EastWest Hollywood Fantasy Orchestrator now available The final addition to EastWest's new fantasy scoring package helps users to quickly create everything from basic arrangements to complex orchestrated parts.

The Circuit Group Announces Partnership with Defected RecordsThe Circuit Group (pictured), the new enterprise led by some of the most respected artist managers in the world to build business opportunities around artists’ intellectual property, and global dance music institution Defected Records announced their strategic partnership. Under terms of the agreement, The Circuit Group will provide Defected expertise across their suite of services to help the label build their presence in North America, while Defected will support The Circuit Group as they expand their presence in the UK, Europe, and other territories around the world. Together, they will build new business around artists’ IP.

“Defected Records is without a doubt one of the most respected label brands in the world,” said The Circuit Group co-founder and CEO Dean Wilson. “Working closely with the label head Wez Saunders and his team will be invaluable to us as we continue to establish our new vision across the music landscape. Circuit and Defected are creating a partnership that helps artists build longer lasting, higher impact, more profitable careers across their labels, publishing, events and brand ventures. We’re looking forward to supporting Defected’s further expansion into the North American market.”

The Circuit Group, which was launched earlier this month when two established artist management companies – Seven20 and AYITA – merged to form a new kind of music enterprise. Circuit’s vision is to create a new business model centered around artists’ intellectual property, partnering with artists and strategic partners to create business verticals around recorded music, publishing, merchandise, brand partnerships, gaming, events, Web3 technologies, and cutting-edge music innovations. Circuit principals include industry veterans Dean and Jessica Wilson (Seven20), along with Brett Fischer, David Gray, and Harvey Tadman (AYITA).

Gibson App Launches “Master Chicago Blues with Kirk Fletcher”The Gibson App is guitar learning made easy. It simplifies the learning process and brings guitar playing to life for the current and next generation of guitarists with interactive lessons and songs. The Gibson App is the place for beginners to learn to play guitar, and for intermediate and advanced players to continually challenge themselves to reach new levels. The Gibson App works with any guitar and is accessible for both acoustic and electric guitar players. Inside the Gibson App Guide, players receive exclusive step-by-step guidance and instruction straight from the music icons who write and perform legendary songs. Download the Gibson App on Apple/iOS and Android HERE.

The latest addition to the Gibson App Guide is “Master Chicago Blues with Kirk Fletcher." Players will learn how to master the fundamentals of Chicago Blues with world-renowned blues guitarist extraordinaire Kirk Fletcher who has poured his heart and soul into crafting an exceptional guide that covers Chicago blues in 25 days. Fletcher dives deep into the essence of the famous Chicago blues, sharing his wealth of knowledge and expertise. Players learn every step of the way with video-guided lessons from Kirk Fletcher himself, showing all of his hints and tricks to master the individual parts, jump into the song lessons, and continue to refine newly acquired skills. New lessons and videos are posted every day, “Master Chicago Blues with Kirk Fletcher” is available exclusively on the Gibson App HERE.

Hester Peirce speaks out against LBRY enforcement action: 'The market could have decided'The SEC commissioner said the regulator’s actions “forced a group of entrepreneurs to abandon what they built,” with LBRY announcing in October it planned to wind down operations.

AI’s proxy war heats up as Google reportedly backs Anthropic with $2BWith a massive $2 billion reported investment from Google, Anthropic joins OpenAI in reaping the benefits of leadership in the artificial intelligence space, receiving immense sums from the tech giants that couldn’t move fast enough themselves. A byword for the age: Those who can, build; those who can’t, invest. The funding deal, according to sources […]
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From Spotify changing its royalty model to Universal’s $3bn in Q3… it’s MBW’s Weekly Round-UpThe five biggest stories to hit our headlines over the past seven days
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Hendyamps Michelangelo EQ from Tone Projects Tone Projects' new EQ plug-in painstakingly replicates the sound of Hendyamps' coveted hardware equaliser unit. 

Hipgnosis Songs Fund has been left concussed by ‘discontinuation’. But with a seemingly rock solid ‘call option’, Merck Mercuriadis still holds all the cards.On: Hipgnosis Songs Fund, the all important 'call option', Blackstone, and the most likely outcome of this week's mess
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“I’ve never been a fan of making 60 beats in one night”: DJ Shadow prefers quality over quantityHip-hop producer DJ Shadow has revealed he prefers to “exhaust every avenue” when making a beat, as opposed to “making 60 beats in one night”.

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He made the statement during a recent interview with Zane Lowe on Apple Music 1. In the chat, DJ Shadow – real name Joshua Davis – talks about his work ethic, self-acceptance, influences for his new album, Action Adventure, past releases the importance of failing before you can succeed.
DJ Shadow, born in 1972, is an influential American DJ and music producer. Renowned for his groundbreaking instrumental hip-hop and electronic music, he gained fame with his 1996 debut album, Endtroducing……
Davis says its quality, not quantity, that gets the best results: “I’ve never been a fan of like, ‘oh, I did 60 beats last night’. It’s just… I respect it, but I don’t even know what that’s like. I can’t even fathom what that might be like.
“For me, it’s always had to be very deliberate and I’ve only ever been comfortable putting music out that I feel like, okay, I exhausted every avenue I went down, every failed closed road or whatever, and to get where I’m at, and that’s when I feel like, okay, if I’m asking people to spend their time to invest themselves in this music I have to know that I’ve done everything I can. That’s just the only way I feel comfortable doing it.

