Is SMS marketing worth it for musicians, venues on a budget?SMS or text marketing can deliver strong results, particularly with younger audiences and within certain genres. ​But is SMS marketing worth it for musicians, labels and venues of a tight budget?
The post Is SMS marketing worth it for musicians, venues on a budget? appeared first on Hypebot.

Native Instruments’ NKS ecosystem is officially live, offering easy integration with leading controllersThe new Native Kontrol Standard (NKS) ecosystem from Native Instruments is now officially live, allowing producers to use Native Instruments software with a range of controllers made by leading brands.
NKS is essentially a standardised software designed to be compatible across a wide range of instruments and effects offered by a number of significant partners. The launch follows an initial announcement from Native Instruments made during January’s NAMM event.

READ MORE: Native Instruments Komplete 15 is still the essential mega bundle

This new technical standard from the brand means virtual instruments are precisely connected to the controls on your physical hardware, so there’s no need to spend time creating, saving, and loading custom mappings.
NKS integration is now available for leading controllers from Akai Professional, Novation, Nektar, Korg, and M-Audio, providing access to over 2,000 NKS-compatible instruments and effects from more than 250 brands.
As of 26 February, NKS compatibility now extends to the following controllers:

Akai Professional: MPK Mini Series (MPK Mini, MPK Mini Play, MPK Mini Plus)
Novation: Launchkey MK3 & MK4, FLkey, SL MK3
Korg: Keystage MIDI 2.0 controllers
M-Audio: Oxygen Series keyboards

And, in April 2025, it will also be compatible with the Nektar Impact LX MK3. Check out the video below to see how NKS works in action:

As part of the launch, owners of NKS-ready hardware from Novation, Nektar, Korg, and M-Audio will receive Komplete 15 Select ($99 value) for free, offering a multitude of sounds tailored for beats, songwriting, or electronic production. Akai Professional users will receive a tailored Komplete 15 Select with MPK purchases, featuring tools such as Massive X, Battery 4, and iZotope’s Nectar 4 Elements.
“This expansion reinforces our commitment to an open and connected music industry,” comments Simon Cross, Chief Product Officer at Native Instruments. “By integrating NKS across leading hardware brands, we’re ensuring more musicians can access professional tools without workflow limitations.”
Find out more over at Native Instruments.
The post Native Instruments’ NKS ecosystem is officially live, offering easy integration with leading controllers appeared first on MusicTech.

Clio Music Award winners: Pearl Jam, Megan Thee, MoreThe Clio Music Awards winners have been announced for 2025 recognizing creative excellence in music marketing and the use of music in advertising globally.
The post Clio Music Award winners: Pearl Jam, Megan Thee, More appeared first on Hypebot.

Grace Design's upcoming m701 interface Grace Design's new m701 inteface aims to offer a high-quality solution for everything from simple ‘in the box’ systems to large hybrid studio setups. 

Roland AIRA Compact P-6 is a mini sampler perfect for lo-fi beats — but is it too complicated?£190, roland.com
There’s something appealing about carrying a cool-looking hardware instrument in your pocket rather than tapping away at a phone or iPad screen and being able to make music anywhere. The evergreen popularity of Korg’s Volca series, Teenage Engineering’s Pocket Operators and Roland’s super-compact AIRA’s clearly attests to this.

READ MORE: “Not an instrument for the impatient and unforgiving”: Soma Laboratory’s Lyra-4 is a feral, affordable, drone monster

