Remastered version of Brian Eno’s The Ship to land on vinyl this yearBrian Eno’s 2016 album The Ship is set to be reissued. The album will arrive on 20 October this year, and a run of celebratory live performances will take place prior to its release throughout October.
The album originally marked Eno’s 27th full-length solo studio record, and featured a mighty 21-minute-long title track. It was the first album to feature vocals since 2005’s Another Day On Earth, and was said to be partly inspired by the Titanic disaster and the First World War.

READ MORE: Brian Eno hates the “arsehole chord” – but what exactly is it?

Arriving on a coke bottle green coloured vinyl, the album has been remastered by Miles Showell at Abbey Road, and is set to be released via Universal Music Recordings.

Eno will perform live at an array of venues leading up to the release, with shows beginning on Saturday 21 October. He will take to the stage in venues across Venice, Berlin, Paris, Utrecht, and London, and will be accompanied by the Baltic Sea Philharmonic orchestra and conductor Kristjan Järvi.
“The album The Ship is an unusual piece in that it uses voice but doesn’t particularly rely on the song form,” Eno says in a statement (via Far Out Magazine). “It’s an atmosphere with occasional characters drifting through it, characters lost in the vague space made by the music. There’s a sense of wartime in the background, and a sense of inevitability. There is also a sense of scale which suits an orchestra, and a sense of many people working together.”
He continues, “I wanted an orchestra which played music the way I would like to play music: from the heart rather than just from the score. I wanted the players to be young and fresh and enthusiastic. When I first saw the Baltic Sea Philharmonic I found all that… and then noticed they were named after a sea. That sealed it!”
Eno’s live dates at Venice and Utrecht dates are already sold out, but you can find out more and view the full list of tour dates via Universal Music.
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“I’m quite happy to play until I drop”: Fatboy Slim says he has no plans to retireDJ and producer Fatboy Slim won’t be taking a step back from music anytime soon. Despite revealing that he can’t do things “at the same pace” he used to, he happily declares he will play until he drops.
The artist, whose real name is Norman Cook, turned 60 last July. He has been performing at a range of live shows over the last year, including a performance at Glastonbury Festival earlier this Summer.

READ MORE: Tycho: “If there’s a software equivalent of a tool or an instrument, I’m going to use that instead of the hardware, no matter what”

A 25th Anniversary edition of the DJ’s pivotal album You’ve Come A Long Way, Baby has recently been remastered at half speed at Abbey Road Studios, and will be released on 13 October this year. The record features some of his biggest hits including Praise You and Right Here, Right Now.
In an interview with Billboard, he explained why retirement is not the plan he has in mind: “I tried retirement during lockdown. I had an enforced retirement for a year. Didn’t agree with me at all.
“I think I’ve gotten to a point now where I can probably ride this one out until I drop. In some shape or form I think they’ll always be a place for me to be doing something. As long as I’m enjoying it and other people are still enjoying it, I don’t see any reason to stop.”

He goes on to add, “I mean, I don’t do it at the same pace I used to. I turned 60 this year. I can’t do the stupid things I used to, but I’m quite happy to play until I drop. Athletes have to retire early, boy bands have to retire early, but with DJs, it’s not about our looks or our fitness or anything like that. We can go grey and bald and fat, because we were never supposed to be pinups anyway.”
View all of Fatboy Slim’s upcoming live dates on his official website.
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YouTube just announced 5 free video creation and editing toolsYouTube just announced a suite of new free video creation and editing tools driven by AI that will be rolling out to all users in the coming weeks. Dream Screen. Continue reading
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New bill empowers musicians to negotiate with streamers, AI platformsA revised version of the Protect Working Musicians Act introduced by US Representative Deborah Ross of North Carolina would make it easier for independent musicians to negotiate with streaming services and. Continue reading
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Best AI Graphic Generators for musicians, album covers, playlists, moreNot everyone is tech/artistically savvy, but luckily this list of online generative AI tools will create album covers, playlists, and marketing graphics with just a few words as a prompt.. Continue reading
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‘Companies overlook niche markets. That is something we are starting to change.’ONErpm's Martin Price on the independent company's global expansion...
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Audiomodern Deconstruct - Expansion for Playbeat Deconstruct from Audiomodern delivers a fat amount of production tools, inspired by the Tech House names of today. Loaded with a huge selection of loops including Kicks, Hats, Atmos, Percussion,... Read More

Introducing Cantor, an epic all-in-one software for all your looping, sampling and sound design needsIn search of an all-in-one program for all your looping, sampling and sound design needs? Look no further than Cantor, the latest free “music playground” created by musician-slash-developer Jonatan Krogh.

