DJs, on the other hand, read the crowd, play the music that fits the moment and introduce audiences to new music. Such entertainers, Cox says, are squandering their skills as a DJ.
Image: Press
“It’s the reason why a lot of DJs are bored. They’re playing the same tune, week in, week out,” Cox says. His remedy to that boredom is the machines, but in his experience, very few DJs have any interest in playing a live set.
“If you stick most DJs in front of [a live setup], they’ll just walk away. I feel there’s laziness to that, because when you go in the studio to record, you use these machines. You use a drum machine. You use synths. You use keyboards. So why don’t you do what we’re doing in the studio, and then create that live?” Cox says.
Cox is creating tracks in the studio and on stage with 13 different pieces of gear including his MacBook Pro running Ableton Live, an Ableton Push, Novation Launch Control XL, Abstrakt Instruments’ Avalon (to emulate the sound of the Roland TB-303), and a MOTU Ultralite mk5. All this runs into the six channels on the V10, and he puts a DOCTron IMC on the master chain.
Channel 1 is a palette of kick drums in Ableton. His music is based heavily on four-to-the-floor beats, which allows him to manipulate the sound of his set drastically. He can infuse any track with a different energy, from round and funky house kicks to deep and throbbing techno kicks.
Image: Press
“If I’m using a track, I normally take the kick out of that, and then put a new kick on top, so the track sounds different. But sometimes, that track has a good kick. I don’t even use any of mine. So I exchange, or I use the kick in a track and then use my kick to really get that bottom slamming,” Cox says.
Channel 2 is reserved for the TR-8S for the classic Roland drum machine sounds. Channels 3 and 4 include the full tracks he wants to play during his set that he can then manipulate with the machines and the mixer. Channel 5 controls the Abstrakt for the 303 bass, and then channel 6 is a submix of the rest of his Moog synths, percussion clips, and samples from Ableton for any further sonic decoration.
“I hear a track, find a good loop area, and I basically make a track from that loop. Then I work that, and take the channel from the Ableton out, and already have another new track being created. So I use that as my paint board,” Cox says.
For past live shows, he’s used mixing desks with 64 channels to give him all the room he needs for all of his desired functions. However, the tactility of the V10 allows him to perform like he does when he’s DJing. Still, Cox remarks that routing all of this into the V10 is still limiting him a bit because it only has six channels: “I could actually use two more extra channels on this mixer, but [Pioneer DJ]’s not listening to me,” Cox says with a laugh.
“I create the energy of my music through the mixer. Cuts, fades, and effects. I use it as an instrument. Where all the other mixers you put the fader up and fader down, you go to a channel on an insert and find an effect that you want to use. That slows me down,” Cox says. “Having a V10 as my only DJ tool within my live set keeps me on my toes.”
Image: Press
Keeping his eyes off his computer screen is crucial to remaining on his toes. He wants to give his attention to the machines and the crowd, absorbing their energy and transmuting into the music as directly as possible.
“I don’t want to be seen scrolling the menu. It makes me a very dull looking performer,” says Cox.
Though he’s concerned with how he looks, he is more concerned with sound quality. That’s why he has the DOCTron IMC. Given that Cox is combining numerous live elements rather than outputting tracks that have already been properly mastered, the extra bit of compression and limiting from the DOCTron (made by fellow techno gearhead, Stimming) helps him glue everything together.
“The difference is unbelievable. It takes what you’ve got and makes it into the most beautiful butterfly. The sound guys love me for it because they cannot believe the signal that they get,” Cox says. “You just feel the sub level tones you never thought existed. It brings it all out. I want this to sound live.”
Over the past 40 years, millions of people have heard Carl Cox say “Oh yes! Oh yes! Oh yes!” on the mic at his shows. He says this to fire up crowds into uproaring cheers, and as he challenges himself with new machines, new methods of performance, and new ways to deliver top tier musical experiences, he is just as excited as they are.
The post Carl Cox is bored of DJing: “Instruments don’t play themselves; you have to create the sounds” appeared first on MusicTech.

Chromatic Instruments release free Casiotone MT-65 emulation for NI Kontakt
Chromatic Instruments has released Pistachiotone MR-65, a free Kontakt library that faithfully captures the nostalgic sounds of the Casiotone MT-65 synthesizer. To function, it requires the full version of Kontakt 6.8.0 or later. For those of us who grew up with—or at least picked up—second-hand vintage Casio keyboards, this release hits right in the nostalgia [...]
View post: Chromatic Instruments release free Casiotone MT-65 emulation for NI Kontakt

Kemper update Profiler Player Kemper have announced that their compact amp and effects modeller has received a free software update that introduces a whole host of powerful new features.