PublMe bot posted in SpaceHow the Korg MS-20 and the MS-20 Mini became a parent-child powerhouseIt’s been a mere decade since Korg announced its MS-20 reissue, the MS-20 Mini. Not rebooting it with any screen, software integration or preset storage – simply downsizing it a little. The MS-20’s quarter-inch patch bay sockets became minijack sockets; its keyboard shrank from full-size to a larger-than-miniature format uniquely sized for its 14 per cent smaller offspring.
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This semi-modular synth entered a market palpably unsure of its feelings toward analogue instruments. Meticulous software emulations loomed large and modern digital-meets-analogue architecture often mitigating idiosyncrasies like oscillator drift, which would infuriate synthesists of the past. Was there really a place for a synth like the MS-20, a famously gritty, all-analogue instrument, in the modern synthscape?
The answer from creatives was a resounding ‘yes’. “I’ve got three,” Richard D. James, aka Aphex Twin, told Future Music in 1993. “It’s a mad keyboard, it’s got a great range of sounds.”
Korg MS-20 Mini (front with patch)
Korg’s MS-20 Mini has, in its relatively short tenure, already become something of an icon, finding a comfortable home in bedrooms and iconic studios. A reissue in all but the purest sense of the term, it is demonstratively set apart from a majority of its peers by the fact that many modern artists and producers who now venerate the MS-20 do so on account of discovering it as an instrument in its own right.
Mini or full size, the MS-20 now belongs in a strange realm, where it essentially manages to be both a vintage and a modern classic. The fact that the MS-20 has played a key role in the history of electronic music since it first saw the light of day in 1978 is, in many ways, a footnote to the influence that the instrument has for artists now.
Making History
If the MS-20 posits itself as a raw and unabridged, even impulsively designed synth, it’s because that’s exactly what it is. Far from being whittled down by team after team, the MS-20 was primarily the brainchild of just two young designers: Fumio Mieda and Hiroaki Nishijima.
“If you only have two people working, it’s easier to harmonise options,” Mieda said in a 2013 interview for Korg. Mieda was already an established name at the company when the MS-20 first entered production, thanks to his key role in the design of the preceding PS-3000 series of polyphonic synths. Nishijima, meanwhile, joined Korg as a university graduate while the MS-20 was being developed, immediately finding himself in the Technical Department and in charge of the project.“We already had circuits we could work on— the PS-3000 series’ circuits were all designed by Mr Mieda and are therefore used in the MS-20 with very few changes,” remembered Nishijima in the same interview. “A few adjustments were made so they are not exactly the same. But the basic circuits were already there from the beginning.”
Mieda’s designs had left very little to be desired, a foundation allowing for more creative functions in other areas to take precedence when it came to developing the MS-20. Aside from deciding the MS-20 should have a vertical panel, even the synth’s body shape and size were ultimately left to the sheet metal worker to decide on. “The MS-20 was designed partly based on the PS-3000 series,” said Mieda. “But we added some new features. Some of them were added without even being tested first!”
It’s apparent that this maverick process has characterised the final product in almost every way; the MS-20 is a synth that very much rewards risk-taking and rule-breaking. One such feature was the MS-20’s ring modulator. “A standalone ring modulator module would cost about 1 million yen,” explained Mieda. “But when creating new sounds, ring modulators were of great value to us.
“It’s true that ring modulators screw up scales and that they’re hard to use. But they were important – in terms of fun!” So too with the MS-20’s external signal processor; a circuit that occasionally took on a mind of its own, featuring a frequency-to-voltage converter to allow sounds to be played into the synth from anywhere and be frequency-matched by its oscillators.
Korg MS-20 Mini (front)
One producer whose arsenal would be incomplete without the MS-20 is Scott Hansen, aka Tycho. For him, the MS-20 represents not just an essential tool, but his original conduit to the world of analogue synthesis itself.
“I first came into contact with the MS-20 without knowing it, through Daft Punk’s track Da Funk,” he remembers. “That sound resonated with me. I’d never even touched a musical instrument when I heard that song. I’m sure I’ve heard it in a bunch of other places as well, but hearing that, I was like, ‘Man. That’s a really cool sound’.
