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iZotope Ozone 11 is an unparalleled audio processing suite with future-proof featuresAdvanced: £399/$399/€439
Standard: £189/$199/€219
Elements: £49/$49/€55
Music Production Suite 6 £579/$599/€659
Upgrade and introductory offers are available
It was only a year ago that we reviewed Ozone 10, but iZotope is back already with version 11 of its flagship mastering suite. Is it too soon to be asking producers to pay for a new iteration, or do the new features make it a no-brainer bargain?READ MORE: Native Instruments Guitar Rig 7 Pro gives guitarists and producers more flexibility than ever
Since 2001, Ozone has grown into a hulking package that now features 18 modules of EQs, dynamics, saturation, limiting, stereo control, and vintage effects, plus a number of useful processors, reference tools and metering features, all focused on mastering. If you’d like to get up to speed on the fundamentals, then you can read our preceding review, but here we’ll just concentrate on what’s new.
Make it Clear
iZotope Ozone 11 Clarity
First up is Clarity, a new module that’s similar to Soundtheory’s Gullfoss in the way it adaptively contours the frequency spectrum towards a noise-based target. It uses hundreds of bands to add overall brightness without sounding harsh, with a target set to pink noise and the ability to tilt it brighter or darker. You can also tweak the attack and release, and set the upper and lower limits of where it’s processing between 300Hz and 20kHz.
You have to be a little careful not to overdo it, or you may make the mids and highs sound unbalanced compared to the low end. We find it surprisingly effective at lifting dull tracks transparently, while also increasing perceived volume. The controls are also incredibly simple, so it’s very quick to dial in. Our only issue is that it has some conceptual overlap with the Stabilizer and Spectral Shaper modules, which can also dynamically tame frequencies, so it’s worth spending a bit of time with each to see where they excel.
Hits & Tails
iZotope Ozone 11 Transient and Sustain
The next new feature is transient and sustain processing. Where previously you could target the left/right and mid/sides portions of the signal, you now have the option (on 10 of the modules) to target the transient or sustain. Although there have been a few recent plugins releases that let you work in this way, it’s a workflow boon to have this built into Ozone, as you can now be even more targeted in your moves to isolate and fix issues in a master. That said, we’d prefer to have additional control over the timing of how it splits the two; when you solo the transient part of a mix, you get a fairly large portion of the attack, which includes the body of kick and snare hits. It’s not as nuanced as the likes of Eventide SplitEQ, which gives you much more control, but it’s still a useful feature.
Another seemingly small but crucial addition is the ability to listen to the delta signal on all modules. This can help you with fine-tuning settings so that you can hear exactly where the signal is being processed. We find this especially useful on the Maximizer, as you can now hear when and how it’s distorting and then tweak the various settings to keep this to a minimum.
Speaking of the Maximizer, it now features an Upwards Compress function that uses a single slider to help you easily bring up quieter passages of audio without the need for setting up more complex compressor settings and parallel routings. This is ideal when you’re working on more dynamic tracks, where you want to gently bring up the volume of a quiet verse without affecting the louder portions or having to use additional automation.
iZotope Ozone 11 Upward Compress
Finding Focus
Arguably the most exciting upgrade is the ability to choose between processing a whole mix or only the vocal, bass or drum stems. With Stem Focus, you can now select the vocal from the top of the plugin window and then make real-time EQ or other processing moves to refine it, while leaving the rest of the mix intact.
As far as technological leaps go, this is a pretty amazing one and we are left very impressed. To process one (or more) of the stems, you will most likely use a specific instance of Ozone 11 ahead of your main, full mix version.
These fancy new processing methods come at the cost of higher CPU usage, and once you start stacking instances, this can quickly add up. In theory, you should only really be tweaking stems in this way when working on a stereo file (as opposed to a full mix project), so hopefully your CPU should manage.
iZotope Ozone 11 Stem Focus
To put some of these new features into perspective, here are a few examples of what we’re able to do with Ozone on a single stereo file while leaving the rest of the mix completely intact:Reduce down some snare tail resonance
De-ess and widen some mono sounding vocals
Add punch to a kick drum
Add saturation to the low mids of a bass to help it cut through on smaller speakers.There’s no denying that these are all things that could (and ideally should) be fixed in the mix, but sometimes that’s not always straightforward if you’re working to a strict timescale. Just being able to try out simple adjustments with ease is a bonus; you could even use it as an example to send back to the mix engineer, or to try things out and then go back and make your own mix tweaks.
