Wasted Audio Releases 3 FREE Distortion Plugins
Wasted Audio releases three freeware distortion plugins for Windows, macOS, and Linux. As you may know, I have professed my love for distortion here time and time again. With that in mind, we will be focusing today’s coverage on Wasted Audio‘s latest distortion plugins. The main attention will be given to the three freebies, however, [...]
View post: Wasted Audio Releases 3 FREE Distortion Plugins

Audeze Maxwell gains Head Tracking support Thanks to a significant firmware update, Audeze's Maxwell gaming headset now offers head tracking capabilities when paired with the Dolby Atmos Renderer application.

Daft Punk rep shuts down Paris 2024 Olympics reunion rumourFans who have gotten their hopes up for a Daft Punk reunion might want to know that the robots will, in fact, not be reuniting for the 2024 Olympics in Paris.
“This is a rumour and not true,” a representative for the band told Rolling Stone after speculations reached a fever pitch.

READ MORE: How CRSSD Festival is using synths to transform electronic music fans into producers

Earlier this week, Thomas Jolly, the artistic director for the Olympics’ opening ceremony said on the French public radio channel France Inter: “It would be very happy if they were in this ceremony.”
“We can’t not think about it,” he added.
At the end of the interview though, Jolly admitted that he had “lied a little about Daft Punk.”
Despite the clarification, rumours of a reunion soon went flying following a report by French newspaper Le Parisien, which cited an anonymous source saying the pair had met with the Olympic planning committee “several months ago.”
In a new statement on X, Jolly wrote [translated from French]: “My comments were confusing and generated a lot of expectations. I must clarify: After discussing a possible presence at the ceremony, the group’s decision is not to participate.”
“I respect this decision and apologise for the ambiguity of my comments.”

Mes propos ont été confus et ont généré beaucoup d’attentes.Je me dois de clarifier : Après avoir échangé sur une possible presence à la cérémonie, la décision du groupe est de ne pas y participer.
Je respecte cette décision et m’excuse de l’ambiguïté de mes propos. https://t.co/W02RwzTIzI
— Thomas JOlly (@Thomajolly) October 25, 2023

Since the electronic duo’s split in 2021, fans have been clamouring for members Thomas Bangalter and Guy-Manuel de Homem-Christo to don their robot helmets one more time.
While we wait, Daft Punk has released a 10-Year anniversary edition of their iconic Random Access Memories featuring 9 new tracks — or 35 minutes of new music.
As part of the anniversary celebrations, the band has also unveiled “Memory Tapes,” a look back at the album’s creation by collaborators including Julian Casablancas, Chilly Gonzales, Pharrell and most recently, Nile Rodgers.

The post Daft Punk rep shuts down Paris 2024 Olympics reunion rumour appeared first on MusicTech.

Spotify’s new royalty model requires a minimum number of streams before you can get paidSpotify has announced significant changes to its royalty payout model in a bid to combat “drains on the royalty pool” that are said to be preventing money from going to working artists.
According to Music Business Worldwide, these changes – which take effect from early 2024 – include introducing a new threshold of minimum annual streams before a track can start generating royalties; financial penalties for music distributors and labels to deter fraudulent activity on the platform; and introducing a minimum play-time length that non-music noise tracks like ambient sounds and binaural beats must reach to generate royalties.

READ MORE: London’s E1 club integrates cutting-edge track identification technology to boost artist earnings