READ MORE: Tycho: “If there’s a software equivalent of a tool or an instrument, I’m going to use that instead of the hardware, no matter what”

Described as a “complete self-contained Looping, Sampling and Sound design software”, Cantor is a versatile tool designed to be usable for musicians who “don’t like computers”.
The software packs an epic amount of features for musicians to use across their practice, producing, jamming and performing sessions. To start, Cantor features 32 easy to use effects that you can combine across eight effect processors for some serious sonic exploration. All synchronisation and quantization options are defined as fractions for you to generate Polyrhythms.
The program also allows you to make music across eight stereo looping tracks. There’s a quick sampler that grabs incoming sound and maps it to your keyboard, and loop sizes can run anywhere from samples to minutes. Cantor also boasts a growing collection of in-house synths, as well as VST/AU plugin support for you to connect third-party instruments.
As for recording, simply press on a single button to record the entire session. Multitrack recording is available as well, and all loops can instantly be bounced down.
Cantor is currently available for Mac-OS only, though a Windows build is in the works.
And the best part? The app is completely free and financed entirely by donations.

Learn more at cantorlooper.
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Rast Sound Plugins Collection All Rast Sound's 7 plugins are now available within this Plugins Collection. See all plugins available within this collection: Cinescapes PRO Smart ambient music... Read More

How to Record Vocals at Home: 7 Tips for Recording Vocals Like a Pro
Plenty of great products on the market now allow you to record vocals at home. What exactly is the process of getting great results when recording vocals from a home studio, though? This article will run through the most important vocal recording tips and tricks to get you on the right track to studio-quality vocal [...]
View post: How to Record Vocals at Home: 7 Tips for Recording Vocals Like a Pro

Tycho: “If there’s a software equivalent of a tool or an instrument, I’m going to use that instead of the hardware, no matter what”Producer Tycho has weighed in on the ongoing analogue vs digital debate, stating that he will always use the software equivalent of a tool or instrument “no matter what”, if it’s available.

READ MORE: Instagram Broadcast: What is it and how can musicians benefit?

In a new interview with MusicTech, the electronic musician elaborates on his stance, explaining why, for him, software always beats hardware.
“If there’s a software equivalent of a tool or an instrument, I’m going to use that instead of the hardware, no matter what,” he explains.
“There’s just so many options. And I’m a plugin junkie; my gear lust has switched from hardware to software. I’ve used a lot of software in the past it’s not like I just started using software instruments.
The topic then moves on to his Minimoog, Hansen’s favourite instrument. However, as he explains, when Universal Audio released their own software version he realised that he might prefer it over the real thing, and has actually used it extensively during the making of his upcoming 2024 album.
“That’s the sad thing,” he admits. “Universal Audio came out with its Minimoog emulation and, it’s sacrilege to say it but, I like it more. It ended up serving me well on this record.”
Will he give up the instrument? “No, absolutely not,” he declares. “I don’t care if I never use it again. It’s too sentimental.”
In other news, Tycho has revealed that he is selling almost 100 of his studio items on Reverb.com for a fixed price.
“I’ve been collecting synthesizers and gear for about 25 years now,” says Hansen. “And I’ve found that throughout my career, I get inspired by new machines and new ways of working with machines, so I always try to keep things cycling in and out. And I think, at this point, it’s time to refresh.”
If you want a sneak peek of what’s in Tycho’s studio, check out the video below:

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“Our AI isn’t trained on other people’s catalogues”: AI-powered “meta-composition” software DAACI places the human at the centre of music-makingAmong the dozens of AI-powered music composition softwares that have emerged in recent years, here’s one that promises to put human creativity back at the centre of music-making.

