APG’s NESS Is The First FREE Sound Spatialization Software
APG (part of the Arbane Groupe) is a French loudspeaker manufacturer and creator of the NESS sound spatialization software for Windows and macOS. NESS stands for New Experience of Sound Spatialization and is the first software of its kind, according to APG. Of course, NESS isn’t the first immersive sound solution, but the developers describe [...]
View post: APG’s NESS Is The First FREE Sound Spatialization Software

Hit’n’Mix takes ‘in-the-mix editing’ to the next level with its new RipX DAW and RipX DAW PROHit’n’Mix’ today announces that its RipX software is now available as a fully-fledged DAW that comes in both standard and Pro versions.

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Said to be “the first and only DAW to treat audio and MIDI ‘as one’”, RipX DAW replaces existing RipX DeepRemix, DeepCreate and DeepAudio modules with a streamlined offering of one standard and one Pro version.
To start, RipX DAW features audio separation and in-the-mix note & chord editor technology. Once MIDI and audio are inside RipX, they are in Rip Audio format, and all features including editing and effects can be applied, no matter what. Ripx DAW offers 6+ tracks of stem/instrument separation each of which can be independently muted, soloed, extracted and adjusted. It also includes the ability to customise, clean-up, transform and rearrange ideas directly from AI Music Generators.
Users can record using a MIDI/ MPE/ laptop keyboard, or microphone/ audio input, laying down sounds extracted from existing audio, or the built-in library. There’s also a wide range of single-click automated effects included, allowing for plenty of experimentation.

RipX DAW PRO, meanwhile, includes all of the features and functionality of the RipX DAW, with the addition of advanced stem and AI Music Generator clean-up, Audioshop sound manipulation tools, and pro DAW features that enhance workflow.
Creators can tweak sounds at the harmonic level, draw in guitar slides and vocal embellishments, and edit noise and unpitched sound without affecting the melody. Python scripting is also included for complete programmatic control over audio.
According to Hit’n’Mix’, RipX DAW is designed for every kind of music and audio creative, with “special emphasis on the new generation of AI-inspired content creators.”
“From AI generated music access and refinement, to stem separation, to instrument replacement, this update also includes over 100 workflow enhancements,” says the brand.
Of the new release, producer and songwriter Riley Knapp says: “The output of most AI Music Generators is robotic, chaotic and usually unlistenable. This is due to the fact AI ‘samples’ contain elements that are out of key, out of time and don’t follow any musical structure.”
“With RipX DAW, I am able to separate each sound within a generation, re-pitch and fine tune any elements, create a musical structure out of it and replace any subpar sounds with high quality sounds. RipX DAW’s unique ‘Edit-in-Mix’ workflow makes it possible to humanise AI Music.”
RipX DAW is priced at $99/ £99/ €114 while RipX DAW PRO will cost you $198/ £198/ €228.
Hit’n’Mix is now offering 30 percent off both versions and upgrades in their Black Friday Sale, which runs from 7 November to 7 December 2023.
Learn more at Hitnmix.
The post Hit’n’Mix takes ‘in-the-mix editing’ to the next level with its new RipX DAW and RipX DAW PRO appeared first on MusicTech.

Meet Flow, a generative sequencer which uses algorithms to break free of “conventional” sequencingOrthogonal has launched a generative, non-linear MIDI sequencer for Ableton Live called Flow. The sequencer uses algorithms to break free of “conventional” sequencing for “infinitely long” and varying musical patterns.
Flow utilises the concept of a “parallel hierarchical probabilistic state machine” which may sound confusing, but Orthogonal has broken down exactly what this means.

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“Flow is based on a simple but powerful idea: a state machine. Think of it like a musical heart that pumps out beats and melodies,” says the brand. “You can define trigger states that contain musical notes or modulation values, and configure transitions between these states – as opposed to arranging musical events on a fixed grid.”
To simplify, you can feed Flow different musical rules such as “a G chord is followed by an Am chord,” or  “a loud hi-hat note is followed by a soft note, which is followed by loud.”
Users can let Flow generate sequences as simply or as random as they like by using looser terminology in their rules. Using probabilistic terms such as “usually” or “often”, sequences can become much more unpredictable. “The G chord is usually followed by the Am chord, but sometimes, it may be followed by the C chord,” is a given example of this by the brand.
You can also organise the state machines in a hierarchical manner, and you can also use four parallel independent sequencer parts that can run simultaneously. This means users are able to split their patterns into polyrhythmic sections which can behave independently and complement each other.
View the video below to see it in use:

You can purchase Flow now for $39 (excluding VAT) via Orthogonal. This is a one-time payment, and further updates will be free.
The post Meet Flow, a generative sequencer which uses algorithms to break free of “conventional” sequencing appeared first on MusicTech.

