Believe generated $234m in Q3, up 9.1% YoYParis-headquartered music company Believe has published its financial results for Q3 2023
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Wasted Audio WSTD MANGLR This is our weird distortion effect plugin. It is very easy to use, with some special controls. However the range of sounds can get pretty wide. It consists of 3 different distorting... Read More

Some Drums from Song Athletics Some Drums is the first release from a new company founded by former Spitfire Audio CEO Will Evans.

Tony Visconti walks out of Rolling Stones’ secret show early blaming Questlove’s DJ set – Questlove respondsQuestlove has responded after being criticised by Tony Visconti for his DJ set at a “secret” event in celebration of The Rolling Stones’ brand new album, Hackney Diamonds.
At the gig, which took place at Manhattan’s Racket club, the band performed a seven-song setlist including a guest slot from Lady Gaga. Before they took to the stage, Questlove got the crowd warmed up. Well, all aside from Visconti who left early.

READ MORE: Do producers need to be musicians themselves? Tony Visconti weighs in

In a post on Facebook, Visconti called the Roots drummer’s set “deafening,” and shared his disappointment in the event: “On top of that people came up to me and were screaming in my ears, attempting a conversation,” he says. “One guy said he listens to my productions all the time, I was so testy by then I snapped back, ‘You should!’”
The producer then goes on to recall how he flagged down someone “in charge” to ask when The Stones would arrive on stage, but they were unsure. “It was 9:30 now and the DJ was cranking it even louder,” he continues. “I thought, f**k it, I saw The Stones so many times back in the day with a better line up, even one gig with Brian Jones and Bill Wyman.”
Visconti later added that himself and his date walked out and were told by security that they would not be allowed to re-enter, and that he replied, “Thank God.”
Questlove has certainly seen the funny side of the situation, and has shared screen grabs of each part of Visconti’s post on Instagram. “Dog, the fact that I offended Tony Visconti in such a rock & roll fashion is prolly one of the highest compliments I’ve ever received in my 40 years as a professional musician,” he wrote in the caption among a row of laughing faces.
He also added that the late Roots manager, Rich Nichols who passed away in 2014, would have found the situation hilarious.

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A post shared by Questlove (@questlove)

Hackney Diamonds by The Rolling Stones is out now.
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Chart data collection change will under-report physical sales by 95%, say indie music storesIndie music stores and labels are sounding the alarm over plans by Luminate, the music data provider for the Billboard charts, to change how it calculates physical sales at independent. Continue reading
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Arturia launches new “flagship” interface AudioFuse 16Rig which is “set to challenge” the marketArturia has today (24 October) announced the launch of a brand new “flagship” interface – AudioFuse 16Rig – which the brand says will “challenge” the interface market.
The advanced audio and MIDI interface is designed for hardware users wanting to connect and synchronise their whole setup. Arturia says it features an “unmatched” variety of inputs, outputs, and creative features.

READ MORE: Arturia Acid V brings a clutch of useful additions to the little silver box

AudioFuse 16Rig is the latest in its Fuse line up which also features other products such as its Studio and 8Pre interfaces, but this offering appears to be the grandest one of the bunch so far.

Users can keep an entire setup connected via the rear I/O so that the front panel can be used for extra mics, instruments, or devices. It’s described as “perfect for a studio full of synths, dense band recordings, intricate monitoring, and more.”
The interface also gives recordings better shine and clarity with premium 24-bit AD/DA converters, and it can also be used for DAWless recording, live mixing, and computer-free audio configuration. AudioFuse 16Rig can process audio and MIDI signals without a computer connected due to dual internal MIDI-controllable mixers.
You can control settings via built-in controls or via included software, and configure your 16Rig for desktop use or rackmount operation. Users can save configurations and mix settings as presets, control modular gear with DC-coupled outputs, use the Reamp feature for versatile guitar tracking, and connect extra USB devices.
Back in September, MusicTech rounded up the best audio interfaces to buy in 2023 that retail for under $500. Included in our selection was the Arturia Minifuse 2 due to its elegant, compact casing and clean sound with plenty of headroom too.
A price point is yet to be unveiled for the AudioFuse 16Rig, but further details can be found via Arturia.
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SampleScience Modern Sci-Fi Sfx https://youtu.be/OcOHwOM6YHY?si=xycORE0eSrctcvED Modern Sci-Fi Sfx is a collection of 146 cutting-edge sound effects for science fiction movies and video games. All the sound... Read More

Six ways every indie musician can organically grow a fanbaseThese six essential strategies will help not only to boost numbers but also strengthen connections with fans. by Dotted Music To achieve sustainable growth as an artist, it’s essential to. Continue reading
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‘We operate at the intersection between creativity and culture for our artists.’Warner Music's Bob Workman on brand partnerships, and working on high-profile campaigns for superstars like Ed Sheeran…

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50-metre hologram of Fatboy Slim plays surprise set above Alexandra PalaceA hologram of DJ Fatboy Slim played a surprise show above Alexandra Palace (Ally Pally) in North London last Thursday (19 October).
The performance itself took place inside the venue but was also projected to people outside and live streamed on social media. Fatboy Slim also played a sold out show at the same venue back in June.