READ MORE: The best audio interfaces to buy in 2023: 10 best interfaces under $250

The software in question is DAACI, a music composition tool that sets itself apart from traditional generative AI models.
As CEO Rachel Lyske tells MusicRadar, “One of the major innovations with DAACI is that it isn’t just a generative AI that ingests loads of pre-existing music and puts out its idea of what that sounds like.”
Instead, the Abbey Road-backed team is made up of composers and musicians who respect the creative process and the rights of artists. She says that unlike most of the other systems that aim to produce full music tracks based on minimal user input – like a few seconds of music or a set of keywords like ‘happy’ and ‘classical’ – DAACI writes musical elements and textures directly by encoding musical ideas.
“Traditionally, composers have had to compose by inputting specific note choices in a DAW, which puts all kinds of limitations on their creative process. With DAACI composers still compose by encoding their musical choices, or ‘meta-composing’, allowing the AI to compose for them on the edge.”
“Our AI isn’t trained on other people’s catalogues,” Lyske explains. “Most of these systems rely on deep learning methods trained on large existing collections or, alternatively, play ‘musical Tetris’ with pre-composed loops or static elements. This takes human creativity almost fully out of the loop, and it’s actually ethically questionable.”
By contrast, “DAACI doesn’t rely on pre-recorded tracks or edited audio samples.” It “composes, arranges, orchestrates and produces music with authentic and high-quality output”.
Additionally, the software also ensures that artists and composers receive fair compensation for their work.
“Whether you’re using those AC/DC-inspired guitar riffs or a funky drum pattern inspired by Chad Smith, DAACI can trace where every note comes from and will circulate the rights back to the original source of inspiration,” says the executive, emphasising the platform’s commitment to their message of ‘created by composers, for composers’.
The firm has plans to roll out its technology in various forms by the end of the year.
Learn more at DAACI.
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How the vinyl industry weathered pandemic disruptions to emerge stronger than everCOVID-19 hit the vinyl industry as a perfect storm. Making a recording, even at the best of times, demands an intricate and specialised production process. The pandemic introduced shortages of key materials and skyrocketing manufacturing costs that pushed lead times for new vinyl pressings to as long as 12 months.