Is Now and Then really the end? Peter Jackson says it’s “conceivable” to make more Beatles tracks using AIPeter Jackson has said it is “conceivable” for more tracks by The Beatles to be released utilising his MAL audio software.
Jackson and his sound team used a demixing technique on Lennon’s demo of the newly released track Now And Then to preserve the clarity of his vocals by separating it from the piano. The song has been branded as the “last” Beatles song.

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Released on 2 November, Now And Then features all four members of The Beatles. Alongside the release, a 12-minute Now And Then – The Last Beatles Song documentary film was released which tells the story behind the track.
But could more songs from The Beatles be revived using a little bit of AI tech? Although Jackson calls it “fanboy stuff”, he hasn’t denied that it is possible and has said that the thought has already “crossed his mind.”
“We can take a performance from Get Back, separate John and George, and then have Paul and Ringo add a chorus or harmonies,” he says. “You might end up with a decent song but I haven’t had conversations with Paul about that. It’s fanboy stuff, but certainly conceivable,” he tells The Sunday Times.
The involvement of AI in a new Beatles track had the internet in a frenzy when Paul McCartney had originally mentioned the tech in an interview earlier this year. AI has been used to emulate the vocals of many legendary artists, but in this case it was purely used to clean up a recording which already existed.
Since the release of Now And Then producer Giles Martin has clarified that AI software was only used to extract and clean up Lennon’s vocals on the demo track.
If you haven’t already, you can check out the song below:

The post Is Now and Then really the end? Peter Jackson says it’s “conceivable” to make more Beatles tracks using AI appeared first on MusicTech.

PinkPantheress lost out on a studio session with Kendrick Lamar because her phone was on silentPinkPantheress has revealed that she “nearly” recorded a guest feature for a Kendrick Lamar song but missed out because her phone was on silent.
The singer-songwriter said in a new interview that she was on a date in a cinema when the notification had come through, so she didn’t see it until afterwards and subsequently missed her chance.

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“I’m not trying to date, even though I love dating,” she tells iD magazine. She later admits that she missed the studio session after her date asked her she put her phone in silent during the film.
“Oh fuck, I can’t even think about it,” she says. “I was watching Nightcrawler with this guy.”
Despite missing the Kendrick opportunity, PinkPantheress has still been involved with plenty of collaborations throughout 2023, including Boy’s A Liar with Ice Spice, and Rush by Troye Sivan and Stray Kids’ Hyunjin.
She is set to release her debut album, Heaven Knows, this Friday (10th November), which features previously released singles Mosquito and Capable of Love.

According to a press release, Heaven Knows reveals inner self-reflection as the singer explores various types of relationships, including romantic, parasocial, materialistic pursuits, grief, and finding contentment within loneliness. It features collaborations with Greg Kurstin, Mura Masa, Danny L Harle, Count Baldor, Phil and Cash Cobain, among others.
Speaking of the LP in a press statement, the singer says: “The record is about grief for a loss but being at peace with yourself in your aloneness. Journeying from hell into purgatory, but I’m ok with being there.”
She will also embark on a UK and EU headline tour in 2024, which will see her play a huge headline show at London’s Alexandra Palace.
The post PinkPantheress lost out on a studio session with Kendrick Lamar because her phone was on silent appeared first on MusicTech.

The Weeknd’s mix engineer on Dolby Atmos: “Artists would have these ‘oh shit’ moments… because what they heard in the room didn’t match experience on the headphones”Joe Grasso, mix engineer for The Weeknd, Yung Gravy and more, has opined on the current state of Dolby Atmos mixing and the artists who make use of the technology.

