Listening to “moving” music can help to reduce pain, study findsA new study suggests that listening to emotional music can affect how we feel pain. Researchers have found that listening to “moving” tracks that produce “chills” can link to feeling a lower pain intensity.
In fact, listening to our favourite tracks can approximately offer the same impact as an over-the-counter pain relief remedy such as ibuprofen.

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The study, which was reported on by The Guardian, was carried out at McGill University in Montreal, Canada, and involved 63 participants. Researchers used a probe device to heat an area on their left arm to recreate a similar sensation to a hot cup of coffee being held against the skin.
Meanwhile, the participants either listened to two of their favourite tracks, relaxing music selected for them, scrambled music, or silence. As the sound or silence went on, the participants were asked to rate the intensity and unpleasantness of the pain they were feeling.
“We can approximate that favourite music reduced pain by about one point on a 10-point scale, which is at least as strong as an over-the-counter painkiller like Advil [ibuprofen] under the same conditions. Moving music may have an even stronger effect,” says Darius Valevicius, the first author of the research from McGill University.
Participants rated the pain as less intense by about four points on a 100-point scale, and less unpleasant by about nine points, when listening to their favourite tracks compared with silence or scrambled sound. However, moving music that produced more chills was associated with lower pain intensity and pain unpleasantness, with lower scores for the latter also associated with music rated more pleasant.
“The difference in effect on pain intensity implies two mechanisms – chills may have a physiological sensory-gating effect, blocking ascending pain signals, while pleasantness may affect the emotional value of pain without affecting the sensation, so more at a cognitive-emotional level involving prefrontal brain areas,” adds Valevicius, though he clarifies that more work is needed to test these ideas.
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Spotify says new model will shift $1B to ‘working artists’ in 5 yearsSpotify is making major changes that it says will shift $1 billion in royalty payments over the next five years to ‘legitimate’ artists and rightsholders. Spotify has confirmed to multiple. Continue reading
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$500,000 Cash or Lunch with JAY-Z? The rapper/entrepreneur weighs in [VIDEO]Would you be smarter to take $500,000 in cash or have a private lunch with JAY-Z? The rapper and entrepreneur offered his own answer during ab interview with Gayle King. Continue reading
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Musician, ABC News Anchor Dan Ashley on the Importance of AuthenticityDrawing from his experience on camera and stage, Dan Ashley joins the Music Biz Weekly to discuss storytelling, engaging with your audience, and being authentic. Ashley fronts an indie Americana. Continue reading
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The PolyPulse is a new “unconventional standalone performance workstation”Lambda Synthetics, a newly formed Dutch music tech brand based out of Utrecht, has launched a Kickstarter campaign for a new algorithmic performance workstation called PolyPulse.

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With this, Lambda aims to bring together the “playfulness and performability of physical instruments” with the “precision and sonic detail of digital music production techniques”.
It offers five tracks, each equipped with an algorithmic sequencer and a polyphonic sound engine. You can use it to create evolving rhythms and melodies while using touchpads to seamlessly morph between presets, achieving expressive sound and texture changes.
Credit: Iris-Sanne van der Aar
With four audio inputs and eight outputs, the PolyPulse also supports flexible audio routing. It can be synchronised to other devices through various ways, including MIDI, with the help of sample-accurate clock signals.
It includes multiple sound engines such as analogue-style drum kits, sampler, and synthesis methods, and a range of audio effects like modulation, compression, and filtering.
The PolyPulse has a sturdy metal casing, along with a user-friendly interface with encoders and touchpads, and a powerful processor. There are also high-quality audio I/O, trigger connections, MIDI compatibility, and Ethernet connectivity for file management and updates.
It’s not the only piece of music tech to have appeared on Kickstarter recently. In October, Donner revealed a campaign raising funds for MEDO, a portable sampler, synthesizer, looper, MIDI controller, and speaker that can be operated in the palm of your hand.
In April, another funky-looking workstation was launched – the Polyend Tracker Mini. Following the original Polyend Tracker, this smaller version offers improved storage, signal pathways, and hardware options. Notable differences include the absence of FM radio and endless encoders, yet the Mini remains a reliable tool for beatmakers with eight hours of battery-powered operation.
The Kickstarter campaign started on 23 October and will run for 30 days. When funded, the PolyPulse will ship in September 2024. There are five ‘super early bird’ units available to pre-order for €1799 each, five ‘early bird’ units for €1899 each, with 40 available at the normal price of €1999.
Head to the product’s Kickstarter page for more information.
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Four new pedals from Universal Audio The latest four additions to Universal Audio's UAFX pedal family offer a mix of amp modelling, dynamics and effects processing.