READ MORE: Tycho’s $160,000 studio collection is flying off Reverb’s shelves

Stores shuttered. Global shipping delays kept existing stock off shelves. And, as the disruptions of 2020 stretched into 2022, stakeholders across the industry were left with the uneasy but not unfamiliar feeling that maybe the medium of vinyl truly might not recover this time.
However, if there’s one thing we should have learned over the last few decades, it’s that vinyl doesn’t go down easy. In 2023, the industry has not only weathered the tempest but has seemingly emerged stronger than ever, thanks to a dramatic expansion of production capacity at existing facilities and new pressing plants opening up around the world.
“The current lead times are a lot healthier,” says Anouk Rijnders, project manager of Artone Studio in The Netherlands. “When you have a new album recorded, you don’t want to have to wait a year to get it released. A turnaround time of 12 weeks is much better for the industry.”
DeWolff at Record Industry. Image: Jaap Kroon
Similarly, while some local record stores were forced to close permanently, many more pivoted to online sales. It proved effective in connecting with customers during the lockdowns and pushing through the pandemic slump, says Larry Jaffee co-founder of the annual Making Vinyl conference and author of Record Store Day: The Most Improbable Comeback of the 21st Century.
“The latest sales numbers suggest that consumer demand for vinyl remains strong,” says Jaffee. “New brick-and-mortar outlets have opened on both sides of the Atlantic Ocean since life has returned to normalcy.”
Esher Vollebregt, manager for Record Store Day in the Netherlands, sees a similarly encouraging trend: “Stores are doing really well and not many locations had to shut down. The total number of shops in the Netherlands has remained very stable over the years and vinyl sales are still growing. Fun fact: of the five or six new stores that opened after the pandemic peak, two are run by young girls – 20-year-old Sophie from Artistic Records and 14-year-old Quinty from Q-Records.”
That young people are interested in retaining these local hubs is an important victory for the industry. While online sales may offer convenience for customers, and a financial lifeline for businesses, the unique role that physical record stores hold is hard to replace.
Record Industry vinyl pressing plant. Image: Jaap Kroon
From crate-digging culture to community connection, these spaces are about more than making a purchase. “Record stores are places to get in touch with new music in an accessible way,” says Vollegregt. “They are the main physical meeting point for vinyl enthusiasts and the vinyl culture.”
Record stores are essential in maintaining existing vinyl communities on a local level. But large-scale in-person events have emerged as the best way to excite the wider public and introduce younger generations to the medium.
Jeffrey Smith, VP of marketing at Discogs, says events like the upcoming Haarlem Vinyl Festival in the Netherlands are pivotal in sustaining the culture and growing connections within the diverse communities who celebrate the medium.
“These events provide a space for collectors, fans, artists, sellers, and historians to celebrate their shared passion for music and vinyl,” says Smith. “In essence, they are the beating heart of the vinyl community, igniting connections, nurturing growth, and preserving the enduring appeal of vinyl records for generations to come.”
Featuring an open-air record fair, live performances, listening sessions, and a conference program, Rijinders says multi-day events like the Haarlem Vinyl Festival function as a generational bridge – where people can not only celebrate the medium but exchange knowledge.
Vinyl against the sunlight in the Netherlands
“The great thing about an event like this is that many people, young and old, can get together,” she says. “They can hear new music, share collections and stories, but perhaps also learn things; how to set up their system or the history of classic albums.”
The importance of connecting vinyl to Millennial and Gen-Z demographics is hard to overstate. For the medium to continue its renewed relevance, passion has to be passed down to the next generation. Here, there are many promising signs.
“There’s no better example than Taylor Swift selling nearly one million units of Midnights,” says Jaffee. “Seven of the top 10 US best-selling albums on vinyl in 2022 were artists popular with Gen Z and millennials. That included Harry Styles, Olivia Rodrigo, Kendrick Lamar, and Tyler, the Creator.”
Moving forward, Jaffee says he hopes this trend continues, with labels increasing vinyl releases for current artists with big streaming numbers. However, he also sees opportunities to revisit older albums that missed out on a vinyl release.
“Albums from 1990s artists, released during the CD era’s heyday, are still not available on vinyl,” Jaffee points out. “Let’s not forget the first decade of the vinyl comeback was driven by baby boomers like me who missed spinning on a turntable the beloved albums of our collective youth.”
In a similar manner, Jaffee continues, vinyl releases of classic Gen X and Millennial anthems could drive future growth for the industry by offering an entry point for middle-aged listeners who want a more tangible connection to the albums they’ve loved for years.
Vinyl shot against backdrop in the Netherlands
There are plenty of positive signs and future opportunities for vinyl – but there are still challenges to overcome. Both Jaffee and Rijnders point to the recent surge in production capacity as having potentially negative consequences. “There’s actually too much capacity at the moment,” Rijnders says. “This might lead to lower prices and perhaps even a price war between the smaller pressing plants.”
“The industry appears to be a victim of its success,” agrees Jaffee. “Vinyl record manufacturers must not make the same mistake that CD replicators did in the 1990s and embark in a cutthroat price war to win new business because it’s not sustainable.”
The process of manufacturing vinyl is far from streamlined. There is currently only one company – based in Japan – producing the lacquer needed to make a ‘master’ disc for vinyl pressings. Such bottlenecks in the supply chain leave the industry vulnerable to future disruptions.
Similarly, the machinery needed by pressing plants grows increasingly rare and specialised and there is a growing need to update both the industry’s tools and its materials. “It’s all vintage equipment,” says Jaffee. “Speaking of which, the vinyl industry continues to – and needs to – do its part to help reduce its carbon footprint amid the global warming reality, by developing non-toxic materials that go into the actual composition of a record.”
Overcoming these hurdles offers benefits not only for collectors, store owners, and manufacturers, but for artists as well. Given how financially precarious streaming is for the majority of artists, a thriving vinyl industry may offer an essential alternative source of income.
DeWolff signing their vinyl jacket at Record Industry. Image: Jaap Kroon
“Musicians make far more money from sales of their records than they’ll ever see from streaming royalties,” says Jaffee. “This is even more true for those artists who take records on the road to sell at gigs. They will earn far more profit – as much as a 50 per cent margin per record – when compared to the royalty stake from traditional vinyl sales.”
At the same time, Jaffee acknowledges that vinyl pressing remains a costly proposition when dealing in smaller quantities – something that is likely to be prohibitive for smaller or independent artists.
Decades after its supposed demise, the story of vinyl is one of remarkable resilience. A cat with nine lives, a phoenix from the ashes, Bruce Willis in Die Hard – not one of them can match the staying power of the humble LP.
The entire catalogue of recorded music is readily available at bargain bin prices, and yet people still gravitate to vinyl because it offers something that digital streaming platforms have been unable to replicate.
The vibe of a listening bar, the sense of accomplishment that comes with finding a rare gem, the feeling of owning a music collection rather than renting it via subscription, the personal connections offered by stores and events – these are much-needed counterpoints to the increasingly abstract and passive listening experience offered online.
Vinyl is the musical medium that just won’t quit – and we, in turn, can’t quit vinyl.
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ADAM Audio’s A8H offers impressive inherent sound quality and DSP options galore£2349 per pair (street price)
ADAM Audio made a huge impact in the home, project and commercial studio world with its original A Series in 2006, the original A7 catching many off-guard with a surprising level of mid-range clarity that many studio monitors lack, plus an affordable price tag. X variants followed with re-designed ports and a wider range of driver sizes, but it wasn’t until late 2022 that the series enjoyed a major overhaul.