“When I started making music, everything was digital, everything was ‘virtual analogue’. I had Access Virus, the Novation Nova series, and all that stuff. I just thought that’s what a synthesizer was: massive polyphony, reverb built in… all that. So I just didn’t understand what the point of a monophonic synth was.
“But one day, a buddy of mine, who had all these synths he wasn’t really using, gave me an MS-20. I really didn’t connect with it at first. I thought it was so raw; I didn’t even know where to start with it. But over the years, I just kept messing with it and started really finding all its cool quirks, particularly the filters, and the resonance.”
Korg MS-20 Mini (slant)
Filters of legend
For many, the talismanic design feature of the MS-20 is its dual low-pass and high-pass resonant filters. Fumio Mieda was intent that his instrument be able to synthesize a range of speech-emulating formant sounds; a sonic palette that he deemed would complete the synth’s already formidable functionality.
“A vowel sound can be synthesized with two voices,” he explained in 2013. “So if you move [the cutoff and resonances on both filters] you can easily produce “‘A’, ‘E’, ‘I’, ‘O’, ‘U’. I wanted to make sure this could be done.”
“I think that was the biggest thing,” Tycho remembers. “The second I figured out that whole hyper-resonance trick on both ends, on both the high-pass and low-pass filter to get that crazy, growly sound. It was like, ‘Wow.’ Of course, it doesn’t necessarily fit into my music in all contexts. But it was a really interesting place to start. And then you back it off and you get into that warmer space, it still has this texture to it that’s really unique. Even when you just have a simple thing going on, you can still sense it.”
Over a short initial production run of five years, the MS-20’s filter underwent some changes. But when the decision was made to develop an MS-20 Mini, it was the earlier MS-20 filter model— dubbed the ‘Mieda VCF’ – that proved the natural choice.
Danny Herbert, producer-member of trailblazing electro quintet Redolent and longtime MS-20 Mini user, bases himself at Edinburgh’s venerable Post Electric Studios; a facility favoured by the likes of Steve Albini and a staple studio in the Scottish music scene. “I’m quite ADHD,” he says. “I just need to be able to plug things in. And have it up and running really quickly. In my studio, it’s always plugged in, always ready to go.
Korg MS-20 Mini (rear)
“The coolest bit is the filter,” Herbert says. “Having those two filters, being able to chain them into each other, and just crank the hell out of the resonance…that’s the most amazing thing. I use it for what we in the band just call ‘dins’: weird noises. Squealing, organic noises. For me, you can’t get that out of a digital emulation, because it just distorts badly and sounds kind of… shit [laughs].”
Tycho remembers that resonance giving him a similar creative rush. “That super-resonance is generative,” he says. “It’s actually creating tones and frequencies – I guess harmonics would be the word, but it’s the way it adds these secondary elements to the notes that you’re playing. And it can be really interesting, the way that it opens up something and changes things. It can behave as another oscillator, especially if you tune it correctly and have the envelope set correctly. Yeah, it’s just a beautiful thing.”
Bristol-based artist Finlay Shakespeare treads the line between artist and synth designer, performing under his own name while also heading up the wildly creative developer Future Sound Systems. Shakespeare is a true synthesist, but for him, the MS-20’s functionality goes far beyond its capacity as a standalone synthesizer.
“Having those two filters, being able to chain them into each other, and just crank the hell out of the resonance…that’s the most amazing thing.” – Danny Herbert
“I treat it as much as a piece of outboard gear as I do a synth,” Shakespeare explains. “It’s so versatile. It ends up pretty much on everything I do. Even recording acoustic guitar and vocals, something usually ends up going through the MS-20. Just to give it that bit of…something, you know? I’ll run audio through its filters, or I’ll get the audio to FM the filters slightly and dub that on top, really low… then just adjust the level, according to how much of that weird distortion I might want.”
In Shakespeare’s experience, however, the MS-20’s uncompromising reputation verges on disservice. “So many people regard the MS-20 as being really aggressive and noisy,” he reflects. “But it isn’t necessarily like that at all. It can make smooth pads, for example. If you multitrack it, it sounds really lovely. And people just forget that you can turn the oscillators down on the mixer. [laughs] Like, you can do that! As soon as you stop driving those filters so hard, they suddenly become a different thing.”
Suited and rebooted
You may have noticed the terms ‘MS-20’ and ‘MS-20 Mini’ being used interchangeably. This is because they are, in essence, interchangeable instruments.