On paper, these are very impressive, cutting-edge tools. But such power also comes with a responsibility not to over-process and destroy a track.
Our main gripe is that Stem Focus doesn’t let you easily solo the audio stream being affected. Obviously, it’s much better undertake mixing tasks, like EQing a vocal, while listening to parts in the context of the whole track, but that doesn’t mean it’s not useful to have a quick solo listen to hone your ears to certain details.
As it stands, a current workaround involves switching on the delta listening mode on any effect and then bypassing the module. Hopefully, it’s an easy feature for iZotope to add in a future update.
Helping Hand
iZotope Ozone 11 Mastering Assistant
Ozone’s (in)famous Mastering Assistant makes a return in V11, alongside a new Assistive Vocal Balance function. For this, iZotope says it’s analysed “hundreds of top songs”, and worked out the optimum volume for where a vocal should sit in the mix. For beginners, this is undeniably a useful tool, as it can be a hard thing to judge correctly.
We test several tracks and find it tends to lean towards quite prominent vocals, but it’s easy to make small adjustments to taste, and you can switch it off entirely if you want to set it manually. Thankfully it’s set at a slightly different level for each genre, although we question why the EDM setting is slightly louder than the Pop setting.
As another test, we compare the results of the AI Mastering Assistant between versions 10 and 11. Both incorrectly guess the genre of the track. But, once corrected, we find a noticeable improvement in the spectral spread of Ozone 11’s results. The track feels more open and brighter, and the Stabilizer module comes in at 25 per cent instead of the usual 50 per cent. As we often find ourselves turning down this module in our own masters, this feels like a step in the right direction.
Some of the differences also suggest that iZotope has tweaked some of the genre profiles and fine tuned things to work with the new modules and features. That said, some tracks sound a touch over-processed. As mastering engineer Matty Harris points out on his YouTube channel, this is due to the Impact and Imager Modules working over time, which brings out the reverbs and makes things sound a little overblown.
The Mastering Assistant remains a little controversial – some YouTube and gear forum users claim it sounds a little harsh and digital. But there’s no denying that it gets more refined with each iteration and it can be a useful tool as a starting point as long as you A/B with the original and use your ears.
Ozone was already an excellent package with a mass of useful processors and features, but this new version somehow takes things up a notch. It has the odd fault and, as ever, you need to make sure you trust your instincts alongside its suggestions, but it’s a superb mixing and mastering toolkit.
There are Elements and Standard versions, and you can log in to find out your own upgrade prices if you own a previous version of Ozone. Sadly, the upgrade cost of $199/€180/£165 (for 10 Advanced to 11 Advanced) is steep, especially considering the short timespan since the previous iteration.
However, if another brand were to release a product with stem separation and transient/sustain mixing functionality, alongside a bunch of other tools, we’d probably all be falling over ourselves to check it out and not bat an eyelid! You may also be able to get it for cheaper in an intro deal or one of iZotope’s regular sales.
Ultimately, if you work a lot with stereo pre-masters, then this could prove to be a critical and time-saving update.
Key featuresVST3, AU and AAX
Complete mastering suite with 18 modules (Advanced)
NEW Clarity module (Advanced)
NEW Stem Focus lets you process full mix, vocal, drums or bass (Advanced)
NEW Transient/Sustain processing (Standard/Advanced)
NEW delta listening mode for all modules (Standard/Advanced)
NEW Upward Compress in the Maximizer module (Standard/Advanced)
NEW Assistive Vocal Balance helps set an ideal vocal volume (Elements/Standard/Advanced)
User interface and metering enhancements
Contact: izotope.comThe post iZotope Ozone 11 is an unparalleled audio processing suite with future-proof features appeared first on MusicTech.
iZotope Ozone 11 is an unparalleled audio processing suite with future-proof features
musictech.comThe iZotope Ozone 11 ups the ante, with real-time stem mixing, transient/sustain processing and a new Clarity module — read the review
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Five music production tips you can learn from Disclosure’s AlchemySince their 2013 debut album, Settle, UK dance music duo Disclosure has been going from strength to strength. The siblings’ latest release, Alchemy, is a pinnacle of hands-in-the-air electronic music, packed with a ridiculous amount of dance floor fire. It’s also chock-full of strong melodies, making it a pop opus as well as a club destroyer.