“Nothing gets done without it”: Voigtmann’s MPC1000 is the “heart of his workflow”Claus Voigtmann’s second full-length album, Life Miles, an eight-track release dripping in the Londoner’s irresistible hardware-made minimal tech house style, is due out on 20/20 Vision on 20 December.

READ MORE: “I like to find weird stuff that’s mad rare”: Inside Carter Lang’s overflowing hardware haven

Ahead of the release, MusicTech heads into the sufficiently-tooled space, shared with Tom Demac, to find out about how the studio’s offerings have informed the sounds on the album. We hear about why the “dusty” nature of hardware suits his sound and how the whole studio – running tightly in tandem – is funnelled through the swing of his beloved Akai MPC1000

Voigtmann – amazing album. Why did you choose to make this as opposed to a string of EPs?
When Ralph Lawson from 20/20 Vision Recordings asked me for music for the label he was the one who immediately said, ‘These tracks need to be an album’. I recently got the Akai MPC1000 and was totally blown away by the swing and sound so I revisited all the tracks and re-recorded all the drums through the MPC. This tied them together even more – the same sound with the MPC’s swing.
Voigtmann at the studio desk. Image: @Ginnypa
Tell us a bit about the studio.
The studio is located in the Star Lane studio complex in London. It’s actually not mine – it’s owned by my good friend, Tom Demac. We decided to throw our gear together a few years back and he uses the studio daytime and me after 6 pm. More than half of the gear, especially the expensive processing side belongs to Tom and I can’t take any credit for it but it’s a total blessing to have in the studio.
Gear in the studio shared by Voigtmann and Tom DeMac. Image: @Ginnypa
How do you use the studio?
I love the studio mainly for the accuracy – it’s so tight in here now that you can hear everything. Every machine is at hand and I love that you have to get up and play things. Everything starts from my MPC, which is the heart of the workflow, and then I sequence the main synths (e.g Oberheim OB-6 or Moog Subsequent 37) from the MPC.
Which DAW do you use and why?
Ableton Live – I always have. It’s quick and I love the workflow.
Voigtmann with his feet up at the studio desk. Image: @Ginnypa
Why are you so into hardware?
Sound. Listen to a digital kick or bassline and compare it to a kick from the MPC or EMU (even more apparent) or the bass from the Moog SUB37. It’s pretty obvious. We (me and Tom Demac) make house and techno and, for me, that style comes with a specific dusty sound that these machines provide.
The swing of the MPC is another big reason, I cannot un-hear it now after I got so used to it. Older productions of mine without the MPC now make me cringe.
What is your favourite piece of gear and why?
My favourite piece of gear is the MPC1000. Nothing gets done without it anymore. I love the sound, simplicity and the feeling that you actually drum/play in the beats. As mentioned above, I am a big sucker for its swing.
The Eventide DSP 4000 alongside other gear in the studio Voigtmann uses. Image: @Ginnypa
Were there any other notable pieces of gear used on Life Miles?
The other main piece of gear on the album is the Eventide DSP 4000. I consider it an instrument because what it can do to your sound source is simply magic. I love the Eventide.
What can you tell us about your bass guitar?
I used to play in a skate punk band as a teen and guitars have always featured in my life. I got the bass guitar during lockdown, I was working on a downtempo live set which unfortunately was left behind half-finished as, thankfully, the real world came back. But, who knows, maybe one day it will resurface.