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Grasso shares his thoughts in a recent conversation with Audiomovers founder Igor Maxymenko, the team behind the new Binaural Renderer plugin, which allows creators to sample what their Dolby Atmos mixes will sound like on Apple Music whilst still working in their DAW.
According to the mixing veteran, there often is a gap between what artists expect their songs to sound like on Apple Music and what those tracks end up sounding like.
“I mixed over 3,000 albums in Dolby Atmos. So I’ll give you a best case and worst case scenario,” he begins. “Best case scenario. We mix something in the room, the artist comes in the room, they hear it and they approve it, and they go home and if they want to hear a copy at home, we render out an MP4 and send it to them.”
“And they hear and they can approve it in headphones if they want. And it sounds just like what they heard and it goes on Apple Music and everything is great.”
As Grasso explains though, this pretty much “never” happens and “what ended up happening is, artists would have these ‘oh shit’ moments on Friday morning.”
“When it does get released on Apple Music, they don’t like what they [are] hearing, ​ we’re going backwards because what they heard in the room didn’t match the experience on the headphones.”
Fellow mixing engineer Ariel Borujow — who’s engineered for Madonna and the like — also chimed in on the conversation, saying “I think for a lot of the artists right now there still is a big mystery about Atmos. So getting them excited about it and to care about it as much as stereo is different.”
“They know they can check stereo in the car and they know what to expect everywhere. I think, right now, really getting them to be comfortable with what’s on Apple Music is key,” he adds.
“So I think doing this with the bigger artists who you know, mostly would say ‘I don’t care, I don’t care’. It’s not only helping speed up the approval process, but it’s actually helping us get approvals that we wouldn’t have otherwise gotten or would have gone to A&R rather than artist so that connection with the artist is great”.
The post The Weeknd’s mix engineer on Dolby Atmos: “Artists would have these ‘oh shit’ moments… because what they heard in the room didn’t match experience on the headphones” appeared first on MusicTech.

Glenn Coleman: 1951 – 2023 Glenn Coleman designed and manufactured a range of switching, monitor control, processing and metering solutions under the Coleman Audio brand.

Abbey Road’s Amplify event Amplify is a two-day event which sees Abbey Road Studios open its doors to young artists, engineers and creatives for two days of free masterclasses, interactive sessions, workshops, A&R demo feedback sessions and Q&As.

BDSP Cross Pollinator BDSP has released its first plugin Cross Pollinator, a multi-delay with 4 delay-lines that are freely routable into one another. Cross Pollinator is incredibly powerful yet... Read More

Online store exposed millions of Chinese citizen IDsA security researcher said he discovered millions of Chinese citizen identity numbers spilling online after an e-commerce store left its database exposed to the internet. Viktor Markopoulos, a security researcher working for CloudDefense.ai, said he found the database belonging to Zhefengle, a China-based e-commerce store for importing goods from overseas. The database contained more than […]
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Taylor Swift’s 1989 (Taylor’s Version) attracted 1,329% more streams than the original version of 1989 in the US last weekWhat impact will 1989 (Taylor's Version) have on the weekly streams of the original version of the album in future weeks?
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Solana price corrects as recent (SOL) rally factors come under questionSOL price has started to cool off as investors potentially question the reasons for the most recent double-digit rally.

Did Anthropic just reveal how it will try to beat Universal’s landmark music copyright lawsuit?Anthropic responds to the Copyright Office’s Notice of Inquiry on Copyright and Artificial Intelligence
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An in-depth look at 5 instruments from South India
Join us as we take an in-depth look at the origin, structure, function, and more of five instruments from South India.

SESAC Celebrates Songwriters and Publishers at 2023 Nashville Music AwardsAs CMA Awards week commences in Nashville, SESAC Performing Rights kicked off the celebrations, honoring songwriters and music publishers behind the year’s most-performed country and Americana songs at the company’s annual Nashville Music Awards held at the Country Music Hall of Fame® and Museum.Jon Nite was named SESAC’s Songwriter of the Year for his hits like “Dancin’ In The Country,” recorded by Tyler Hubbard, “You Didn’t,” recorded by Brett Young, and “Pick Me Up,” recorded by Gabby Barrett. With over 18 #1 songs to his name, Nite is one of Nashville’s most prolific songwriters. SESAC’s Song of the Year was awarded to the smash crossover hit “Thank God,” penned by Josh Hoge and Christian Stalnecker, and recorded by Kane Brown and his wife, Katelyn Brown. Sony Music Publishing took home the title of Publisher of the Year, after winning seven awards throughout the night.  To kick off the evening, Megan Moroney performed her award-winning song “Tennessee Orange,” a contender for Song of the Year at the 57th Annual CMA Awards. At the end of the night, Dillon Carmichael performed his moving single, “Son of A,” which received a performance award during the show.  