The AIRA Compact series is the brand’s attempt to distil the best of its hardware range into highly portable, affordable units — in a similar fashion as Korg with its Volcas. There’s definitely a demand for this type of instrument that’s fun yet, at the same time, does ‘proper’ music things, like hooking up to other gear and sounding record-ready.
The new P-6 Creative Sampler is not just a sample playback and sequencing instrument but also a capable sampler in its own right, with a bunch of sampling options that go beyond what you might expect from such a compact unit. And compact it is – it’s not much larger than a big smartphone.
Roland claims it’s ideal for beginners and professionals alike, but can that really be true? With opinions online seemingly differing about the friendliness of its interface, who is this instrument actually for?
Despite its tiny size, the P-6 doesn’t lack important hardware features. It has an internal rechargeable battery that draws power over USB-C, taking a rather lengthy three hours to charge and offering three hours of playback. When connected to your computer it keeps charging and also appears as a two-in, two-out audio interface and is able to sample audio from the USB-C port, for example when a phone or iPad is connected to it. The port also carries USB MIDI.
Image: Press
Elsewhere, the ports keep coming, with sync in and out jacks for connecting other units in the series and playing them together, mix in and out mini jacks (with the Out doubling as a stereo input for a headset mic) and MIDI in/out mini-jack sockets on the rear for connecting external gear. MIDI adapters aren’t supplied but this seems like a feature that only a percentage of buyers of this particular unit would likely use, and the cables are inexpensive add-ons.
Rounding out the live sampling options is a mono microphone embedded in the main panel. With impressive recording quality for its size, it makes the instrument truly portable – combined with the internal battery – meaning you really can use it with literally no extras, even if you’ll get a cleaner take with one of the alternative input methods.
The P-6 is capable of importing samples over USB too, using the P-6 Sampletool app for Mac or PC (though not iOS) with a simple user interface for assigning, editing and downsampling audio files. Accessing the instrument’s memory from a computer involves rebooting it into different modes, which is a minor inconvenience, and ideally could be streamlined in a future update.
Image: Press
And so, into business. Up to 48 samples can be stored internally, with a maximum mono sample time of 5.9 seconds at 44.1 kHz per sample, all the way to 23.7 seconds at a rather gritty 11.025 kHz per sample. These numbers are halved for stereo samples which will appear incredibly limiting for users of software samplers, though not for anyone who grew up with hardware, which is really the vibe that Roland seems to be going for here. Roland’s pricier SP-404MKII can handle much longer times if that’s what you’re after.
You can sample from any of the inputs mentioned and even resample internally for more layers, then build your sequences – 64 steps times 64 patterns with copy, paste and step or live sequencing across the tiny buttons and the larger pads – which incidentally are not velocity sensitive. There are cool tools available here including motion recording, probability, micro-timing and sub steps. Each sample can be edited, with samples sliced and mapped across the pads, or played chromatically in Keyboard mode.
Image: Press
There’s also a Granular engine inside, which is remarkable for such a compact instrument. This allows you to break sounds down into grains, conjure textures and tones from simple samples, and add a sort of second instrument into the mix. Plus, you get multi-effects that can be punched into pads and samples too; 20 in total, with delay and reverb as sends. Particularly fun are the Scatter, Filter and Pitch effects, which you can essentially DJ with, lending this tiny box even more kudos as a live performance instrument.
All this is excellent — but there are caveats. Firstly, the four-character LED screen is too basic and cryptic for the number of things it’s trying to do. Maybe Roland is clinging to the spirit of retro hardware but, while it’s fine for numbers, it struggles with text, making it hard to know what’s going on unless you’re already familiar with the instrument. Even a scrolling display would help, or better still, a small LCD like on instruments such as Teenage Engineering’s PO-33.
This leads us to a second issue; the ambition of the P-6 can’t quite be matched by its size. Many functions require shift button presses, various knob turns and menu dives. It’s difficult to keep track of which part of what you’re editing or working on, and the non-backlit parts of the interface – some of the text and buttons – can be challenging to read in anything other than strong light. The desktop app, which you might expect to relieve some of this, is actually rather. basic and mostly limited to sample transfer.