While the exact number of minimum streams required isn’t specified, a source reportedly told Music Business Worldwide that the goal is to “[demonetize] a population of tracks” that earn “less than five cents per month” on average. Currently, each play on Spotify generates about USD $0.003 per month.
A quick calculation would suggest that for a track to generate $0.05 per month in royalties, it would need to be streamed 17 times a month, or around 200 plays a year. While the threshold may appear modest, these “micro-payments” quickly add up given that over 100,000 new tracks are uploaded daily to digital service providers (DSPs), says MBW.
The money saved will go back into Spotify’s ‘Streamshare’ royalty pot and be re-distributed to artists with the more popular tracks.
2024 will also see Spotify cracking down on fraud with a “per-track enforcement penalty whenever flagrant artificial streaming is detected”. For now, fraudsters only have their tracks taken down when they get caught. The move will hopefully help deter such activity from bad actors and distributors enabling those bad actors.
And finally, the third change affects makers of ‘non-music noise content’ who often game the system by splitting their ‘noise’ playlists into 31-second tracks (the minimum length to qualify for Spotify monetisation).
Upping the minimum play-time length for monetisation will thus lead to fewer of these streams, which in turn means more money in the ‘Streamshare’ system going back to music content, a source tells the publication.
Under the new plan, Spotify hopes to move USD $1 billion in royalty payments over the next few years to “legitimate” artists and rights holders.
The move comes just a month after Deezer and Universal Music announced that they will be stopping payouts for non-music content (e.g. white noise) under their new “artist-centric” model. Artists with less than 500 unique monthly listeners or fewer than 1,000 streams on Deezer will also get paid less per stream than other creators.
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Minimal Audio’s Current might just be your new favourite synth$200 (perpetual licence), minimal.audio
$15/month, $120/year (rent-to-own, with access to all Minimal Audio plugins, updates and sound packs)
Minimal Audio kicked up quite the fuss in the industry upon announcing Current, its new flagship synth. The American company is best known for its feature-rich effects plugins primed for creative sound design but has turned its attention to sound creation, with a tremendous synth that includes multiple synthesis types, some exceptional effects, and a built-in cloud preset system. It’s not a cheap investment – as potential buyers quickly found out – but the high sound quality and flexible feature set make it more than a match for the competition.

READ MORE: Cherry Audio Harmonia – a multi-talented synth that makes harmonic scanning a breeze

Rocky start
Minimal Audio initially launched the synth as a subscription-only model. This decision was unanimously met with widespread negativity online, with many referencing the infamous subscription proposal made by Waves earlier this year. Thankfully, the company made a swift U-turn, apologised, and is now offering the synth as either a perpetual licence for $200, or as part of a rent-to-own scheme that also includes all of Minimal Audio’s other effects plugins, plus an expanding collection of samples, presets and wavetables.
These extras are accessed via a section of Current called The Stream, which doubles up as the instrument’s browser. You have tabs for presets, wavetables and sounds where you can preview, download and load individual files or entire packs. You can also switch between listing the files available on the cloud or on the local hard drive, and use a tagging system to search and favourite particular presets. It remains to be seen how this page will function in the upcoming perpetual version, but the company has said that you will be able to purchase additional packs as needed, so the functionality will probably remain largely the same.