“My main goal making the MS-20 Mini was to recreate the sounds the MS-20 had,” said Hiroaki Nishijima in 2013, “to the point where you can’t tell the difference between them, even if you play [the Mini] next to the original MS-20.”
The Mini is certainly the most successful MS-20 reissue, but it’s by no means the only one to have hit shelves since 1978.
In 2004, the Korg Legacy Collection offered the MS-20lc, visually almost indistinguishable from the Mini but no more than a MIDI controller for Korg’s software emulation. Further software iterations followed, including 2008’s curious DS-10 for the Nintendo DS, a game cartridge that used the handheld console’s interface and stylus to play, tweak and sequence synth and even drum sounds.Emboldened by the subsequent Mini’s success, Korg went on to release a white version of the MS-20 Mini, an MS-20 DIY kit in 2014 and, in 2021, a line of full-size, MS-20FS reissues in an array of different colours.
Recently, French software developer Arturia has thrown its hat into the ring, adding a polyphonic MS-20 emulation, the MS-20 V, to its V Collection, and releasing a filter emulation plugin in the Filter MS-20.
The ubiquity of the Mini, however, remains uncontested. Is it possible that some instruments simply won’t comply when it comes to software?
“I’d always been digital synth-focussed, working in the DAW, playing around with Ableton Live synths,” says Danny Herbert. “You’d get all these emulations, but you never really knew what exactly they were emulations of. The MS-20 does sound different [to software versions], I don’t know why. Even when companies emulate it really well, those emulations still sound different.”
Tycho has a slightly different take on the software-hardware relationship. “Software has just come so far,” he says. “Both the beauty and the problem with [recording] hardware instruments is that you’re locking in a performance, locking in those settings. I’ve been trying to make the album I’ve been working on lately a lot more dynamic in terms of automation: filters opening up or certain sounds changing over time. So whenever possible, I’ve been using software.
“UA makes this amazing Minimoog emulation, Arturia makes one of the MS-20. So there are these counterparts that I feel are just as good as the hardware, and I feel the same when I play them. And that’s really all that matters. The MS-20 is a pretty complex instrument, so it’s amazing to be able to go back and be like: ‘Oh, what if I’d done this? Or what if I’d patched this differently? What if the filter opened a little bit more here? So in that sense, it’s been amazing to be able to work with those software counterparts.
Korg MS-20 Mini (slant with patch)
Crossing Borders
Perhaps software has found its footing next to celebrated hardware. Or is it vice versa? Either way, the introduction of the Mini is considered by many to have been the harbinger of the analogue synth boom of the past decade. It has impacted the workflow of a new generation of musicians– electronic or otherwise– looking for a raw and characterful, yet accessible and affordable electronic instrument.
One such artist is Matt Baty, bellowing frontman of Newcastle-based neo-metal powerhouse Pigs Pigs Pigs Pigs Pigs Pigs Pigs.
“Before using the MS-20 Mini, I started out using a 1979 Yamaha CS-15, which is gorgeous but its frequency output didn’t have the fortitude to cut through the might of the Pigs x7 backline,” Baty explains.
“When we started to play live, I noticed that the Korg MS-20 Mini seemed to be a staple amongst the psych and noise bands we shared a stage with. I was impressed by the shimmering glacial heights it could hit, the way it would sit high above gnarly guitars and rumbling basses. Those massive filter sweeps…”
Baty can commonly be seen onstage hunched over his battered white-finish MS-20 Mini, wringing the filter cutoff for all its worth as his bandmates deal in walls of guitar hook-led distortion. The synth is every bit at home in this setting.“It reminded me of the soaring synth in Hawkwind’s [1972 rock track] Silver Machine,” Baty continues. “At the time that was the kind of sound I was looking to replicate. It’s been on stage with me ever since. Every night it plays its own part in fuelling the Pigs x7 cacophony of sound.”
Similarly, producer Marcus Hamblett has lent his talents to music by the likes of James Holden, Laura Marling, Broken Social Scene, Bear’s Den and many more. “It’s just much more evil than any of the other monosynths I have,” he says.