Disclosure are stellar songwriters, but they’re also masters at mixing and sound design. For producers of all genres, there are plenty of chances to learn something new. There’s certainly no shame in finding inspiration from different styles and sources.
Here are five production tricks Disclosure use in Alchemy that are sure to get you inspired.
Synthesize your own 808s
Jungle music is thriving. Modern artists are finding inspiration in the 90s-born genre, with its deep sub-basses and chopped breaks. Disclosure are no exception; they’ve made the genre their own on Higher Than Ever Before, a sunny jungle track with splashes of liquid drum and bass-style melodies.For the bassline, Disclosure uses 808s, or pitched booms. Old-school producers favoured actual samples of the Roland TR-808 drum machine but modern artists, like Disclosure, prefer to synthesize their own for more precise control.
To make an 808, you’ll need a synth with a pitch envelope, such as TAL’s free TAL-Noisemaker. Along with appropriate oscillator, filter and general amp envelope settings, use the separate AD envelope to add a slight pitch drop to the oscillator to replicate the sound of a beater hitting a kick drum. You’ll need to experiment to find the right ratio between the decay and envelope amount. Audition it against the drums to get the right rhythmic affect.Tweak out the bass at the end of the song
Here’s an arrangement tip. For the majority of Higher Than Ever Before, the bass serves to underpin the melody and hold down the song. It stays subtle and largely in the background, letting the vocals take centre-stage. However, towards the end of the song, Disclosure gradually open the cutoff filter, giving the bass a chance to jump to the forefront. This creates renewed interest, especially at the end of the song, when listeners’ focus may be waning.
To replicate this, use automation to open the cutoff filter on your bass synthesizer after the main section of the song has passed. Feel free to really go wild here if you like, modulating resonance and other parameters such as pitch – if you dare.Use synced LFOs to add motion to pads
Disclosure are experts in pad programming. Pads often fulfil the role of adding to the melodic content of a track, ‘padding’ it out and making it sound fuller. But that doesn’t mean pads have to be boring.
Electronic music often relies on repetitive loops, so programming your pads to evolve subtly (or even dramatically) can be an excellent way to keep listeners engaged.
One trick Disclosure like to use with pads is synced LFOs. By binding the frequency of the LFO to your DAW’s tempo, you can inject additional rhythmic change while also keeping things in motion. While a sine or triangle wave will work fine, try using a square wave to modulate the amplitude for a more dramatic, tremolo effect. Finally, use automation to change the speed of the LFO as you would with a dubstep-style wub bass.Make your vocals bright
Vocals in contemporary pop music are bright and airy. This is true for Disclosure’s vocals as well. While there are a number of different tricks you can use to get this, from scooping out lots of low end with an EQ to using a drastic low cut and little to no high cut for bright vocal reverbs, a major trick that Disclosure are known to use is the Dolby ‘A’ trick.
Dolby noise reduction was a method of reducing the noise floor in tape in the 1970s and 1980s. But by misusing the first part of the process, the high-end boosting stage, mix engineers realized that they could get beautiful, airy vocals this way.
There are a few different plugins that replicate this, including Fresh Air, a freeware effect from Slate Digital. By using dynamics and an exciter stage, Fresh Air can add sparkle to highs without sounding brittle or harsh. It’s a fairly simple plugin. Just pull up the air dials until it sounds good in your track. Be careful not to overdo it though, as you don’t want too much of a good thing.Treat vocals like a synthesizer
Disclosure love to get wild with vocals. On Alchemy, they use the human voice like another instrument, employing a combination of Auto Tune-style pitch correction and vocoding to turn vocals into synthesizers.
There are a number of different plugins that can do this, including Antares’ Auto-Tune Vocodist, which combines pitch correction with emulations of famous vocoders.
Auto-Tune Vocodist is a flexible plugin with a lot of options. It responds to MIDI if you want to create new melodies, but for a unique feel, set it to track the pitch of the original vocal. Be sure to set the appropriate key and scale that you want it to conform to as well. Finally, experiment with the different vocoder models until you arrive at something that sounds good to your ears. Effects are important as well, so be sure and apply reverb, delay and even chorus.The post Five music production tips you can learn from Disclosure’s Alchemy appeared first on MusicTech.