Start your engines
Moving on to the main sound engines, you have two wavetable oscillators, a granular engine, a flexible sub-oscillator, and a sampler. Editing controls for each are fairly extensive, so we can’t list them all, but they strike a strong balance of being incredibly flexible but not totally overwhelming.
The wavetable oscillators have main controls for scanning Position, Pitch and Spectral, with the latter two offering around 20 different modes each that can dramatically change the resulting sound. There’s also a fat-sounding unison option with up to 16 voices and detune. Anyone who’s used a wavetable synth such as Xfer’s Serum will know what to expect here, as this type of synthesis is prime for patches that have movement such as neurofunk and d‘n’b basses, or evolving pads.
The granular engine is perhaps the most interesting of the bunch; it’ll let you load any sample and turn it into something beautiful and mysterious. You can choose up to eight layers of grains that dance around the playhead of the sample, and then edit the playback to loop and move in a multitude of ways. These can be synced to the DAW or move freely, and you can add stereo offset to create a nice, wide sound.
The excellent visual feedback helps to understanding which parts of the sample are being triggered, as different dots, lines and regions sweep across the waveform. It’s quick and fairly easy to get interesting results, no matter what audio you throw at it.
Minimal Audio Current granular engine
Sub level
Current’s impressive sub-oscillator is much more than a mere simple waveform. It generates a root note and then gives you the option to add up to eight partials to shape the sound and help it sit perfectly in the mix. You can tilt the harmonics and add subtle pitch dive, modulated detune, and six flavours of saturation.
It’s clear that Minimal Audio has thought carefully about how this oscillator can interact with the rest of the synth, with options to bypass the effects section for the sub, and to remove the fundamental from the wavetable oscillators to make space. You can also engage sub lock, which means the sub will play the same low octave, no matter how high up the keyboard you go. This is a great feature for basslines with a lot of movement up the keyboard, as you can dance around with different octaves using the other oscillators, whilst retaining a solid low-end.
The final oscillator is the sampler, which doesn’t do anything especially fancy, but is a nice option for adding more organic sounds or drums to your palette. It has options for looping, triggering and reversing, and can be run in classic Repitch mode, or in Flex mode with three time-stretching algorithms. There’s also a tab that shows frequency and amplitude modulation options for all five of the sound sources.
Minimal Audio Current wavetable oscillator
Make it move
All of the sources can be routed to the two filters, with a whopping 59 modes, a stereo offset, and the ability to run in series or parallel. The modes include various formant, comb, phaser and morphing settings that can dramatically alter the sound in interesting ways. And all of these oscillators and filters can be modulated via nine modulation slots to further shape your sound.
For each of the nine slots, you can choose from an AHDSR envelope with slopes, a simple LFO with a cool randomise function that can change with every repeat, a comprehensive curve editor for more complex sequences, and an envelope follower. There’s also an additional envelope that’s hard-wired to the amp.
Nine modulators should be enough for most preset building tasks, although some more hardcore sound designers may wish for a few more. To use them, you simply drag and drop to your control of choice and then adjust the ring that appears. You also have keyboard mod sources like keytracking, velocity and pitch bend, plus MIDI Polyphonic Expression (MPE) controls to help make your patches nice and reactive, and four assignable macros on the side of the user interface.
50 shades of grey
Speaking of which, the plugin screen is clean with useful visual feedback, but the commitment to a grey and purple colour scheme can make it feel a touch flat. You get a splash of colour when you select a modulator which highlights yellow along with a yellow ring to show the destination, but it feels like the more colourful mod system of something like the brand’s own Rift might have made it slightly easier to chase sources and destinations. That said, it’s possible they didn’t want it to look too similar to Vital and Pigments, two competing soft-synths.
The final part of the main page is the keyboard at the bottom, where you can select a key for your track, along with mono, legato and glide options. There’s also a comprehensive chord mode with plenty of presets and a strum function, plus a decent arpeggiator with multiple playback modes and preset sequences. It’s a useful feature to have these built-in and the chord presets are especially welcome to help with inspiration. You can also rearrange their order to give different playback results.
Minimal Audio Current chords
Finishing touch
We’ve saved the best for last: Current comes with an exceptional set of built-in effects that are essentially Minimal Audio’s separate plugins, reshaped to work inside the synth. These include Rift Distortion, Cluster Delay, Morph EQ and Fuse Compressor, plus an extra filter and new algorithms for chorus, phaser, and reverb.
It’s fairly customary to use separate effect plugins when building synth parts into a track, as most built-in effects don’t quite cut it. Not so here though, as these are essentially full plugins (each worth $49) with extensive options that can be used and rearranged across nine effects slots. To get a slightly better idea of what’s on offer, read our review of Rift and Morph EQ. Suffice to say, they’re all excellent sound-shaping tools, with some useful additions like built-in ducking on the delay and reverb effects.
Put to the test, we find it especially effective using Morph EQ to control resonances in a bass sound, and then to modulate its position using the key tracking so that you retain the perfect sound at different notes. We then use the Fuse multiband compressor (which is a little like Xfer’s OTT) to help get a balanced, upfront, and professional-sounding patch that doesn’t require any further processing. The extra bonus here is that you can use all the built-in modulation options to add movement to the effects, creating some pretty wild results. In fact, it would be great if Minimal Audio could open up the sidechain input of the plugin so you could use the effects rack on external audio sources. Also of interest, is the fact that the company has said that it will be adding more effects in the future.
Minimal Audio Current The Stream cloud-connected platform
A new contender
Current is a highly flexible synth with well-designed sound sources and a superb effects section that makes it stand out from the competition. Although, this comes at the cost of fairly high CPU usage, especially if you run it at 4x oversampling. It might not be the synth you reach for more analogue-type sounds, but it does cinematic and modern, complex electronic sounds incredibly well.
Given the synth’s complexity, it would be helpful if the developers could add some explanations and tips when you hover over each element, and as Ian from the Alckemy Neuro YouTube channel suggests, it might be useful to have some sort of wavetable editor built-in. These things aside, it’s an exciting new contender in the synth arena.
Key features