“I have all different synths in my studio, but this one is just an absolutely horrendous, evil, gnarly beast. Playing live, I mostly use it for massive bass. If I’m using Ableton for other parts of the set, everything is very much ‘on the rails’. But the MS-20 is very much off the rails! It’s very live.”
Naughty or nice, full-size or Mini, the MS-20 is a synth for all ages. A litany of artists incorporate it into their practice in all manner of different ways, and all will posit different views of what the MS-20 does best. But one thing remains incontrovertible: there’s simply nothing else quite like it.
“The MS-20 just has a Spartan-ness about it,” Tycho reflects. “It presents itself in a very minimal and efficient way, considering how much is possible with it. It’s a stroke of genius, the way it’s presented. It’s approachable, even though it is pretty complex. And you can get lost in it, and pretty quickly find yourself thinking, ‘I have no idea what made that sound or what’s going on there.’ But that’s the charm of it.”
The post How the Korg MS-20 and the MS-20 Mini became a parent-child powerhouse appeared first on MusicTech.How the Korg MS-20 and the MS-20 Mini became a parent-child powerhouse
musictech.com45 years ago the MS-20 first hit shelves. 35 years later, Korg announced the MS-20 Mini. Today, musicians everywhere continue to sing the praises of both.
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Mykki Blanco and Falty DL: “It’s hard to describe the most important collaborative relationship we’ve ever had”“I started off as a theatre kid with a love for art and performance,” says creative polymath Mykki Blanco. “I never expected to be a musician, or be in the limelight with my music.”
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It must be a surprise for Mykki then that they have evolved into a musical artist known for pushing the envelope of queer experimentalism. The past decade has seen numerous solo releases – and collaborations with Kanye West, Charli XCX, Blood Orange and more – that have flirted with mainstream success from the fringes. Their tracks bring together disparate traces of punk, hip-hop and riot grrrl, driven by a magpie-like approach to sound with a casual disregard for genre conventions.
With producer Drew Lustman, better known as Falty DL, Mykki’s recent discography includes 2022’s acclaimed Stay Close to Music and 2021’s Broken Hearts and Beauty Sleep albums and has now evolved into a new EP, Postcards from Italia. Described as their ‘Italian cowboy era’, the six tracks veer between acid house and classic rock.
“There are just some creatives who understand each other,” says Mykki. “Drew pushes me to try ideas that I would never do on my own, to go further in the studio than anyone else.”
Mykki Blanco (right) and Drew aka Falty DL (left)
Uniting creative lives
Identifying as non-binary with a huge array of influences propelling them, it was back in 2012 when Mykki almost accidentally fell into music. Enjoying other creative lives in performance art and poetry, they were discovered by a manager attracted by the way they ricocheted between these different worlds.
“My first manager came to a few performances and asked for a meeting,” Mykki recalls. “He told me he felt like I was making amazing music and I didn’t really know it – [that] started the whole process.”
The eponymous Mykki album landed a few years later in 2016, winning a brace of glowing reviews including Pitchfork describing the release as “high-concept hip-hop, a swerve from the brusque heterosexualization of nearly all mainstream rap”. The release established them as an uncompromising music maker, yet it was through relentlessly touring that helped Mykki to survive.
Mykki Blanco. Image: Cecilia Chiaramonte
“I’ve never been with a major label so I’ve always had to hit the road to stay afloat,” says Mykki. “Now touring has changed so much; it’s so costly. But back then it was one the main reasons my career grew, perhaps at the expense of my own creativity.”
Mykki describes how the sudden halt to live music caused by COVID-19 led to a “sobering moment” where they were forced to invest more energy into their songwriting. Working with French producer Woodkid made them consider live instrumentation, while a stint with Kanye West in 2018 opened them up to the importance of editing.
“I would spend five hours in the studio making music, perhaps having a drink and smoking weed, then I’d see the song as done,” says Mykki.
“I wouldn’t go back to it but, with Kanye, I realised the importance of giving your music time to ferment; of making multiple versions and collaborating. It was pivotal for me.”
Mykki Blanco. Image: Cecilia Chiaramonte
Connecting with Falty DL
Following the release of their debut album, Mykki spent time trying to decipher what the next creative statement should sound like. It was in the year after that they met Drew via a chance email.