NASHVILLE, TENNESSEE - NOVEMBER 05: Megan Moroneyattends the 2023 SESAC Nashville Music Awards at Country Music Hall of Fame and Museum on November 05, 2023 in Nashville, Tennessee. (Photo by Terry Wyatt/Getty Images for SESAC)

NASHVILLE, TENNESSEE - NOVEMBER 05: (L-R) Shannan Hatch, Blanco Brown and Lydia Schultz Cahill attend the 2023 SESAC Nashville Music Awards at Country Music Hall of Fame and Museum on November 05, 2023 in Nashville, Tennessee. (Photo by Terry Wyatt/Getty Images for SESAC)

The SESAC Heritage Award was presented in recognition of Albert E. Brumley, honoring 80 years of partnership with SESAC, and celebrating his legacy. Betsy Brumley was in attendance to accept the award, and guests were treated to a special performance of “I’ll Fly Away” by Jamey Johnson.  The celebration was hosted by SVP, Head of Nashville Creative Shannan Hatch, alongside Senior Directors, Creative Services, ET Brown and Lydia Schultz Cahill. More than 400 songwriters, publishers, and industry professionals attended the awards celebration, sponsored in part by Gibson Guitars, Hatef Aesthetics, Badger, Better Than Booze, Bombas, Chewsy, Essie, Garnier, Havaianas, Kiehl’s, Osea, Otterbox, PuraVida, Redken, and Soapy Faith. For more, visit www.sesac.com 

Honorees:“THANK GOD”Written by: Josh Hoge, Christian StalneckerPublished by: Blunts and Bonfires Music, Feels Like Friday, Sony Music Publishing, Chorus 2 Music, RMM 416 PublishingRecorded by: Kane Brown and Katelyn Brown“DANCIN’ IN THE COUNTRY”Written by: Jon Nite Published by: Cuts Like A Nite Music, Sony Music PublishingRecorded by: Tyler Hubbard “TENNESEE ORANGE”Written by: Megan MoroneyPublished by: Georgiamo, Sony Music Publishing Recorded by: Megan Moroney “YOUR HEART OR MINE”Written by: Justin EbachPublished by: Phat Racoon, Universal TunesRecorded by: Jon Pardi “YOU DIDN’T”Written by: Jon NitePublished by: Sony Music PublishingRecorded by: Brett Young“PICK ME UP”Written by: Jon NitePublished by: Cuts Like A Nite Music, Sony Music PublishingRecorded by: Gabby Barrett “GIRL IN MINE” Written by: Casey BrownPublished by: Track & Feels, Warner Chappell Music, Tape Room TunesRecorded by: Parmalee“WATER UNDER THE BRIDGE”Written by: Chris LaCortePublished by: Card Tables Music, Hang Your Hat Hits, Concord TunesRecorded by: Sam Hunt “BURY ME IN GEORGIA”Written by: Josh HogePublished by: Blunts and Bonfires Music, Chorus 2 Music, Sony Music Nashville Recorded by: Kane Brown“OUT IN THE MIDDLE”Written by: Ben Simonetti, Zac Brown Published by: Simonetti Music Publishing, Day For The Dead PublishingRecorded by: Zac Brown Band“Y’ALL LIFE”Written by: Josh Jenkins, Pete GoodPublished by: Follow Me Where I Go, SMACKWORKS MusicRecorded by: Walker Hayes“SON OF A”Written by: Dillon Carmichael Published by: Riser House Tunes, Sony Music PublishingRecorded by: Dillon Carmichael “PARTY MODE”Written by: Jared KeimPublished by: Twelve6 Sequoia, Warner Chappell Music Recorded by: Dustin Lynch “CHANGE OF HEART” Written by: Margo Price, Jeremy IveyPublished by: Peach Pit, Fisheye, RMM 416 Publishing, Good Songs We LoveRecorded by: Margo Price “THAT KIND OF LIFE (THAT KIND OF DAY)” Written by: Jim LauderdalePublished by: Wudang Mountain Songs, Critter City MusicRecorded by: Jim Lauderdale“TALL AND MIGHTY”Written by: Kelsey WaldonPublished by: MyKaintuck Publishing, Do Write MusicRecorded by: Kelsey Waldon“DON’T LET THE DARKNESS”Written by: Ed JurdiPublished by: Three Pisces MusicRecorded by: The Band of Heathens“ALL I REALLY WANNA DO”Written by: Henry BrillPublished by: Kobalt Group Publishing Recorded by: Devon Gilfillian  

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