Hybrid virtual instrument with effects suite and cloud content platform
Sound Engines: Wavetable; Granular; Sub; Sampler; Filter; FM/AM
Modulation: AHDSR, LFO, curve, follow, MIDI and MPE
MIDI Effects: Keyboard; chord; arpeggiator
Effects Rack: Rift Distortion; Flex Chorus; Fuse Compressor; Cluster Delay; Morph EQ; Hybrid Filter; Ripple Phaser; Swarm Reverb
The Stream cloud-connected content browser for presets, wavetables and samples
New royalty-free content added every month
30-day free trial

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Arturia unveil AudioFuse 16Rig interface With a total of 32 inputs and 28 outputs, Arturia's latest interface allows those with hardware-focused setups to keep all of their devices connected and ready to go. 

How CRSSD Festival is using synths to transform electronic music fans into producersIt’s a story as old as the rave: A fan is on the dancefloor having one of the best nights of their life. Soon comes the transcendent moment where that track erupts through the loudspeakers and, in that moment, the fan decides to pursue a dream of being a professional artist.

READ MORE: “Nothing gets done without it”: Voigtmann’s MPC1000 is the “heart of his workflow”

For fans who find themselves in that experience at CRSSD – the celebrated San Diego electronic music festival that’s just held its 16th edition – they can begin their story in immediate fashion at the CRSSD Lab.
The CRSSD Lab is the festival’s on-site activation produced in partnership with Roland and other respected forces in electronic music. It provides attendees opportunities to try synths, samplers and software, and engage with the craft that brought them to CRSSD in the first place.
The Lab has been present at CRSSD in different forms since the festival’s inception. It’s offered a variety of different seminars and activities including Q&As with artists – like the instrumental house performer Life On Planets – workshops on sampling and drum production in Ableton Live, and tech demonstrations using the newest machines from Roland.
“Roland sees CRSSD as an education medium that allows lovers of electronic music to familiarise themselves with the technology and instrumentation behind the music,” says Mar Keith Anthony, Roland’s global brand relations manager, speaking to MusicTech via Zoom.
Roland booth at CRSSD Festival. Image: Izzy Hassan
As a world leader in music gear, Roland has maintained a global presence at various live events for decades. This includes trade shows such as The NAMM (National Association of Music Merchants) Show in Anaheim, California, Superbooth in Berlin, Gearfest in the UK, and the Tribeca Film Festival in New York City.
But when it comes to music festivals like CRSSD, Roland is more of a newbie. Over the years, the brand has been invited to produce activations similar to the CRSSD Lab at various festivals including Coachella and Rolling Loud, but it’s kept CRSSD as a primary focus, being involved since 2018.
“CRSSD is an event that allows lovers of electronic music something to look forward to,” Anthony says. “To see the reactions on their faces after they get that introduction – ‘What is this machine? What does it do? How do I use it?’ Once they get past that point and get directly into the creativity piece of it, they believe they can do it. They believe that they can be a producer.”
This year, Roland brought an SH-4d desktop synthesizer, an SP-404 MKII, a TR-8S, and their new AIRA Compacts for attendees to experiment with. One of Roland’s product specialists, Jay Ybarra, was also there to answer any questions and provide tech demonstrations throughout the weekend.
People trying out gear at CRSSD Festival. Image: Izzy Hassan
Beyond Roland, CRSSD also partnered with Chapter One Records, a boutique record store in Los Angeles. The team brought several crate full of vinyl and a pair of listening stations, in addition to hosting all-vinyl DJ sets from selectors such as Dylan Payne.
According to Anthony, this year over 1,000 people visited The Lab over the two days, due in part to its new location within the festival grounds.
In past editions of CRSSD, The Lab was tucked in the corner near the artists’ area. This year it was slap bang in the middle of the festival. Chairs and couches were set up so, whether you were eager to try the tech or looking to take a creative break before getting back to dancing, The Lab was thrumming with activity day and night.
And it’s not just attendees who take advantage of the lab either. Numerous artists stop by to conduct live demonstrations. This year, piano house maven LP Giobbi stopped by after her uplifting main stage set.
DJ setup at Chapter One Records’ booth at the CRSSD Festival. Image: Izzy Hassan
Artists also come to The Lab to enjoy the same kind of hands-on experience as the attendees, as was the case with the ascending alternative electronic artist Mary Droppinz, real name Alyssa Johnson.
Johnson wasn’t even booked to play at CRSSD this year, but she went to the festival to support her friends and submerge in the culture. Like many, she couldn’t pass up the opportunity to check out The Lab while she was there.
“From my experience, 90 per cent of the people at a festival want to, in some capacity, express themselves with music,” Johnson says. “To have a lab set up where you can test gear out, talk to actual industry professionals is really cool. Who’s more confident to have a moment and chat when you’re vibrating high at a festival?”
In addition to being an artist, Johnson has extensive experience in both the educational and commercial sides of music.
