On-demand audio is finally more popular than Radio, new study showsA recent Edison Weekly Insights report reveals important, but not surprising, changes in listening habits in the U.S. with on-demand streaming finally taking the lead over radio. by Bobby Owsinski. Continue reading
The post On-demand audio is finally more popular than Radio, new study shows appeared first on Hypebot.

“Now you can make anything perfect… you’re erasing yourself from the record”: James Ellis-Ford on Pro ToolsJames Ellis-Ford has spoken about how advanced, modern DAWs make it easier to over-perfect your music and essentially “erase yourself” from a project.

READ MORE: Mac DeMarco: “I like to respect the way that recordings come to be”

Speaking to MusicRadar, the producer, who’s worked with Simian Mobile Disco, Arctic Monkeys, Depeche Mode, and Gorillaz, and released his debut album in May, discusses his love for musical imperfections and the Korg Arp 2600 synth.
“The problem with something like [Avid] Pro Tools,” he says, “is that now you can fix and tweak and make anything perfect and you’re almost erasing yourself from the record.”
He expresses his preference for using Pro Tools as a “tape machine”, implying that he tries to avoid excessive editing and manipulation of recordings, keeping “editing to a minimum”.
“I spent all my time trying to make things sound worse, whatever worse means. With Pro Tools there’s just too much information there. We’re used to hearing all those records where there’s so much harmonic distortion and the bandwidth is so limited and it’s sometimes hard to remember that as you’re going through. I think it’s sometimes annoying to reverse engineer that on a computer and it’s better to use the gear that does it automatically.”

The producer moves on to his love for the Korg ARP 2600 synth, a classic analogue instrument launched in 1971. “Part of what makes it so cool is not the oscillators, it’s the way it distorts. For me, most of the new synths haven’t quite got how cranky that old gear actually is.”
Circling back to DAWs, Ellis-Ford goes on to say that Ableton Live is better than Pro Tools for MIDI programming, but Logic Pro is “slap-bang in the middle of the two”.
“I use Pro-Tools for everything. For MIDI programming, it’s streets ahead of Pro Tools, but I’m just really used to arranging and mixing in Pro Tools and I could never particularly get my head around finishing a track in Ableton in the same way.
“Same with Logic. I feel like Logic is slap‑bang in the middle of the other two. It’s probably better in terms of MIDI and its samplers and tools but the way I use Pro-Tools is pretty old-school like a tape‑machine. I’m so used to it that I don’t even have to think about it.”
This isn’t the first time Ellis-Ford has spoken out about his love for human imperfections in music. In March 2023, he told The Cue newsletter, “human-ness and that wonkiness is what I love to hear in records”.
Check out James Ellis-Ford’s debut album, Hum, via jamesellisford.com.
The post “Now you can make anything perfect… you’re erasing yourself from the record”: James Ellis-Ford on Pro Tools appeared first on MusicTech.

Ukrainian-Russian producer Wyro on finding solace in production: “When you open Ableton, it chills you out”For Ukraine-born, Russia-raised producer, music mentor and label owner Wyro, music production isn’t just a creative act, but a place of safety and solitude – a brief escape from the tribulations of real life.

READ MORE: Mac DeMarco: “I like to respect the way that recordings come to be”

Wyro – real name Kirill Kalashnikov – is now based in London. He says hello over Zoom, and tells us about the past few years, which have been nothing short of a whirlwind. He left Russia just before the invasion of Ukraine in 2022 and lost his home. Instead of returning, he was forced to – in his words – “float around the planet like some rock in open space”, embarking on a nomadic adventure spanning countries such as Sri Lanka, Bali, Thailand, Israel, Bulgaria, Romania, Vietnam, Turkey, Serbia, and beyond, leaving behind his synth-clad studio in St. Petersburg. This chapter, lasting 15 months, marked a period of both exploration and introspection, as he collaborated with various musicians and vocalists for the first time.
Wyro – Focus by Wyro
Making music on the move was not a massive change for him: “If I’m being completely honest, I always used a lot of software because that’s how I started.” He says. “It’s what I was accustomed to. For instance, I really love Xfer’s Serum because it’s incredibly fast and visually comfortable.”
In terms of modular gear, he has had to adopt a digital replacement, however, in the form of VCV Rack, using Mutable Instruments’ plugins such as Clouds and Braids. “It’s not quite the same,” he says, “given that you’re constantly working with headphones and a laptop, hunched over. It’s not as enjoyable as having a physical instrument.”
For Kirill, who wants to make music as quickly as possible and not spend hours making new drums and such, he’s keen to reveal his love for helpful Ableton Live templates It’s sped up his process and allowed him, he says, to focus on the other elements of the track that build emotion, so that the drums simply support this core element of the track.