There are such clean drum breaks on Lowrider. How were these created?
That’s an interesting story. The kick is from a Twisted-Electrons module, the hats are from my old Roland TR-606 that I regretfully don’t have anymore. They are really spread wide, almost too much – but it’s the driving element and it pushes the track forward. The snares are in fact digital. I tried to replay the snares with the MPC like I did with all the tracks but it changed the flow and vibe for the worse somehow and I could never get it to sound 100 per cent so I kept the snare samples in and it has such a nice flow now.
Gear in the studio shared by Voigtmann and Tom DeMac. Image: @Ginnypa
What’s an essential processing unit in your studio?
I tend to record everything through the Eventide DSP 4000, the Shadow Hills Mono GAMA preamp and then strap the Empirical Labs EL7 FATSO analogue tape simulator behind that for control. Kicks go through the Massive Passive for essential EQ.
Your massive vinyl record shelf – do they inspire your productions?
You’ve got to know what you want to make in order to achieve it. I think being a DJ for almost 20 years now has shaped my taste and has really helped to refine my production.
Voigtmann’s records on the studio’s vinyl shelf. Image: @Ginnypa
What is your top piece of production advice?
Don’t force it. There will be days when you will find yourself stuck and listening to one loop over and over. Pack up immediately and go home. It will only take one right move on the next day and you cracked it. The secret is your mood — sometimes it’s not right and that is okay.
What is the one piece of advice you would give someone starting out building a studio?
Get your listening situation right. It’s so essential I can’t stress this enough. You can only make decisions that you can hear. Get a measurement and have peace of mind that you are listening to as close to the truth as possible.
Pre-order Voigtmann’s forthcoming album, Life Miles, via Juno Download.
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London’s E1 club integrates cutting-edge track identification technology to boost artist earningsLondon venue E1 is one of the first UK clubs to install KUVO powered by DJ Monitor, a track identification technology that works in the background to capture details of the tracks played, and then compiles the data so that musicians are compensated accordingly.

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DJ Monitor’s track identification service brings together the strengths of two technologies – direct metadata capture (DMC) technology, and Music Recognition Technology (MRT).
The former allows for the track, artist name, and other metadata to be captured when the technology is activated on DJ setups where Pioneer DJ CDJ-3000 units are present.
The latter, meanwhile, features a music identification process where the audio in a performance is compared to a database of source recordings. A few seconds is all it takes, after which an “audio fingerprint” is created to determine which track is being played.
Over 90 percent of the tracks in DJ sets where the technology is deployed are now identified from a database that currently includes 110 million songs.
In addition, no details of which DJ played which tracks will be captured, which helps maintain DJ setlist privacy – one of the initiatives’ key considerations.
According to stakeholders, the distribution of copyright royalties has been a tough problem to solve for the electronic and underground club scene since day one. Although money is collected through licensing fees for all songs played, not tracking what is played in clubs means artists who are actually played can miss out on their fair share of royalties
The new technology seeks to change all that at E1.
Since 2007, DJ Monitor’s system has been used at festivals like Lowlands, DGTL, and Awakenings. Rights organisations around the globe such as Buma/Stemra in the Netherlands also use the data to compensate the right artists for their music used at those events.
Learn more at e1ldn.
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RELEASE DETAILS
Release title:
Electro House
Main artist name:
Drillbaz
Release date:
20th Oct, 2023
https://publme.lnk.to/ElectroHouse
#newmusic #Release #Music #indepedent #artist #electronic #dance

Over 200 GrimesAI records now available for content creators to use on any platformGrimes and CreateSafe have teamed up with music technology platform Slip.stream to make over 200 GrimesAI songs available for use by content creators on any platform.

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Earlier this year, the singer rolled out Elf.Tech, an AI software that allows users to mimic her voice in any song of their choosing. Powered by CreateSafe’s Triniti API, the platform enables artists to distribute their new creations to DSPs like Spotify, Apple, Tidal, and others. Over 1000 songs have been created since its launch.
Of the new collaboration, CreateSafe co-founder and CEO Daouda Leonard says, “Central to the mission of Grimes and CreateSafe is empowering artists with the means to not only conceive and collaborate on their creations but also to share them with a global audience.”
“Through our partnership with Slip.stream, creators will now have the unique opportunity to enhance their videos with GrimesAI music, opening up new horizons for artistic expression. Simultaneously, musicians will gain access to the burgeoning creator economy at an unprecedented scale via Slip.Stream.”
Jesse Korwin, CMO and co-founder at Slip.stream adds, “We’re beyond excited to be collaborating with a groundbreaking visionary like Grimes. At Slip.stream, our mission is to change the music industry by breaking down barriers and enabling creators and musicians to elevate their creativity by bringing them together. This partnership is a big step forward in that endeavour.”
Known for her support of artificial intelligence and its intersection with music, Grimes has previously spoken about where she thinks the technology is headed, saying: “I do think AI is gonna be the next thing.”
“I have a lot of opinions about how it should be pursued,” she told Wired. “So another reason I’m here [in San Francisco] is that I’m trying to meet with all the people making generative AI music to try to convince them to do things in ways that are safe for the human psyche.”
To create a GrimesAI track, head to elf.tech.
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Electronic, Dance
Electro House by Drillbaz https://explore.publme.com/album/114/electro-house

Korg announce Modwave mkII The new Modwave doubles the voice count of its predecessor and introduces some useful new LFO modes.