It’s telling that, of the reviews that have appeared online, the more consumer-oriented reviewers have struggled with its usability and design, while the more music technology-specialised outlets generally haven’t focused on this being an issue. Most gear has a learning curve, but here it is especially steep if you want to go into any depth, and you’ll find yourself referring to the manual a fair amount until your muscle memory for the interface has developed.
To be clear – it’s cool for all but the most technophobic of producers, and even just the curious will be fine eventually. Just be prepared to spend time learning. It’s a very capable instrument that will reward the time you put into learning it and its price and portability are appealing, for sure. Jumping up to something like the SP-404 MKII will give you more capacity and an easier workflow but pushes the cost close to £400. Teenage Engineering’s PO-33 can be had for around £80, which is great value but not as accomplished as the P-6.
Beatmakers with tons of experience in samplers and beatmaking will find its limitations pretty quickly — but bending those limitations can be a fun process, too.
Assuming you do invest that time, you will find the P-6 a remarkable device. Its sampling time is limited and there’s that interface to learn, plus sample management could be slicker. But it has superb in/out options, can operate completely free of extra gear, and incorporates a granular sound engine, mighty multi-effects and powerful sequencing features. It’s affordable too, making it a relatively risk-free purchase for most.
Key features

USB-C power, audio and MIDI
Rechargeable battery
48 samples, with up to 5 minutes of total sampling time (depending on sample rate used)
64 patterns x 64 steps
Onboard granular sound engine
Sampling from multiple inputs including onboard mic
20 multi-effects
Internal resampling
Sample chopping and editing
MIDI in/out mini-jacks
Dynamic sequencing features
Dimensions: 188 mm x 106 mm x 37 mm
Weight: 305g

The post Roland AIRA Compact P-6 is a mini sampler perfect for lo-fi beats — but is it too complicated? appeared first on MusicTech.

Arturia’s Winter Sale Arturia’s Winter Sale is running until 11 March, with everything available exclusively via the company’s website and the Arturia Software Centre.

“I’d like to dedicate this moment to SOPHIE”: A.G. Cook is the BRITs 2025 Producer of the YearA.G. Cook has been crowned Producer of the Year ahead of the 2025 BRIT Awards.
Chosen annually by a select panel of expert judges, the award has previously been presented to the likes of Chase & Status, David Guetta and Calvin Harris.

READ MORE: “Streaming has levelled the playing field for music markets around the world”: No UK artists ranked in Top 10 global bestseller charts for first time in 20 years

An artist, producer and label head, Cook has reshaped the landscape of pop music over the past decade with his wild experimentation and innovative production. After founding the label PC Music in 2013, he gained recognition for his pioneering work with its vast network of artists, including the Grammy-nominated Scottish DJ and musician, SOPHIE.
Cook is a longtime collaborator of Charli XCX, having produced the singer’s latest Grammy-winning album Brat. He also released his acclaimed third solo album Britpop, last year.
Responding to news of his win, Cook dedicated the award to SOPHIE, who died in 2021 after a tragic accident: “As someone who’s always felt like a bit of an outsider, I’m very flattered to be recognised by The BRITs. From the early PC Music days to the Charli mixtapes and beyond, I’ve been lucky to work on so much music that I truly believe in. In particular, I’d like to dedicate this moment to SOPHIE, whose vision and artistry is still a driving force for producers everywhere.”
Damian Christian, Managing Director and President of Promotions at Atlantic Records and chair of the BRIT Committee for ,adds, “What a year A.G. Cook has had – from his expansive solo record Britpop to the world beating Brat, he has pushed the boundaries and delivered incredible music.”
“He is a true creative and has worked with the world’s biggest artists – always getting the best out of them and helping them evolve their sound. Congratulations to AG on being crowned the 2025 Producer of the Year.”
The BRIT Awards 2025 will take place on Saturday, 1 March, 8.15pm at The O2 arena. Comedian Jack Whitehall is set to host the show, which will feature live performances from Sabrina Carpenter, JADE, Myles Smith, Teddy Swims and The Last Dinner Party.

The post “I’d like to dedicate this moment to SOPHIE”: A.G. Cook is the BRITs 2025 Producer of the Year appeared first on MusicTech.

How To Make It in Country Music from Bailey Zimmerman and Nate Smith’s ManagerThis week, Ari is joined by Simon Tikhman, the co-founder of The Core Entertainment, to discuss how to break as a country artist today.