Five music production tips you can learn from Disclosure’s Alchemy
musictech.comDisclosure’s latest LP Alchemy is rife with music production secrets. Here are five tips you can employ right now.
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James Blake’s Alexandra Palace show was a live electronic masterclassBritish electronic music titan James Blake returned to London’s Alexandra Palace last night and delivered a career-spanning live performance that effortlessly weaved between all-out rave catharsis and stripped-back vulnerability.
READ MORE: Modular racks, Moog synths and sandwiches: Inside ‘Betty’s’, Sylvan Esso’s “off-grid” studio
Having conquered Village Underground in 2016, and then Eventim Apollo in 2019, this was his second time commanding the 10,000-capacity Ally Pally (having previously played there in 2022).
As the lights faded to black, the melancholic yet hopeful opening sounds of Blake’s new record Playing Robots Into Heaven rang in search of connection, while James walked across the stage with the weighty machinery that adorns the album cover on his back – a cinematic entrance befitting of the soundscapes that followed.
James Blake at Alexandra Palace. Image: Getty
Joined by the James Blake live band – Rob McAndrews, AKA Airhead, on guitar and modular synth, and Benjamin Assiter, AKA Mr Assister, on drums – Blake teased early on that the set would consist “of a bit of everything.” The news was no doubt a delight to the audience, who had forked out £40 for tickets to the show and many of whom were sporting his newest merch.
The performance was evenly split between piano-led emotion (Overgrown, Fire The Editor) and energetic club-ready workouts (Tell Me), allowing Blake to showcase the many different sides of his artistry throughout the evening. Often, he paired old favourites with newer creations, subtly bridging between two decades: the stripped-back piano keys of Frank Ocean cover Godspeed segued seamlessly into the new record’s heartbreaking If You Can Hear Me. Similarly, the air sirens and flashing strobes of 2013’s Life Round Here blended into the recent heavy-hitter Big Hammer.
After some typically humble (and very British) ‘thank you’s, Blake made clear that every sound coming from the stage was 100 per cent live. “There’s nothing going on behind the scenes,” he told the crowd; “no laptops or weird automated shit you can’t see. I’m not just trying to flex, I’m saying that because I’m really proud of it and, to me, that’s what being in a band is,” he continued. Blake added that while in other music genres that aspect of a live show is “accepted”, it’s “harder to do in electronic music.”
James Blake at Alexandra Palace. Image: Getty
Even the lights were fully live, Blake explained, shouting out his concert lighting designer, Christopher Bushell. “It’s insane,” he commended; rightfully so, too: the cloud-like lighting that accompanied an indulgent Fall Back conjured the feeling of flying through a storm. “He’s playing in time with us, even though he’s miles away at the back of the room and is on a delay,” Blake added, astoundedly.
The historic venue’s cavernous Great Hall proved a fitting setting for the incredible light show and futuristic sonics that accompanied Blake’s career-spanning set. “The reverberation is great,” he declared later on, having sent his angelic voice soaring around the room during Asking To Break and I Want You To Know, while the chest-rumbling bass of the timeless Limit To Your Love proved strong enough to propel a helicopter. Similarly, a full-band rendition of CMYK was the ultimate treat for Blake fans.
“This is a very life-affirming sight from up here,” Blake said at the close, smiling. Undoubtedly, the thousands in the audience felt the same way.
Catch James Blake live and check tour dates via his website.
Set list:
Asking to Break
I Want You to Know
Limit to Your Love (Feist cover)
Life Round Here
Big Hammer
Loading
I’ll Come Too
Fall Back
Love Me in Whatever Way
CMYK / Stop What You’re Doing
Tell Me
Voyeur
Retrograde
Fire the Editor
Godspeed (Frank Ocean cover)
If You Can Hear Me
Playing Robots Into Heaven
Encore:
Improv / Modern Soul
The post James Blake’s Alexandra Palace show was a live electronic masterclass appeared first on MusicTech.James Blake's Alexandra Palace show was a live electronic masterclass
musictech.comJames Blake live show included hits like Limit To Your Love and Retrograde, while giving dues to his new album, Playing Robots Into Heaven
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From Ed Sheeran’s copyright victory to Songtradr buying Bandcamp… it’s MBW’s Weekly Round-UpThe five biggest stories to hit our headlines over the past seven days
SourceFrom Ed Sheeran’s copyright victory to Songtradr buying Bandcamp… it’s MBW’s Weekly Round-Up
www.musicbusinessworldwide.comThe five biggest stories to hit our headlines over the past seven days…
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Omnisphere Fjall by The Very Loud Indeed Co. Omnisphere Fjall contains 120 patches that can be loaded into Spectrasonics’ flagship synthesis platform.