Trevor Milton to reimburse Nikola $165M per arbitration proceedingElectric and hydrogen-powered heavy truck maker Nikola was awarded $165 million from its founder and former executive chairman, Trevor Milton, in an arbitration proceeding. Nikola said in a filing with the Securities and Exchange Commission that an arbitration panel in New York awarded the funds to Nikola on October 20. The company had sought reimbursement […]
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School of Rock Opens 350th Location in ChileSchool of Rock, a leader in performance-based music education, unveiled its 350th worldwide location in Providencia, Chile, last week. The milestone marks School of Rock’s progression to a scale that few franchises achieve and underscores the company’s position as the premier music education brand with more than 62,000 active students and hundreds of thousands of alumni rocking around the globe.

“Opening the 350th School of Rock location in Chile is a significant milestone in our journey. It reflects not only our desire to continue international expansion but also the unparalleled passion and dedication of our franchise partners, instructors, and students all over the world,” said Rob Price, CEO of School of Rock. “Music has the power to unite and inspire the creative spirit in us all. As we hit this milestone, we're not just counting schools, we're celebrating the countless stories and dreams that have found a home within our walls.”

School of Rock Providencia marks the 13th school in Latin America under master franchisee Matias Puga Hamilton, who was recently named as a 2023 Franchisee of the Year by The International Franchise Association. The new school in Santiago will be owned and operated by Danilo Giakoni. Giakoni's connection to music traces back to inheriting his maternal grandmother's grand piano, which became the centerpiece of their family gatherings. His father's passion for rock and roll, specifically Elvis Presley, also played a significant role, with Giakoni inheriting his father’s extensive vinyl record collection. Today, Giakoni’s family home reflects their musical heritage, housing the piano, his mother's accordion and multiple guitars.Giakoni’s journey to open a School of Rock was inspired by a desire to contribute to the development of children and adolescents, while still leveraging his background as a finance manager. After discovering the School of Rock model for adults during a live performance by a friend and subsequently reading about it in a Chilean newspaper, Giakoni felt a connection to the idea of opening a school in his culturally rich hometown of Providencia. 

“Opening this School of Rock is the fulfillment of a lifelong dream for me. It's been an incredible journey to this point, allowing me to connect with an amazing team of talented musicians and teachers, create a vibrant cultural hub within the community and witness firsthand the transformative impact this concept has on young individuals,” said Giakoni. "Being a part of this incredible organization and opening School of Rock's 350th location is a truly special experience.”

The opening of this 350th location punctuates two years of dramatic growth for School of Rock, with highlights including:

Footprint growth from 245 domestic schools and 55 international schools in 12 markets to 276 domestic schools and 74 international schools in 15 markets, with new flagship schools in Mexico, Ireland and Portugal;

Increased total active enrollment from 22,000 students in 2016 to nearly 62,000 students today, along with a 7.6% average annual growth in student enrollment;

Acknowledged among best in the industry for franchisee and corporate culture; 

Named the Grand Champion of 2023 by Global Franchise Awards, top 50 Most Profitable Franchises, top 100 Most Innovative Franchises and Top Recession-Proof Business for 2023 by Franchise Business Review

International Franchise Association (IFA) named Matias Puga Hamilton, master franchisee of School of Rock in Latin America, as a 2023 Franchisee of the Year; 

School of Rock is actively seeking expansion opportunities, both nationally and internationally, as it looks to grow beyond its 350 locations. For more information on School of Rock, visit www.SchoolofRock.com or call 866-695-5515.

To learn more about School of Rock franchise opportunities head to schoolofrock.com/franchising

Pro-crypto lawmaker Tom Emmer ends hours-long speaker campaign: ReportThe Minnesota congressman was one of only a few crypto proponents in Congress being considered as a possible speaker of the House by Republican lawmakers.