“There’s about eight minutes of separate tracks for the kick, hi-hat, clap, and percussion – you know, all in different drum racks.” He explains. “I have my favourite stuff ready to make the process quick, you know? There’s a dedicated section for the kick, around eight minutes long, with a high-pass filter already applied. Why add a kick every time you start a track? Doing this every time got tiring, so I did it once, saved the template, and now I don’t start tracks with drums.”
We chat on and on about sticking with the ‘perfect’ kick drum and not worrying about over-using a drum if it works. However, there’s a more real elephant in the room that Wyro isn’t scared to address. He goes on to open up on the unique challenges he faces as someone with ties to both Ukraine and Russia and what it meant to lose his home.
“Many musicians lost studios and motivation”
“When you read the news, you don’t feel like creating.” He says. “I mean, you definitely don’t want to make dance music. Sometimes you lean towards ambient music, just to unwind. That’s been my approach lately. Escaping these thoughts, diving into sound work – it’s like meditation. Focusing on one thing, the sound, silencing the noise and random thoughts. When you open Ableton Live and start doing a new track, you just have one path. It chills you out for some time…. but once it ends, the weight returns.
Wyro performing live
“Many musicians lost studios and motivation,” Kirill says. Noticeably emotional, he tells us about how he still has friends in Russia and Ukraine whose only way of making money is through putting on parties. The risks are high and he doesn’t envy them, he says. Luckily for him, the dance music production school he teaches students at, Tramplin, can be operated remotely.
Using this platform, students can learn how to make a variety of dance music sub-genres, and Kirill can utilise his own diverse knowledge to help get ideas over the line. The most exciting moments, he says, are when students have big ideas “burning inside” and just need that small technical nudge to get them where they need to be. “That’s super inspiring”, he gleams.
Wyro making music using modular gear
We say our goodbyes and agree to go to a rave in the city together one day, having discovered a shared love for minimal electronic sounds. Kirill smiles. After a globe-trotting, chaotic two years of using music and technology to escape turbulent times, Wyro is finally happy and settled in one of the most music-rich cities in the world.
Listen to Wyro’s latest album, Focus, made during the past two years, out now on his own label Engineer, via Bandcamp.
The post Ukrainian-Russian producer Wyro on finding solace in production: “When you open Ableton, it chills you out” appeared first on MusicTech.

RELEASE DETAILS
Release title:
Romantic dinner
Main artist name:
Faygoplexine
Release date:
6th Oct, 2023
https://publme.lnk.to/Romanticdinner
#newmusic #Release #Music #indepedent #artist #RnB #experimental

Best free plugins and freeware of the month: September 2023It’s always nice when you uncover some useful or creative tools online – and it’s even nicer when they turn out to be free.

READ MORE: Best sample packs of the month

We’ve rounded up a handful of this month’s free releases for you to check out, including a chord-based ROMpler, a transparent limiter, a fully-featured spatial 3D instrument, an epic, endless reverb, and a fun sample chopping sequencer.
Polyverse Music – Filtron
Polyverse Music – Filtron

macOS and Windows
VST, VST3, AU, AAX
Download: Polyverse Filtron

Let’s start things off with the excellent Filtron from Polyverse, which is a vibrant-sounding, 12dB state variable filter plug-in, with state of the art zero delay filter design. It can smoothly transition between low-pass, band-pass and high-pass cutoff, is capable of self oscillation, and includes a fat sounding internal saturation.

There are also Cold and Hot post overdrive modes for some additional bite, and the parameters can be modulated via the sidechain signal. This means you can do some very cool “CV” style modulation, and each channel in the stereo pair is treated as a separate modulation source.
Artists in DSP – Transpanner
Artists in DSP – Transpanner

macOS and Windows
VST3, AU
Download: Artists in DSP – Transpanner

Transpanner is a simple but effective way to control and experience 3D audio panning through stereo speakers. The concise interface offers a main 360-degree Panning dial to control where the sound is placed around your head through clever use of phase. There’s also a Rear Filter slider that enhances the effect when it’s panned behind your, plus a button that flips the input between mono and stereo.