Omnisphere Fjall by The Very Loud Indeed Co.
www.soundonsound.comOmnisphere Fjall contains 120 patches that can be loaded into Spectrasonics’ flagship synthesis platform.
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bby - money body
By PublMe botSounds like: Fake a Smile, Andrew Wyatt, TTRRUUCES What's so good? Economy Runs My PartyBy slamming... - PublMe bot posted in Space
Epic Games sells Bandcamp to music marketing company, SongtradrMusic marketplace Bandcamp has been sold by Epic Games to music marketing company Songtradr just 18 months after it was acquired.
READ MORE: Fender, Yamaha, Korg, Roland and Casio face class-action lawsuit for price fixing
Bandcamp was acquired by Epic Games, the makers of Fortnite, in March 2023, with the shared vision of “building the most open, artist-friendly ecosystem in the world”. Now, however, Epic Games’ stepped back from Bandcamp, having now sold the site to Songtradr for an undisclosed sum.
Songtradr, a music licensing and marketplace company, says it will “continue to operate Bandcamp as a marketplace and music community with an artist-first revenue share.”
According to Songtradr, it will work with Bandcamp to give artists opportunities to secure licensing deals. This includes deals with Fortnite itself, as it will continue to collaborate with Bandcamp for projects such as Fortnite Radio, says Epic Games.
The news comes as Epic Games also lays off 16 per cent of its workforce and is divesting Bandcamp and SuperAwesome.
The Vice President of Epic Games, Steve Allison, has said in a statement that the sale of Bandcamp will “make it easier for independent artists to connect with creators and developers looking to license their music and enable Epic to focus on its core metaverse, games, and tools efforts.”
In March, a number of Bandcamp staff, under the name of Bandcamp United, unionised in a push for fairer wages and greater transparency from its leadership. Bandcamp’s CEO Ethan Diamond later responded, saying, “following the NLRB’s process and timeline. Bandcamp will respect the election outcome and if a union forms, we will negotiate in good faith.”
See more industry news via musictech.com.
The post Epic Games sells Bandcamp to music marketing company, Songtradr appeared first on MusicTech.Epic Games sells Bandcamp to music marketing company, Songtradr
musictech.comMusic marketplace Bandcamp has been sold by Epic Games to music marketing company Songtradr just 18 months after it was acquired.
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Soccer Mommy - Here
By PublMe botSounds like: Pavement, Built to Spill, Beabadoobee What's so good? The risk of releasing a cover of a... - PublMe bot posted in Space
Spitfire Audio Phobos Phobos is a must-have synthesiser for composers writing epic, cinematic electronic and hybrid compositions. Conceived by renowned composer and electronic music pioneer BT (The Fast and... Read More
https://www.kvraudio.com/product/phobos-by-spitfire-audio?utm_source=kvrnewindbfeed&utm_medium=rssfeed&utm_campaign=rss&utm_content=27194 - PublMe bot posted in Space
Epic Games sells Bandcamp to Songtradr amid major layoffsIndependent music marketplace Bandcamp has been sold to music licensing platform Songtradr just 18 months after Epic Games acquired it. Epic says it will continue to collaborate with Bandcamp on. Continue reading
The post Epic Games sells Bandcamp to Songtradr amid major layoffs appeared first on Hypebot.Epic Games sells Bandcamp to Songtradr amid major layoffs - Hypebot
www.hypebot.comIndependent music marketplace Bandcamp has been sold to music licensing platform Songtradr just 18 months after Epic Games acquired it. Epic says it will continue to collaborate with Bandcamp on. Continue reading
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Up Close and Personal: When the algorithm goes too far [MIDiA’s Tatiana Cirisano]Tatiana Cirisano of MIDiA Research dives into how the borderline mind-reading technology of social media is affecting the music industry. What happens when the algorithm gets a little too close. Continue reading
The post Up Close and Personal: When the algorithm goes too far [MIDiA’s Tatiana Cirisano] appeared first on Hypebot.Up Close and Personal: When the algorithm goes too far [MIDiA's Tatiana Cirisano] - Hypebot
www.hypebot.comTatiana Cirisano of MIDiA Research dives into how the borderline mind-reading technology of social media is affecting the music industry. What happens when the algorithm gets a little too close. Continue reading
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The risks and rewards of cover songsPerforming and releasing cover songs can be a great way to excite fans and even reach a new fanbase, however there are some important things you should know before doing. Continue reading
The post The risks and rewards of cover songs appeared first on Hypebot.The risks and rewards of cover songs - Hypebot
www.hypebot.comPerforming and releasing cover songs can be a great way to excite fans and even reach a new fanbase, however there are some important things you should know before doing. Continue reading
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This software can turn spreadsheets into musicDoes the word ‘spreadsheet’ send shivers down your spine? Here’s a piece of software that might make your workdays a little better by transforming those tiny numbers into music instead.