READ MORE: Fatboy Slim says modern gear has too many options: “That is one of the reasons I don’t make so much music anymore”

As reported by DJ Mag, the set occurred as part of a collaboration with mobile network company EE. The DJ, whose real name is Norman Cook, appeared in hologram form, 50 metres high and suspended from two cranes.
Fans had been asked to submit videos of dance routines to his music ahead of the show, which were displayed as virtual backing dancers during in the set. His classic tracks such as Praise You, Right Here, Right Now and The Rockafeller Skank were played by the hologram DJ.

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Fatboy Slim said of the collaboration in a statement following the event: “Last night was a wild ride! We took over London’s skyline and made history. A massive shout out to all those fans who joined me on the world’s biggest holographic stage to kickstart a brand-new era for EE.”
And good news for fans – back in September, Fatboy Slim confirmed he has no plans for retirement: “I tried retirement during lockdown. I had an enforced retirement for a year. Didn’t agree with me at all,” he said in an interview with Billboard.
“I think I’ve gotten to a point now where I can probably ride this one out until I drop. In some shape or form I think they’ll always be a place for me to be doing something. As long as I’m enjoying it and other people are still enjoying it, I don’t see any reason to stop.”
He also released a 25th Anniversary edition of his pivotal album, You’ve Come A Long Way, Baby, earlier this month. Find out more via the official Fatboy Slim website.
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Producer and Massive Attack guitarist Angelo Bruschini has passed awayProducer and Massive Attack guitarist Angelo Bruschini has died, his bandmates have confirmed.
The Bristol-based electronic group, known for making trip-hop, confirmed the news of his passing this morning (24 October), and a post has been shared to their page on X.
“RIP Angelo,” they said. “A singularly brilliant and eccentric talent. Impossible to quantify your contribution to the Massive Attack canon. How lucky we were to share such a life together.”

RIP Angelo A singularly brilliant & eccentric talent. Impossible to quantify your contribution to the Massive Attack canon. How lucky we were to share such a life together. pic.twitter.com/btSqYQnOoM
— Massive Attack (@MassiveAttackUK) October 24, 2023

Bruschini had previously shared that he had been diagnosed with lung cancer in July. BBC reports that he wrote online at the time that several specialists had wished him “good luck,” and that he said in a post, “Had a great life, seen the world many many times, met lots of wonderful people, but the door is closing, think I will write a book.”
According to ITV, his wife Jessica has also shared a tribute online:  “I am very sad to announce that my beautiful husband, Angelo Bruschini, died on 23rd October 2023 at 12.15am. It was from a rare and aggressive cancer.”
Bruschini was born in Bristol and joined the group in the 1990s. He performed with several bands as a guitarist throughout his career, such as The Blue Aeroplanes, and also produced alt-rock band Strangelove’s self-titled 1997 album.

RIP Angelo Bruschini, a visionary of the band Blue Aeroplanes and unique guitarist for Massive Attack.
A Bristol legend. Thank you for the vital contributions to some of the most important music of the nineties, sculpting today's musical landscape. pic.twitter.com/u59q4lQl5w
— Rough Trade (@RoughTrade) October 24, 2023

Omg no … RIP Angelo Bruschini .. one of the most talented, yet humble & lovely musicians, my love and deepest sympathies go out to his family and to the whole @MassiveAttackUK family, I joined 4 two tours to work alongside him.. what a loss, a complete one-off ..
— Dot Allison (@DotAllisonmusic) October 24, 2023

Very sad to hear about the passing of Bristol guitarist Angelo Bruschini… A star of the band The Blue Aeroplanes, he was also a key enabler of the sound of 'Mezzanine' with his very unique use of the cords… https://t.co/raVXjW9eZV
— Melissa Chemam (@melissachemam) October 23, 2023

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Two-tier licensing is about to become a reality With the dust still far from settled on the UMG / Deezer streaming royalty proposal, something even bigger is coming: Spotify is turning the concept into reality in Q1 2024. The behind-the-scenes conversations have been ongoing for some time, but the details were stated publicly on panels at last week’s ADE conference, meaning that the information is now firmly in the public domain. Obviously, nothing is official at this stage, so consider this ‘as reported’ information. Even if the final details end up varying, what is clear is that two-tier licensing is about to become a reality.

Things are moving fast, going from ‘limited trial’ to ‘actually happening’ in the proverbial blink of the eye. If Spotify is indeed set to launch two-tier royalties just months from now, it begs the question as to what the Deezer trial was about in the first place? If decisions had already been made elsewhere, then the likelihood is that it was a way of softening up industry opinion before the big news hit next year, to acclimatise the industry community to the concept ahead of launch.