Although Transpanner works on headphones, it’s been primarily designed with speakers in mind, and features a Loudspeaker Distance slider to help optimise the crosstalk cancellation delay. It’s available as free/pay-what-you-want, so it’s worth considering supporting the developer.
Bertom Audio – EQ Curve Analyzer v2
Bertom Audio – EQ Curve Analyzer v2

macOS, Windows and Linux
VST3, AU, AAX
Download: Bertom Audio EQ Curve Analyzer v2

If you’ve ever wondered exactly what your analogue-modelled EQs are doing to your audio, then this could be the plug-in for you.
EQ Curve Analyzer is an analyser and signal generator tool that can show the magnitude and phase of any plug-in. You simply insert it on either side of the plug-in that you want to examine, then set the first one to act as a signal generator and the second as an analyser.

New features for version 2 include a Freeze button for the graph, latency estimation and level calibration features, persistent GUI scaling and resizing, and more. This one is also available as free/pay-what-you-want.
Ohmforce – Legacy Plug-ins
Ohmforce Legacy Plugins. Image: Ohmforce

macOS and Windows
VST, AU,AAX
Download: Ohmforce Legacy Plugins

Ohmforce has decided to make eight of its legacy plug-ins available for free.
The collection includes Ohmicide (4-band distortion), Quad Fromage (4-band filter bank), Hematohm (frequency shifter), Mobilohm (phaser), Symptohm (synth), Ohmygod (comb filter), Predatohm (distortion), Ohmboyz (delay).
Ohmicide and Quad Fromage in particular are fully featured products, so we love that they’re now available for free, and many of the plug-ins include innovative features like the ability to perform preset morphing via a MIDI keyboard. As with other announcements of this sort, there’s a possibility that they may not run on recent operating systems, and there’s no ongoing support, but they’re still worth a look.
Wide Blue Sound – Audio Plugin Uninstaller
Wide Blue Sound Audio Plugin Uninstaller

macOS
Standalone
Download: Wide Blue Sound Audio Plugin Uninstaller

How many times have you installed demos or bits of freeware, only to decide down the line that you no longer want them on your system? Our final piece of free software is a useful macOS-only utility for cleaning up your unwanted plug-ins.
Unfortunately, uninstalling a plugin often results in a number of unwanted files scattered across different folders. Audio Plugin Uninstaller reads the installation receipts and then reverses the process to uninstall all related files for a particular plug-in, while leaving all the other files intact.
The post Best free plugins and freeware of the month: September 2023 appeared first on MusicTech.

IK Multimedia release iRig HD X IK Multimedia's new flagship iRig interface boasts improved technical performance along with a more advanced feature set.

Robotics sales decline for second straight quarter amid economic woesSooner or later, the numbers were going to contract. Broadly speaking, the pandemic has been a gamechanger for automation broadly and robotics specifically. But not even those categories are immune from macro trends. Per new numbers from the Association for Advancing Automation (A3) — whose job it is to track such things — North American […]

IBM offers guidance for successful implementation of digital euroFive members of IBM Consulting created a list of points that the European Commission could consider to optimize its proposed digital euro legislation.

BMI London Awards to Honor Gary Kemp, P2J

 BMI® (Broadcast Music, Inc.®) announced that Gary Kemp of Spandau Ballet will be named a BMI Icon at the 2023 BMI London Awards held 2nd October at The Savoy Hotel. The renowned singer/songwriter and accomplished actor will be honored for his illustrious career and enduring musical contributions, which have inspired legions of fans and music creators around the world. In addition, globally acclaimed producer Richard “P2J” Isong will receive the BMI Impact Award, a recognition given for ground-breaking artistry, creative vision and impact on the future of music. This marks the first time a producer has received this honor. The private event will be hosted by BMI President & CEO Mike O’Neill.

The ceremony also pays tribute to the UK and European songwriters and publishers of the previous year’s most-performed songs on US streaming, radio and television from BMI’s repertoire of over 20.6 million musical works. The Million-Air Awards, Song of the Year, and awards for Pop, Film, Television and Cable Television Music will also be presented throughout the evening.