READ MORE: The Roland GAIA 2 has landed – featuring a new hybrid sound engine that combines wavetable and virtual analogue synthesis
The brainchild of producer and developer Noah Pred, Sonification Tools is a trio of Max for Life devices that can help you create new musical ideas using real-world data sets.
Just type or copy and paste raw numeric data into the text entry field of all three devices to turn them into music, modulation, effects and audio. Data MIDI will convert any string of numbers into a MIDI sequence to create melodies and harmonies; Data Mod will turn data into modulation sequences; while Data FX allows you to control three audio effects – spectral filtration, wavefolding distortion, and impulse convolution – or even to generate raw audio using the input data.
Data can be typed in manually, randomly generated, or copied and pasted from pretty much any source. After which, select and loop the data as you like, with the lowest data value automatically corresponding to your lowest allowed output, and the highest data point automatically corresponding to your specified upper output limit – be it note pitch, velocity, length, or modulation.
Users can also adjust how the raw data is processed and transformed using the parameters featured in each device. Data MIDI and Data Mod allow you to trigger data at any factored or fractional metrical base rate with optional cycle reset for a wide variety of rhythmic patterns. Offset delay and swing further enhance MIDI output timing. You can also trigger data at a millisecond rate for more abstracted results, or via arbitrary note input.
Data MIDI is also equipped with a variety of ‘trigger modes’, allowing you to engage with its output in a variety of ways, all of which can be constrained via 69 scales in any key. Better yet, you can expand or contract the range of data pitch, velocity, or length output in real time to dynamically express the data in highly musical ways.
Data MIDI and Data Mod can also be Gated to only output MIDI above or below a certain threshold for more rhythmically complex output.
Available now for Windows and Mac, Sonification Tools is priced at €50.Learn more at manifest.audio
The post This software can turn spreadsheets into music appeared first on MusicTech.This software can turn spreadsheets into music
musictech.comDoes the word ‘spreadsheet’ send shivers down your spine? Here’s a piece of software that might make your workdays a little better by transforming those tiny numbers into music instead.
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Rick Ross and Maybach Music Group strike partnership with Larry Jackson’s $1bn-backed gammaAlso joining gamma is Breyon Prescott, including his Chameleon Entertainment label and catalog
SourceRick Ross and Maybach Music Group strike partnership with Larry Jackson’s $1bn-backed gamma
www.musicbusinessworldwide.comAlso joining gamma is Breyon Prescott, including his Chameleon Entertainment label and catalog…
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Adastra Ambiences is a FREE cinematic soundscape library for Soundpaint
Adastra Ambiences is a new FREE cinematic soundscape library for Soundpaint. 8dio released Soundpaint around two years ago, launching it with a free Vintage Steinway Grand Piano. The innovative free sample player offers an eclectic range of free and paid libraries. Adastra Ambiences is a free library packed with epic cinematic soundscapes. The library comes [...]
View post: Adastra Ambiences is a FREE cinematic soundscape library for SoundpaintAdastra Ambiences is a FREE cinematic soundscape library for Soundpaint
bedroomproducersblog.comAdastra Ambiences is a new FREE cinematic soundscape library for Soundpaint. 8dio released Soundpaint around two years ago, launching it with a free Vintage Steinway Grand Piano. The innovative free sample player offers an eclectic range of free and paid libraries. Adastra Ambiences is a free library packed with epic cinematic soundscapes. The library comesRead More
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