READ MORE: IK Multimedia UNO Synth Pro X: the compact, analogue UNO Synth finds its perfect form at last

Packed with a plethora of helpful DSP gadgetry, the latest A Series features redesigned low- and mid-range drivers featuring low levels of distortion, whilst at the same time retaining the signature sound of ADAM’s proprietary, X-ART ribbon tweeter. Naturally, it was the A7V we put to the test first when the new models were released, and we found the range of sound customisation options and pricing to be ultra impressive. When ADAM suggested we also take a look at the largest-woofer monitor in the same range, we snagged them straight away.
The A8H is a three-way, front-ported, midfield design sporting an 8-inch woofer, a 3½-inch mid driver plus an X-ART tweeter. Just like the A7Vs we already tested, there’s a wide range of options for getting the A8Hs to sound right in the user’s own listening environment, with the first layer of this being simple EQ customisation via push buttons on the rear panel.
ADAM Audio A8H (front)
Common applications here would be taming low-end if the monitors are close to walls, getting rid of low-mid humps caused by desktop placement, and tweaks to the high frequency range based on your preferred level of crispness. For both the wall-proximity and desk filter cuts, it’s a real advantage that there are two cut positions for each of these switches; many monitors only offer a single cut/notch option – a far blunter tool than the -2 and -4dB options on offer here.
Straight out of the box, we are able to use the rear panel EQ to carefully cut away some boundary bass build-up and the booming low-mid hump caused by our desk that usually results in a muddy mix coming across, all without excess thinning or scooping.
Sonic results are pretty spot-on straight away, with precise bass articulation, detailed yet silky-smooth highs, and compelling stereo imaging. Like other active monitors this size – and especially those with such extended high frequency capabilities – self noise is a slight issue. There’s more hiss evident up close than with our Genelecs, but it isn’t really going to trouble you at midfield distance, and is certainly less noticeable than with the Type 07 MK2s from related brand HEDD Audio that we reviewed in 2021.
ADAM Audio A8H (back)
Work remotely
For more detailed tweaking, the A Control desktop app interfaces with the speaker via a network-connected RJ45 port on the rear of each monitor. Within the app, a more complex, 6-band EQ is accessible, plus convenient extras like speaker muting and preset saving.
We’ve saved the best trick till last, however; the ability for the monitors to self-host SonarWorks’ SoundID Reference (room equalisation) calibration files. We’re big fans of SonarWorks’ ability to drag the most accurate and articulate sound of any half-decent monitor speaker or pair of headphones, but running on a host computer, you have to deal with latency, checking that you’re correctly routed to the Sonarworks audio driver, plus occasional interruptions when the software drops the licence or current preset.
A Control desktop app
With the ADAM A Series, you get a 60-day trial of SoundID Reference, during which time you can place and measure the monitors’ response from your listening sweet spot using a test microphone. Once the measurement process is complete the resultant calibration file – a complex, custom EQ profile – can be loaded directly into the monitor in A Control, without the penalty of additional latency. Really neat stuff, but it must be noted that you’ll have to buy Sonarworks if your trial runs out and you decide to move your speakers to a new room or position. It’s a big shame that there isn’t a more generous arrangement whereby ADAM owners could get, say, five free measurements/trials, or similar. Consequently, this extra cost may well need to be factored in when making a buying choice.
With the Sonarworks calibration enabled, the sound is simply stunning; we really enjoy putting the monitors through their paces with a more even, mid-forward voicing than before, as well as increased envelopment and clearer stereo separation of sources. It’s a testament to the voicing of the ADAMs that the EQ correction is rarely more than 3dB either way of the midpoint – far less than with our usual, Finnish-made monitors, and resulting in less of a compensatory level drop to leave headroom for the boosts.
Listen in