“We met because I decided to email a tune to Mykki back in 2017. The stars must have aligned because it was the jumping-off point to well over 30 songs written together at this point” — Drew aka Falty DL
“It’s hard to describe the most important collaborative relationship I’ve ever had,” says Drew on their partnership. “It’s been highly transformative both professionally and personally.
“We met because I decided to email a tune to Mykki in 2017. The stars must have aligned because it was the jumping-off point to over 30 songs [we’ve] now written together. I sometimes go a few months without talking to Mykki and I just really miss them. Our friendship scratches a certain itch.”Drew’s email arrived when Mykki was striving to develop their sound, to blend hip-hop and vocal rhymes with the ethereal guitars of bands like My Bloody Valentine and Cocteau Twins.
“I was working my way through all these messages and came across this email,” remembers Mykki. “It featured one of Drew’s instrumentals and sounded exactly like what I was trying to find but just couldn’t articulate on my own.”
Live samples
The pair agreed to join forces with the ambition to create original samples as their music’s basis. Mykki began pursuing this approach when making their debut album but had never sat in on the sessions. This time, players and vocalists were invited to their studio, and then briefed by Mykki.
Mykki Blanco’s Postcards From Italia cover. Image: Cecilia Chiaramonte
“I’d say, take 10 seconds of Fly like an Eagle by the Steve Miller Band, 15 seconds of a Missy Elliott outro I love, 12 seconds of a transition from a Crosby Stills Nash and Young album,” says Mykki. “Don’t try to produce a carbon copy but this is the energy I’m trying to create,” he’d tell the musicians.
Once a session was completed, Drew and Mykki would move beyond their roles as musical directors to pore over the recordings as editors. They would carefully listen to the performances, and then select their favourite moments.
“We found the different sections we loved that sounded completely different from any kind of original reference,” says Mykki. “We’d pick them, then use these for our own compositions. It would create a totally new synergy.”
Collaborative processes
The collaborative relationship between Drew and Mykki has taken on myriad forms. Often, songs begin with Drew sharing instrumental ideas, then Mykki would respond before they’d head to the studio.
“Drew has a way of EQing my voice. It’s not layered in effects, but there is some filtering on my vocals that I love. I call it giving it the Britney Spears treatment” — Mykki
“When we’d meet, we’d completely collapse the instrumental,” says Mykki. “I’d write to a certain BPM and we’d always like to develop the track to avoid it sounding stale. So we’d strip it back, then start to build the lyrics and melodies.”
On other occasions, the pair will exchange roles with Mykki sending Drew voice notes. These will often be accompanied by a YouTube link or some musical references.
“I’ll take the audio and play around with it over an original composition inspired by the references,” states Drew. “Or other times, we will be chilling in my studio and I’ll start to explore things I’m really curious about.”
Falty DL’s studio
Mykki’s approach to crafting lyrics comes through what they describe as a “blah blah blah method”. Singing this refrain over the top of an instrumental will reveal inflections, tones, cadences and melodic hooks. Once established, Mykki will set about crafting lyrics to fit.
“For a song, like Tequila Casino Royale, there’s no way I would have written a cadence like that on my own,” they say. “Also, Drew has a way of EQing my voice too. It’s not layered in effects, but there is some filtering that I love. I call it the Britney Spears treatment and it makes me feel much more comfortable in the studio.”
A major move for Mykki has been in freeing their voice from years of rapping. Surprisingly, they credit artists Tom Petty and Lou Reed as inspiring them to progress.
“I feel like more of a songwriter than a rapper,” says Mykki. “Although I have a lot of rap songs I love, I wanted to take on a new form. I’m having so much more fun not feeling boxed in.”
Falty DL’s studio
Equipment
Drew employs a range of music gear in the studio to provide Mykki with a platform to stretch themselves into bold musical shapes.
“I use a Gibson GK55 guitar and Fender Jazz Bass,” says Drew of his preferences. “Most things are in the box; the computer reigns supreme. But we get freaky with guitars and piano. The Neumann mic is probably the most important piece of equipment for the Mykki material.”
There are also some surprising pieces in Drew’s studio. Based in Brooklyn, Mykki dubs it ‘Little Oslo’ as it “has the aesthetic of a Finnish sauna” with a swelling arsenal of gear.
“Children’s instruments, glockenspiels and small harps are all there,” says Drew. “Cheap under-$50 things I research online when stoned at night and, when they arrive, I forget I even ordered them!”