Follow BMI on Twitter and on Facebook and use #BMILondonAwards to join the conversation.

bmi.com

Universal Music just swooped for a prominent company in UAE. The race is on for the majors to build market power in MENA.The sound of opportunity for the record business across the Middle East and North Africa (MENA) is getting louder.
Source

BPB Exclusive: 50% OFF Gospel Musicians Neo-Soul Keys® Studio 2 And All Expansions
Check out our latest BPB Exclusive deal: Get 50% off Gospel Musicians Neo-Soul Keys® Studio 2 and all expansions! Before getting into the details, I want to thank the Gospel Musicians team for the huge discount and the years of outstanding content. If you aren’t familiar with the Gospel Musicians website or YouTube channel, I [...]
View post: BPB Exclusive: 50% OFF Gospel Musicians Neo-Soul Keys® Studio 2 And All Expansions

Deezer expands partnership with e-commerce giant Mercado Libre in LATAM to be included on new Meli+ subscription serviceDeezer says that the deal forms part of its continued 'strategic partnership-led expansion across the world'.
Source

KIT Plugins Blackbird A5 Inspired by one of the largest API Legacy consoles to ever be built, this revered console has been the catalyst for numerous chart-topping records, all within the confines of one of Nashville's... Read More

Mac DeMarco: “I like to respect the way that recordings come to be”It’s odd to hear Mac DeMarco speak with candour and contemplation. You may have happened across him before – maybe covered in Vaseline, teaching you ‘Advanced Studio Recording Techniques’ or grinning and head-bopping to his old demos, which he lovingly calls “garbage,” in a viral clip.
The Canadian artist is adored for his goofy antics, surreal sketches and dreamy ; we catch glimpses of such traits when he tells us about his approach to creating his 2023 albums Five Easy Hot Dogs and One Wayne G. But mostly, (mostly,) DeMarco is surprisingly serious when talking about making music.
Mac DeMarco. Image: Kieram McNally
“I’m not much of a songwriter and I’m not much of a musician,” he says. We can’t help but crack a smile – it was only four months ago he released an album of 199 songs in One Wayne G. DeMarco shrugs off any labels we put forward for him, like producer, beatmaker or singer-songwriter. Instead, he sees his career as an appreciation of sound.
“I like to respect the way that recordings come to be,” he says.
As a result, much of his work involves setting up a recording rig, wherever it may be, and capturing the stream of creativity he has at that moment. To preserve its authenticity, DeMarco avoids lengthy mixdown sessions and endlessly tweaking a project. That explains the stripped-back nature of One Wayne G and Five Easy Hot Dogs.
“It’s like this form of ‘demo-itis’,” says DeMarco, “where I don’t want to change something because I feel like if I change it, then I’ll take away something of its purity, or something like that.”
One Wayne G by Mac DeMarco
If you take the nine hours to listen to One Wayne G and the 35 minutes of instrumentals on Five Easy Hot Dogs, you’ll hear how the stripped-back tracks almost put you in the room with DeMarco. They ooze the Mac DeMarco’s sound but are both starkly different records to the likes of 2014’s jangly Salad Days. And, although Five Easy Hot Dogs might not win over casual fans with its lack of vocal hooks, DeMarco claims it’s his most concise album yet.
“It just like, perfectly encapsulated. Wherever I was, you know, I didn’t go to some mixing studio or whatever. It’s just recorded the way it was.”
You can attribute the album’s sound to the unique way DeMarco recorded it. He went on a solo road trip around North America to create it, performing in hotel rooms along the way and keeping a low profile around cities. Naturally, he needed a pretty portable setup – thankfully, he’s used to keeping things lightweight and DIY. It did mean he had to saw a kick drum in half in San Francisco’s Golden Gate Park, though.
Image: Kieram McNally
“It’s interesting. [Along with] most of the people that I grew up with, it was just learning to record and learning to do everything yourself”, he explains. “We didn’t have any money. The idea of going to a real studio or something was never that appealing. It just wasn’t really an option. But it’s come to a point, I think where you get a certain outcome doing everything on your own; I get a certain satisfaction doing everything on my own. I mean, if I went to a studio, I’ve got most of the same gear, they would have been the nicest studios now anyway, so it’s kind of like…yeah, I don’t know, it’s just DIY. I’m just DIY.”
For the recording of Five Easy, DeMarco says he took a rig that included “a Lynx Aurora interface, eight API 312 preamps, and I took like a couple dynamic mics. I also took an old Neumann U47, my acoustic guitar, electric guitar, a P bass, a little drum set…I had a Minimoog with me and I had this, like, tabletop Yamaha DX7 – it’s a TX7. And I had two really tiny Genelec monitors.
“The Minimoog was the lead singer of the record. I’m so glad I took him along.”
It’s not exactly a bohemian setup; most bedroom producers would dream of access to gear like this, let alone have it to take on the road. We’re talking about a setup fetching around $20,000, at least. So the recordings DeMarco conjured with this mobile studio sound delightfully mixed and recorded – yet they still feel intriguingly barebones. Much of his process now involves experimenting with mic placements to capture such a sound.
Image: Kieram McNally
“I put the drums up with just four mics – snare, snare top, kick and an overhead – and I would just go to town, and then everything else would go through the U47 and that was it. I used the direct inputs on the API 312 pres and it gave a good sound. You know, it was a good little rig.”
DeMarco is practically spoiled with a collection of supremely sought-after recording gear – so how does he even know where to look if he needs a new piece?
“I don’t really buy gear any more,” he says dismissively. “I’ve got pretty much every super famous old preamp now, a couple consoles, every really old fancy mic you could ever want – I have a lot of nice shit; nice tape machines and synthesizers, nice guitars, you know. But I think that less is more for me at this point.
“I didn’t use a computer to record until probably like 2016 or 17. And, at first, I was like, ‘Okay, here we go – we’ll put this effect on here, we’ll do this, we’ll do this…’ And pretty quickly, I realised I should just really limit myself. I don’t know, I like getting the sound at the microphone…Instead of buying more gear, I’d rather just move the mic around or record in a different room. That’s what is more interesting to me now.”
Image: Kieram McNally
The multi-instrumentalist has a few new recording rules, too. His latest revelation is that it’s time to axe guitar pedals from his setup.
“Honestly, before I talked to you, I was just talking to my sound guy. I was sitting around the table outside and I was telling him how much I hate guitar pedals,” he says as we share a chuckle.
Why? “They’re stupid. They’re cheap pieces of shit with crappy electronics. It’s just crap in the path. I don’t like crap. I don’t care if it makes you sound like Jimi Hendrix or whatever. I don’t want it. I don’t want it! It just stresses me out thinking about it. And the cables that people use in between them. Oh, man. And then the power – crappy. Everything’s crappy. It’s just crappy. And I don’t want them crapping up my shit. No crap.”
All that said, he admits that he does have a small pedalboard for the Five Easy Hot Dogs tour that he’s embarked on, but that it comprises only a tuner, a vibrato pedal and an impulse response effect for his acoustic guitar. However, he reiterates his position on other ‘sound-goodizer’ pedals:
“Yeah, no more pedals. All the pedals should be put in a big pile and we should light ‘em on fire.”
So, instead of blatant effects, DeMarco reveals that he enjoys knowing there are more subtle forces at play within his music. For example, the way he records his acoustic guitar with his Neumann mic – “Maybe some people don’t really hear those little intricacies that I put in there, but I do.”
To that end, the artist behind cult classic tracks such as Chamber Of Reflection and Heart To Heart, (his ode to close friend and hip-hop artist Mac Miller), says that Five Easy and One Wayne G were the records that he made for himself.