Streaming democratised access to the means of distribution, enabling an unprecedented growth in artists and releases. But the brake is now being firmly applied. Streams may have all been created equal, but now some streams are becoming more equal than others. 

There are, of course, compelling arguments for ‘fixing’ streaming royalties (arguments that we have discussed at length). But if consumers are choosing to listen to long-tail artists, or if the algorithms consider long-tail artists to be the right fit for their tastes, then the ‘problem’ lies with consumption patterns, not royalties. (And of course, what consumers are listening to is also the most precise way measure where and how subscribers allocate the value pf their subscription.)

Between 2019 and 2022, artists direct streaming revenue grew by 130% while the majors grew by 58%. Long-tail artists are growing their share of ear (even accounting for the fact that algorithms are not neutral agents). In 2022, artists direct accounted for 8% of global streaming revenue and at current trajectory would reach 10% by 2025. Consider that WMG’s share was 16% in 2022, and it becomes clear just how significant the long-tail pool is.

But here is where the cynical genius of the two-tier system comes into play. Right now, streams and revenue are effectively synonymous, but by this time next year, they will mean very different things. The majority of artists direct artists will no longer be paid for their contribution to the value of the $11.99 subscription. The c.10% of consumption they will generate will disappear from the streaming revenue map. They will be othered, their revenue becoming a new black box for the biggest artists to share between themselves. Which means that, hey presto, all that annoying artists direct market share suddenly gets reallocated to everyone else. Market share erosion? What market share erosion?

The two-tier system does not even try to turn back the clock on the rise of independence, it simply funnels the growing revenue from this cultural paradigm shift to the bigger artists who are losing share. If DSP streaming was the only game in town, then the risks of antagonising long-tail artists (label and direct) would be relatively low. But the music consumption and creation landscapes are changing. Non-DSP streaming revenue is outgrowing DSP streaming, while creators choosing to release only on non-DSP platforms is growing twice as fast as artists releasing onto DSPs.

Perhaps it would serve bigger labels and artists well, to have smaller artists and labels focus their attention elsewhere. But if they do so, then they will take audience attention and cultural capital with them. At some stage or another, that kind of shift will start to bite into DSP acquisition and retention rates. By which stage it may be too late to halt the decline. 

RoEx says AI mixing tool AutoMix could be “Instagram filter of music production”RoEx, a UK-based music tech startup, has launched AutoMix, a plugin that uses AI technology to streamline and simpify the mixing process for producers.

READ MORE: UMG and BandLab Technologies team up for “first of its kind” ethical AI collaboration

AutoMix, RoEx claims, lets you mix down projects to a professional standard in a non-technical or complex way, “transforming them into professionally finished pieces within minutes”, it says.
To use AutoMix, you simply upload the individual audio stems of your project into the online platform in a format. From here, you select the instrument type of the audio stems you’ve uploaded, e.g. bass guitar, vocals, synth etc., so the system has an understanding of how each should traditionally sit within your mix.

After selecting the instrument type, you can add basic mix settings such as reverb, the amount of presence each stem should have in the mix, and panning. While adjusting these might take time manually in your DAW, AutoMix aims to make mixing “accessible and efficient for all creatives, without any barriers” by condensing complex processing techniques into the click of a button.
Once you’ve mixed down your stems, you can adjust the volume levels of each and preview how it all sounds together. You can then download your finished track by simply clicking ‘master’. Each master can be downloaded in exchange for one download credit, which can be purchased via RoEx’s website for $11.99 each or included as part of a subscription package.
David Ronan, RoEx CEO comments: “Just as Instagram transformed photography by making filters universally accessible, we aspire to revolutionise the world of music production. We recognise the modern musician’s desire for professional sound without the intimidating complexities of compressors, EQ settings, or the necessity for costly studios and intricate plugins. Our mission is to make top-tier production quality both accessible and efficient for all creatives, without any barriers.
“Looking to the future, we envisage our technology integrating seamlessly with various DAWs, whether they are traditional desktop systems or emerging cloud-based platforms. While the exact roadmap is still unfolding, our direction is unwavering: to democratise professional music creation, making it accessible and intuitive for all,” continues Ronan.
RoEx is a small London-based startup that originated from a PhD project at Queen Mary University of London, focused on simplifying music production. Led by David Ronan, their mission is to democratise music creation, taking away technical obstacles.
Online mastering service LANDR has also launched a tool to streamline mixing for producers within the DAW. The online mastering tool’s new Mastering Plugin brings its AI-powered auto-mastering to DAWs for the first time.
Find out more at RoEx.
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WIN Sequential, Focusrite & Novation recording bundle Sequential have teamed up with Novation and Focusrite to give synth enthusiasts the chance to win a Take 5 synthesizer, Circuit Rhythm sampler/drum machine and Scarlett 18i20 audio interface.