Unsurprisingly, Drew’s open-minded when it comes to finding gear and equipment. He sees any addition to his setup as a way to mine fresh inspiration.
“A new instrument can shake the cobwebs so I am always searching for exciting things to make noise,” he states. “I’m pondering pulling the trigger on a Yamaha DX7 and a drum kit right now. The kit will finally be the one-stop shop I need to create what’s in my head.”Bold futures
With the Postcards from Italia EP out, Mykki is heading to Switzerland to study and contemplate new music – although how this may sound is to be confirmed.
“I’m going to really think about where I want to go next,” says Mykki. “I’m interested in field recordings of natural sounds. I’m so curious about how to take these tropes of new age music and turn this into upbeat dance music.”
With ideas bubbling, Mykki seems content to keep their music fluid. Rather than be informed by what is happening in the world around them, much of the music comes from within.
“My creative process explores the dimension of my interior world,” they say. “So I can be anywhere to make it … as long as I can get coffee.”
Visit mykkiblan.co for more information.
The post Mykki Blanco and Falty DL: “It’s hard to describe the most important collaborative relationship we’ve ever had” appeared first on MusicTech.Mykki Blanco and Falty DL: “It’s hard to describe the most important collaborative relationship we’ve ever had”
musictech.comMykki Blanco and Falty DL share a creative musical partnership. We find out how it’s blossomed into their new EP, ‘Postcards from Italia’.
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StaffPad’s new AI-powered Piano Capture Driven by AI technology, StaffPad's new Piano Capture tool is capable of ‘listening’ to real piano performances and converting them into readable sheet music.
StaffPad’s new AI-powered Piano Capture
www.soundonsound.comDriven by AI technology, StaffPad's new Piano Capture tool is capable of ‘listening’ to real piano performances and converting them into readable sheet music.
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Oana Ruxandra, Chief Digital Officer at Warner Music Group, to exit companyRuxandra confirmed her decision to leave in a note to WMG staff today
SourceOana Ruxandra, Chief Digital Officer at Warner Music Group, to exit company
www.musicbusinessworldwide.comRuxandra confirmed her decision to leave in a note to WMG staff today…
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Patreon launches new features, a redesigned app and a new lookPatreon is launching new features, a redesigned app and a new brand identity, the company announced on Wednesday. In a blog post, the company explained that the changes are about “giving creators even more,” noting that Patreon is “no longer just a paid membership company.” One of the most notable features updates is the full […]
Patreon launches new features, a redesigned app and a new look | TechCrunch
techcrunch.comPatreon is launching a revamped mobile app, a new brand identity and some new features, the company announced on Wednesday.
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Celestion Debuts Shades of Greenback Digital IR CollectionCelestion, the world’s premier designer and manufacturer of guitar loudspeakers, well-known as the “Voice of Rock & Roll” behind many of the world’s most memorable guitar performances, is pleased to introduce the digitally downloadable Celestion Greenback Impulse Response Collection, bringing together a collection of seven of the most popular Celestion 12-inch Greenback-style speaker tones favoured by rock legends, available for download at CelestionPlus.This collection brings together the G12M and G12H as well the speakers that have since been inspired by these tonal icons. Fans of classic rock and all things Greenback will be in sonic heaven. Featuring the G12M, G12H Anniversary, Heritage Series G12M, Heritage Series G12H (55), G12-35XC, G12-50GL Lynchback and G12 EVH in all cabinet configurations: 1×12 (both open and closed back), 2×12 (both open and closed back) and 4×12 (closed back).