“There are some days,” he continues, “that I have a sign to work, and I mean, that’s sacred time and you want to honor it, but there’s sometimes you get down there. I mean, I always say down there because my studio’s underneath our house and for whatever reason, it’s just not coming. I’m not connecting to that frequency that I’m searching for. And so in those times, what I try to do is stay busy doing the type of thing like cleaning up all the pops and clicks out of a sample just by ear, doing it the hard way second by second by second. Just getting it as clean as I can because then at least I feel like, ‘okay, if I’m not able to do the higher work today, at least I can set the stage and get everything situated so that, when I am ready to go in, it’s there for me and I can do it.’”
Also in the interview, Shadow discusses the importance of constantly evolving and learning in his music career. He talks about trusting his own learning and the value of drawing inspiration from outside influences rather than following current trends. He also reflects on accepting himself and being a hip-hop fan without seeking validation from others.
Dacis goes on to share insights into the state of music criticism and how critiques of his music have affected him. He emphasizes the need to protect the fan inside him while contributing genuinely to the industry. Additionally, he delves into his songwriting process and the challenges he faces in creating music.
DJ Shadow also highlights the significance of learning from failure and his reflections on past releases. He concludes by discussing the freedom he finds in no longer needing external validation for his music, emphasizing the importance of his relationship with music itself.
You can watch Zane Lowe’s interview with DJ Shadow via Apple Music.
The post “I’ve never been a fan of making 60 beats in one night”: DJ Shadow prefers quality over quantity appeared first on MusicTech.

Did UMG’s CEO just call DistroKid, CD Baby & TuneCore Garbage Merchants?While not calling anyone out by name, UMG CEO Lucien Grainge said anyone involved in music who is struggling to find an audience is a “merchant of garbage” during this. Continue reading
The post Did UMG’s CEO just call DistroKid, CD Baby & TuneCore Garbage Merchants? appeared first on Hypebot.

A2IM demands 75% adoption before Luminate shifts Billboard indie chart data collectionsEchoing the concerns of indie music stores and labels over plans by Luminate to change how it calculates physical sales reported to Billboard, A2iM (American Association of Independent Music) calling for. Continue reading
The post A2IM demands 75% adoption before Luminate shifts Billboard indie chart data collections appeared first on Hypebot.

EricaSynths Zen Delay Virtual After the phenomena of the hardware FX unit Zen Delay, its virtual successor, Zen Delay Virtual, is now available. While the engineers have achieved a remarkable implementation... Read More

MF DOOM estate sues ex-Stones Throw label manager for alleged theft of 31 notebooksThe estate of the late iconic hip-hop producer and MC MF DOOM has reportedly filed a lawsuit against an ex-label manager at Stones Throw Records, claiming he stole songwriting notebooks.

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Eothen “Egon” Alapatt, MF DOOM’s former label collaborator and general manager of Stones Throw Records, is the man in question. According to reports by Billboard, he’s being sued by MF DOOM’s widow Jasmine Dumile Thompson for allegedly stealing 31 notebooks.
These notebooks, according to Thompson, included lyrics and creative material from his 1999 album, Operation Doomsday, 2004’s Madvillainy and MM…FOOD alongside ideas for unreleased tracks, musings and “other creative ideations.”
This dispute is not entirely new. It traces back to 2010 when MF DOOM, who sadly died almost exactly three years ago today, was unable to return to the U.S. due to immigration issues. He left the notebooks in his Los Angeles studio. Six years later, Alapatt allegedly took them without consulting the British-American producer.
Initially, he denied having the notebooks, but later stated he took them to cover $12,500 in rent. Thompson suspects MF DOOM owed no rent, and Alapatt simply paid the money to acquire the notebooks.
In 2020, Alapatt offered photocopies but kept the originals. Shortly before MF DOOM’s death, he sent digital scans, dated 2018-2020, suggesting copyright infringement. The lawsuit seeks the return of the notebooks, the destruction of the photocopies, and compensation for damage. Alapatt plans to donate them to cultural institutions such as archives or museums.
In March, Thompson shared emails on the ‘@MFDOOM’ Instagram account, urging Egon Alapatt to return the stolen notebooks belonging to her late husband. This prompted MF DOOM’s fans to support the estate’s efforts to reclaim his creative work.
Find more industry news via MusicTech.
The post MF DOOM estate sues ex-Stones Throw label manager for alleged theft of 31 notebooks appeared first on MusicTech.

Bands who split royalties equally are more successful, says studyThis week’s Hypebot Flashback Friday post revisits a Stanford study that every musician should read, which found that bands that split their royalty income evenly were more successful in the. Continue reading
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