On the education front, she is a frequent tutor for LP Giobbi’s FEMME HOUSE, teaching courses across DJing and production (she and Giobbi are currently curating a course on etiquette for back-to-back DJing).
DJ spinning vinyl at Chapter One Records’ booth at the CRSSD Festival. Image: Izzy Hassan
Her commercial experience surrounds another celebrated music tech company, Native Instruments. There, she was a user engagement and education manager for almost three years, running activations similar to the CRSSD Lab at other trade shows, including NAMM.
“Having that access at a festival is really cool because not everyone can get tickets to NAMM. Not everybody has access to try out gear. I do realise how hard it is to get access to education like that,” Johnson says.
While she was at The Lab, Johnson was making beats on the equipment and showed her friend and fellow artist Juliet Mendoza (who performed at this edition of CRSSD) how to use the Roland TR-8S. But more than The Lab being a creative space, it’s also an opportunity to build connections in the industry.
Prior to her visit to CRSSD, Johnson was working with Roland’s editorial platform to publish an article, and so she had been in the same virtual sphere as Anthony, whom she met thanks to CRSSD’s The Lab.
“It was cool to meet her in person,” says Anthony. “Artists usually come over with their entourage. Sometimes that entourage includes producers and PR and media and friends and other aspiring artists under their camp.”
CRSSD Festival-goers checking out Roland merch at the booth. Image: Izzy Hassan
So for aspiring artists who may be dipping their toe into the professional side for the first time, The Lab presents an opportunity to expand their network immediately – which at least one person did with Johnson.
“I met a girl [at the Chapter One Records booth] who also liked to spin breaks so we were geeking out over some of the wax over there,” says Johnson. “She was just checking it out, then she came pretty much everywhere I was going. We had a mutual friend and we basically went around the whole festival together after.”
Similar to the Roland side, Chapter One Records curated their addition to the CRSSD Lab in such a way that anyone, whether they were already avid collectors of vinyl or had never once placed a record on a turntable, could come and appreciate what was there to offer.
Eddie Vela launched the shop in late 2019, just before the pandemic. Vela is an established figure in the Los Angeles underground dance music community, throwing events under prominent brands such as Dialogue and You Know What. Stemming from this association with events, Vela has curated pop-up shops at various different parties.
“Every pop-up is curated for that crowd. Depending on the music genre and type of people we expect to run into our shop, that’s what inventory we bring,” says Vela. “[For CRSSD] we’ll buy a lot of main-stage artists who are performing. They’re big on big-stage techno. We had a few Charlotte De Witte records and Amelie Lens [records].”
CRSSD Festival-goer with vinyl at the Chapter One Records booth. Image: Izzy Hassan
So while fans may come to The Lab to impulse buy the new album from the artist they just saw perform, Vela curates an experience that is authentic to the spirit of underground record shops with premier technology.
The listening stations at the booth featured Technics SL-1200 MK2s, and the DJs were spinning on a setup that included a Varia Instruments RDM40 rotary mixer and two Technics SL-1210 M5Gs.
“The record shops that are more underground are more keen on an experience,” says Vela. “It’s all about hearing new music and listening and touching and feeling and getting that experience of vinyl, and that’s what we wanted to bring to CRSSD.”
For Chapter One, CRSSD remains the biggest event where they have ever set up a pop-up shop. One reason many more commercial record stores don’t offer that same hands-on experience is that vinyl are inherently fragile. The more people handling them, the more likely they are to get damaged.
But after three pop-ups at the CRSSD Lab, Vela has seen that the crowd and environmental CRSSD find a balance where there is significant interest, but still respect for the inventory.
Vinyl crates at Chapter One Records’ booth at the CRSSD Festival. Image: Izzy Hassan
“At a bigger festival, the experience can get lost with so much going on. At CRSSD there’s just the right amount of side activities and vendors,” says Vela. “Even though CRSSD is still a big festival there is still a really good vibe of intimacy.”
“The music heads come and dig, but over the past three years at CRSSD, I’ve noticed there are more younger kids who haven’t been exposed to the artistry of turntablism, or even seen records and turntables up close,” says Dacia Blass, a partner in running Chapter One.
“We’re happy to be a part of someone’s first experience of musical growth, and I think that happens a lot at CRSSD,” says Vela.
As Anthony describes it, the attendees who stopped by the CRSSD Lab were having their “A-ha” moments – learning that some of the music they just spent their day dancing to was created using the machines that were there, ready to be used.
The moment when an attendee decides to become an artist is also an “A-ha” moment. All it takes is one of those moments to start a journey that can lead to world-shifting music.
The post How CRSSD Festival is using synths to transform electronic music fans into producers appeared first on MusicTech.