GZA AT THE NOVOThis past Sunday, hip-hop artist and founding member of The Wu-Tang Clan, GZA, took the stage at The Novo before a sold-out crowd where he opened for the R&B/soul/funk group Lettuce. GZA is known for remarkable performances, and his show at the Novo was no exception. GZA performed his 1995 second solo studio album Liquid Swords in its entirety—an album widely considered an all-time classic. An hour after the doors opened, fans waited patiently in anticipation of GZA hitting the stage. Just as GZA’s bandmates were tuning their instruments, GZA emerged, bearing a striking resemblance to his late cousin, Ol’ Dirty Bastard (ODB). No time was wasted as GZA launched into his first song “Shadowboxin’” followed by “Cold World.” GZA then brought out special guest rapper Killa Priest—best known for being featured on GZA's hit song “B.I.B.L.E”—and the pair’s performance was an instant crowd favorite. Songs like “Duel of the Iron Mic,” “Gold,” and “4th Chamber” had the crowd in a frenzy, shouting, "We want more! We want more!” Though most of the audience was too young to remember when Liquid Swords was first released, they still knew the words to every track.Just before his set closed for the night, GZA paid homage to his late cousin ODB by rapping a few of his songs, leaving the evening on a nostalgic note as the crowd once again sang along. After his performance, GZA took time to sign autographs for fans, many of whom were eagerly throwing albums, sneakers, and hats his way. With his usual humility, GZA ensured that everyone went home satisfied. His performance was unsurprisingly extraordinary, proving once again that hip-hop will never see another artist like GZA and that Liquid Swords remains unmatched.Photos by Daniel SeyumThe post GZA AT THE NOVO first appeared on Music Connection Magazine.

3 reasons why Solana (SOL) price is 50% down from its all-time highSolana price is 50% down from its all-time high as traders seek greener pastures on other blockchains.

Anthropic’s latest flagship AI might not have been incredibly costly to trainAnthropic’s newest flagship AI model, Claude 3.7 Sonnet, cost “a few tens of millions of dollars” to train using less than 10^26 FLOPs of computing power. That’s according to Wharton professor Ethan Mollick, who in an X post on Monday relayed a clarification he’d received from Anthropic’s PR. “I was contacted by Anthropic who told me […]
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Chloe Bailey hit with copyright infringement suit over ‘Trouble In Paradise’ tracksSinger, songwriter and producer 4Rest is seeking punitive damages of $5 million per track for three tracks on Chloe's second album
Source

Reverse-Engineering SKS Airspy Tire Pressure Sensors for Custom FirmwareAlthough a somewhat common feature on cars these days, tire pressure sensors (TPS) are also useful on bicycles. The SKS Airspy range of TPS products is one such example, which enables remote monitoring of the air pressure either to a special smartphone app (SKS MYBIKE) or to a Garmin device. Of course, proprietary solutions like this require reverse-engineering to liberate the hardware from nasty proprietary firmware limitations, which is exactly what [bitmeal] did with a custom firmware project.
Rather than the proprietary and closed communication protocol, the goal was to use the open ANT+ sensor instead, specifically the (non-certified) TPS profile which is supported by a range of cycling computers. Before this could happen the Airspy TPS hardware had to be first reverse-engineered so that new firmware could be developed and flashed. These devices use the nRF52832 IC, meaning that development tools are freely available. Flashing the custom firmware requires gaining access to the SWD interface, which will very likely void the warranty on a $160 – 240 device.
The SWD programmer is then attached to the 1.27 mm spaced SWD holes per the instructions on the GitHub page. After flashing the provided .hex file you can then connect to the TPS as an ANT+ device, but instructions are also provided for developing your own firmware.

Afroplug Kompa Plug LiteIntroducing the Revolutionary Kompa Plug: The Ultimate All-in-1 Plugin for Authentic Haitian Kompa Music Production. Whether you're influenced by Carimi, T-Vice, Klass, Nu-Look, Djakout... Read More