The Shades of Greenback Collection features the speakers which helped to create the tones of legends, including:
The G12M Greenback – The LegendThe G12M Greenback is the modern incarnation of the speaker that helped define rock tone; played by legends like Clapton, Page and Beck. Expect a broad mid-range attack and a restrained top-end with added grit and aggression.The G12H Anniversary – The Heavy RockerRecreate the classic sounds of the 1960’s and 1970’s hard rock era with the G12 Anniversary. With no quarter given, the anniversary delivers serious swagger with its aggressive low-end, articulate treble and searing midrange.The Heritage Series G12M – Timeless ToneAs materials and manufacturing techniques changed over time, so tones did too. The Heritage Series was the result of Celestion’s quest to build our iconic speakers as close to their 1960s specification as possible. The Heritage G12M delivers a little more openness and room to breathe than the Modern G12M.Heritage Series G12H (55) – The Bass ConeThis G12H Heritage Series speaker features a 55Hz (low resonance) cone. Originally intended for bass guitar, it was quickly adopted by guitar players too, who loved its more pronounced low-end thump. Legend has it that Hendrix played this Greenback in his live rig.The G12-35XC – The Sonic LegacyA key part of the Greenback legend is the Pulsonic® cone. Sadly, they are no more, but for our 90th birthday we tried to replicate the sound of an early 70s Pulsonic Greenback, just to see if we could. The result is the G12-35XC speaker.The G12-50GL Lynchback – Mr. NastyA few years ago, George Lynch came to us and requested we build him his perfect speaker. The G12-50GL is it. Beautiful, saturated vintage rhythm tones together with a modern lead sound that befits a legendary Shredmaster.The G12 EVH – The Ultimate Brown SoundLast but certainly not least is the EVH signature speaker. Eddie Van Halen tried several Greenback variations and he chose this one. As Ed himself put it, “Since day one, the 20-watt Greenback has been a big part of my sound.”Each of these in the Shades of Greenback IR collection include five cabinet configurations: 1×12 (both open and closed back), 2×12 (both open and closed back) and 4×12 (closed back).The new Shades of Greenback Impulse Responses are available individually or as a complete set, representing a significant savings over purchasing the individual IRs. And if you already own any of the speaker responses included in the collection, you’ll also receive an additional discount to complete your Greenback collection!The new Shades of Greenback Collection joins the massive collection of Celestion Impulse Responses available for demo and download at CelestionPlus.
Celestion Debuts Shades of Greenback Digital IR Collection
www.musicconnection.comCelestion, the world’s premier designer and manufacturer of guitar loudspeakers, well-known as the “Voice of Rock & Roll” behind many of the world’s most memorable guitar performances, is pleas…
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Amanda Rae Kopp promoted to Chief Product Officer at JKBXExec worked at Warner Music Group prior to JKBX
SourceAmanda Rae Kopp promoted to Chief Product Officer at JKBX
www.musicbusinessworldwide.comExec worked at Warner Music Group prior to JKBX…
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EastWest update Spaces reverb plug-in The latest version of EastWest’s convolution reverb plug-in extends the plug-in’s feature set as well as introducing VST3 and Apple Silicon support.
EastWest update Spaces reverb plug-in
www.soundonsound.comThe latest version of EastWest’s convolution reverb plug-in extends the plug-in’s feature set as well as introducing VST3 and Apple Silicon support.
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Spotify’s audiobooks move is another brick in the audio wallStreaming has come a long way since its days as a pure music service for super fans. Spotify’s announcement that it is making 15 monthly audiobook hours available to premium subscribers is simply the latest step in a journey that has seen streaming become the 21st century’s take on radio. This has been achieved with the steady addition of non-music content (podcasts and audiobooks especially) and a growing emphasis on programmatic lean back consumption. As with all change, when it sits in an extended period of transformation, its immediate impact is often under-recognised. Audiobooks are the completely natural and logical progression for Spotify (and other DSPs), but they are also another waymarker in the journey away from being a pure play music service.
The pandemic was a catalyst for audiobook consumption. Audiobooks had been around for a long time already, with Audible leading the charge, but it was the sudden increase in non-allocated time that people found themselves with that triggered a coming of age for the format. Listening surged, including of podcasts, but as normal life slowly returned, audiobook consumption dipped again, though to a higher point than pre-pandemic levels.
In many respects, Audible never really managed to push the format out of its niche foundations, with weekly active user (WAU) penetration still stuck at around 10% (Q1 23). DSPs though, represent the opportunity to mainstream the proposition – something that Deezer identified many years ago by becoming the first DSP to integrate audiobooks. Deezer was, however, probably a little too early, launching audiobooks when streaming was still almost entirely about music and still very lean-forward. Now, streaming is the soundtrack to our everyday lives. It is about filling the silence (or blocking out the noise) more than active listening. In this use case, spoken word audio is just as good a fit as music. In fact, it can often be a better fit. For example, getting lost in the narrative of an audiobook can make a daily commute fly by a lot quicker than simply listening to a playlist, in large part because it commands your attention.