Hashdex sits down with SEC over spot Bitcoin ETF applicationAsset manager Hashdex recently met with the U.S. SEC to address the regulator's concerns over its application for a spot Bitcoin ETF.

DIY Spotlight: Vera BloomAlternative rock/punk singer, songwriter and musician Vera Bloom saw her musical journey start when she was just six years old.

“I’ve always been a bit of a rebel without a cause, so as I grew up I spent a lot of my practice time improvising and writing my own songs instead of practicing what I was supposed to,” Bloom says. “Since I could write, I’ve been an avid writer of poetry and journaling, and it was my father who introduced me to the idea of songwriting and adding lyrics to music. The piano was my instrument for writing, but I made the switch to guitar at age 18 and something really clicked. I performed in classical piano recitals throughout elementary and middle school, but in high school I performed my own song on the piano with a drummer in the school talent show and won first place. That’s when I knew this could be something and that my songs could reach people.”

She describes her sound as unpredictable, skirting around the punk sub-genres. That can all be heard on the recent It’s Me EP.

“It’s Me is a compilation of six songs I had written over a year and a half that all belong in the same chapter of my life,” Bloom says. “The common themes are self-love, owning and recognizing self-worth, and reflection and growth. All the songs except "Boxes" were recorded here in Nashville at Battle Tapes Studio, and engineered by Jeremy Ferguson, who also recorded my first EP. The lead guitarist on the songs, Jacob Carey, engineered "Boxes" in his home studio. The tracks feature Brian Chinino on drums, Levi J Miller on bass guitar, Jacob Carey on lead guitars, and me singing and playing rhythm guitar.”

For Bloom, “DIY” means being true to yourself and keeping it real.

“It means doing what you like versus what you think you should do or is expected of you,” she says. “I really strive to maintain this in my music and my music videos, and I think that’s something that people really like about me. That’s why my sound is a bit unpredictable, really, because I do what I want and what I like and what the songs want versus shaping it into something that fits in a box to ‘stay on brand.’” 

For more, visit verabloom.net.

Kids on Roblox are hosting protests for PalestineIn the Lego-like world of Roblox, about a hundred blocky avatars march through a lamplit street, wielding Palestine flags that are larger than their own animated bodies. Characters dressed like cartoonish dinosaurs, steampunk zombies and pastel pink pop stars chant together via instant messages in both Malay and English as they arrive at a stage, […]
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Paul Burger and Andrew Wilkinson resign as Hipgnosis Songs Fund non-exec directors ahead of tomorrow’s continuation voteThe comes in the same month that HSF confirmed the Chairman of its current board, Andrew Sutch, will step down from his role
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Spotify is embracing elements of Universal Music Group’s ‘artist-centric’ royalties model – following a new multi-year licensing deal between UMG and Daniel Ek’s platformSpotify's plans fit with the broad hopes of Sir Lucian Grainge's wishes as outlined at the start of 2023
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