“A lot of the Five Easy stuff was recorded on tour, you know, wherever, just years ago,” he says. “It has a transportational effect to it, I guess. But it’s interesting for me too, because I think that a lot of people know me for the bigger songs that I have, or that I have like a specific sound or whatever.
“But I think that One Wayne G is a broader scope of that. I think it all still sounds like me, you can tell that it’s me, but it’s way wider. And I think it goes to places that make people go ‘What? I didn’t know, he did stuff like this.’ And it’s like, ‘Well, I never showed it to anybody and now I am so you know, you can have it!’”
Alongside expressing himself further than his previous albums have permitted him to, DeMarco says that these albums allowed him to explore more esoteric ideas.
“There are a lot of things I like about the whole One Wayne G concept. It’s [processed] in high resolution, you know, purposefully, and just the sheer amount of songs; the way that people have to digest it. The way that you can kind of choose your own way with it. I don’t give a fuck if people listened to it or not. It didn’t matter if it came out. It just did. I just think it’s cool. And I just want to do things that I think are cool. And you know, I’ve been able to do quite a few of them this year. So it’s great. It feels great. I think people seemed to receive it pretty well. So I’m stoked about it.”
Image: Kieram McNally
DeMarco has assured that One Wayne G is far from a “middle finger” to the music industry, as some fans have previously speculated. At 199 songs, though, we can’t help but feel it’s a response to Spotify CEO Daniel Ek’s claim that artists can no longer afford to “record music once every three to four years and think that’s going to be enough.” As it happens, DeMarco’s relationship with Spotify and other streaming platforms is a little complicated.
“I wasn’t trying to be spicy to anybody,” he says, earnestly. “But, honestly, I’ll tell you this: It has something to do with streaming. I never used streaming until like two years ago. I’d just listen to YouTube and what was on my computer. And I got Spotify after being like” – he makes a grumbling noise as if he’s raising his fist to the sky – “and I was like, ‘oh my god, this is so amazing, it’s so easy to listen to music, I can’t believe this.’ It showed me that… I dunno, I just feel that’s the main way people ingest music now, is on these DSPs or streamers or whatever.
“But I just wanted to archive all of that music. Share it, sure, but also archive it – it’s easier for me to not have to carry a fucking hard drive around and be like, ‘Oh, I have this weird song.’ It’s like, I can just put it on Spotify and it’s there – anybody can do it now.”
As a tool for music discovery, he finds it invaluable. In the past year, new fans have found DeMarco’s music through another discovery tool: TikTok. His music has been used as backing tracks for countless viral clips, how-to videos, and mini-vlogs on the platform. Chamber Of Reflection has been used in over 138,000 videos at the time of writing. No doubt DeMarco has found that fruitful.
Image: Kieram McNally
“I think it’s weird, that whole thing where songs go viral on there. I want to believe that it’s like, ‘the people have taken back [the music], they’re the ones who decide what is popular or not.’ But I don’t think it’s fully that; I think it’s some like viral shit where it’s like, ‘oh, you had somebody make a dance to your thing and now it’s huge and like you’re the artist or whatever’ which is fine.
“I mean, I’ve had a couple songs go pretty crazy on there and you know the revenue off of those has been you know, quite helpful so… Yeah, I’m fine with TikTok, I don’t give a shit. I’m not on it. I probably never will be. I don’t know. It is what it is – people can have fun with whatever they want.”
Such an ethos has been present throughout DeMarco’s career – whether it’s encouraging people to have fun at his shows while he goofs around in his underwear, inviting a fan onstage, or having fun watching as he collaborates with his peers.
Though he admits he prefers to create music in private, he’s “opened up artistically” with the likes of Benny Sings, Myd, Eyedress and Kenny Beats. We ask how he found his time collaborating with Kenny Beats on an episode of his famous The Cave sessions.
“I love Kenny he’s one of my good friends, I absolutely love this man.”
“Kenny and I knew each other a little bit before [The Cave episode]. We’d hang every once in a while. But he wanted me to come to an episode and I was like, ‘Yeah, sure I’ll do it.’ The Cave is one thing, but I’ve worked on other stuff with Kenny, he’s coming over here a lot.”