Spot the important shift there? Audiobooks can turn passive listening into active listening in a way that music cannot so easily do. Music carved out hours for streaming by being passive, and now audiobooks and podcasts can colonise those hours with active consumption. The more active usage becomes, the more engaged a user is and the less likely they are to churn. Music did the hard yards; audio reaps the rewards.
Music rightsholders have long been concerned about audio eating into listening hours, less because of the cannibalisation of hours and more so because of the risk of DSPs using that as a basis for negotiating down the share of the subscription fee that gets paid to them. 15 hours of audiobooks may not sound like a lot but it represents close to 40% of the monthly music listening hours of the average subscriber. There is a good chance that there will be strong uptake, not least because over half of audiobook WAUs are also Spotify WAUs (which will probably give Audible pause for thought).
Of course, from Spotify’s perspective at least, the benefit of reducing music rightsholder fees simply to replace them with book publisher fees would be self-defeating. That is unless Spotify can secure the latter for less. But there is another crucial variable at play: original content. Back in 2020, when Spotify was hiring its head of audiobooks, the job description included the following: “Develop, pitch and oversee production of high-quality content”. Just as with podcasts, audiobooks represent an opportunity for Spotify to develop original content and improve its margins.
Spotify’s audiobooks move is another brick in the audio wall
musicindustryblog.wordpress.comStreaming has come a long way since its days as a pure music service for super fans. Spotify’s announcement that it is making 15 monthly audiobook hours available to premium subscribers is simply t…
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Vicious Antelope Memory Keys 3 - Memorymode Memory Keys 3 contains 50 vintage keys for Cherry Audio Memorymode synthesizer plugin. All sounds are mainly inspired by the early and middle 80's film music and new age genre. ... Read More
https://www.kvraudio.com/product/memory-keys-3---memorymode-by-vicious-antelope?utm_source=kvrnewindbfeed&utm_medium=rssfeed&utm_campaign=rss&utm_content=27235 - PublMe bot posted in Space
How To Use Facebook Hashtags + Free Hashtag ToolWe all use hashtags to spread content on Twitter, but what role do they play on Facebook, Instagram, and other platforms, and how do you know which ones to use?. Continue reading
The post How To Use Facebook Hashtags + Free Hashtag Tool appeared first on Hypebot.How To Use Facebook Hashtags + Free Hashtag Tool - Hypebot
www.hypebot.comWe all use hashtags to spread content on Twitter, but what role do they play on Facebook, Instagram, and other platforms, and how do you know which ones to use?. Continue reading
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‘Thinking Out Loud’ about the ‘Blurred Lines’ of U.S. Copyright Law [Wallace Collins]Entertainment lawyer Wallace Collins shares the overlapping impact of two major music copyright court decisions. “Current artists are effectively midgets standing on the shoulders of giants in order to reach. Continue reading
The post ‘Thinking Out Loud’ about the ‘Blurred Lines’ of U.S. Copyright Law [Wallace Collins] appeared first on Hypebot.'Thinking Out Loud' about the 'Blurred Lines' of U.S. Copyright Law [Wallace Collins] - Hypebot
www.hypebot.comEntertainment lawyer Wallace Collins shares the overlapping impact of two major music copyright court decisions. “Current artists are effectively midgets standing on the shoulders of giants in order to reach. Continue reading
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QUICK HITS: BandLab • SoundExchange • Warner Music + HuManagement • Trevanna Tracks + Synchtank • Cyanite for InnovatorsBandLab is officially expanding its team. Kevin Breuner has joined as Head of Artist Development and Education, and Jessica Strassman as the Head of Industry Relations and Artist Services (Americas).. Continue reading
The post QUICK HITS: BandLab • SoundExchange • Warner Music + HuManagement • Trevanna Tracks + Synchtank • Cyanite for Innovators appeared first on Hypebot.QUICK HITS: BandLab • SoundExchange • Warner Music + HuManagement • Trevanna Tracks + Synchtank • Cyanite for Innovators - Hypebot
www.hypebot.comBandLab is officially expanding its team. Kevin Breuner has joined as Head of Artist Development and Education, and Jessica Strassman as the Head of Industry Relations and Artist Services (Americas).. Continue reading
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