Pete Tong’s rework of the 90s anthem Seven Seconds reveals a tight kick, and high-mid bite on snare, although not too harsh. Dual lead vocals sit on top perfectly, not appearing to fight for space with the surrounding string section.
Hedonism from Skunk Anansie demonstrates transient kick, snare and tom detail that jumps out in a wholly satisfying way, whilst melodic bass lines sing through the texture. The layered, double-tracked distorted guitars happily co-exist in the stereo field, with the wah-heavy solo being pinpointed on the right-hand side.
Steely Dan’s I Got the News showcases multiple guitar and percussion and horns layers all in precise detail. This album can be a little too crisp on the ears and the ADAMs push the boundary of brightness here, but the keen transient response makes up for this. In response, we tweak our SoundID reference calibration to back-off the corrective boosts at the high extremes, so that part of the spectrum actually ends up being closer to the factory-set contour!

Weigh up the options
The A8H’s features stack up extremely favourably against competing three-way models. Both the HEDD Audio Type 20 MK2 and Neumann’s KH 310s are around £1000 more a pair and have fewer DSP capabilities (the HEDDs have smaller, 7-inch woofers to boot). Meanwhile, Dynaudio’s LYD 48s are less expensive per pair, but only have very simple filter dip switches with no fine tuning of level. Put simply, ADAM Audio has knocked it out of the park with the A8H.
Key features

3-way, front-ported studio monitors
8-inch woofer, 3½-inch mid driver and 1-inch X-ART tweeter
Switchable balanced (XLR) and unbalanced (RCA) inputs
Push-button EQ controls, including 2-position desktop filter
Level/gain fine control
Network control with detailed EQ options via the A Control app
Onboard Sonarworks integration (60-day trial provided for set-up)
Dimensions: 274 mm (height) x 382 mm (width) x 329 mm (depth)
Weight: 13.6 kg per monitor
Contact: adam-audio.com

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Is AI the future of music? This is Emergent Drums: an AI-powered drum sampler plug-in
Audialab, the parent company behind Emergent Drums, has developed a new plug-in that uses state-of-the-art Artificial Intelligence to generate unique samples constantly. The program works much like any traditional software or hardware-sampled beat machine, featuring a 16-pad layout – which is notably ideal for hooking up a USB drum pad controller. Essentially, when you load the […]
The post Is AI the future of music? This is Emergent Drums: an AI-powered drum sampler plug-in appeared first on DJ TechTools.