DeMarco featured most recently on Kenny’s album, Louie, which picked up MusicTech’s Album Of The Year in 2022. Interestingly, DeMarco is credited as a producer and engineer on the record – two titles that he’d usually not give himself. But it seems like the artist was keen to get involved with Kenny’s debut in a natural, unforced way. He laments the way collaboration is often framed in modern music.
“The whole feature culture that we’re living in nowadays is kind of gross to me,” he explains. “It’s like people put out records that are just all features. I don’t know; I’m happy to record with my friends, but for me to actually artistically write that kind of material can be tough. Especially in the scenario that collaboration usually comes about now, it’s like ‘yo pull up on the studio, let’s work!” I’m like, “What the fuck?”
“I think the collaboration works in some worlds, like in the beatmaking world and in other different of music, and it’s great. This is the way that I am but then I’ll be in a studio and a rapper will come through and just be able to, like, fucking unload onto the microphone I’m like, ‘How the fuck do you do that?’ It’s crazy.”
Image: Kieram McNally
Lucky for him, DeMarco’s relationship with Kenny isn’t as intimidating or serious. Instead, he appreciates the process with the revered producer.
“I have a nice collaborative experience with Kenny actually – he’s deeply interesting to me. The ground that he covers, musically…Like, he’s always interested in something new, and the genre doesn’t really matter to him, he’s down for whatever. He’s an interesting guy. I’m glad that he’s in my zone.”
For DeMarco, whether he’s collaborating or not, the crucial aspect of creating is to enjoy the process. His advice to fellow artists and budding producers rings the same.
“What I’ve always said is you should enjoy what you’re doing. Because if you’re enjoying what you’re doing, you’re happy with making art, that’s the most important thing.”
Image: Kieram McNally
Check out more of Mac DeMarco on his website.
The post Mac DeMarco: “I like to respect the way that recordings come to be” appeared first on MusicTech.

Drumdrops Pop Punk Pop Punk is a collection of powerful, energetic and beautifully recorded drum loops and samples capturing the convivial optimism of the 00s pop punk scene. With nearly 250 loops across... Read More