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      Samples From Mars Pulsar From Mars Controlled Chaos From Our Favorite Modern Drum Machine The Pulsar 23 is a semi-modular, analog drum machine from SOMA Laboratories, and the second in their line of "organismic"... Read More

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        The Scarlett 4th Gen story: Focusrite’s journey from George Martin’s AIR to bedroom studios everywhere“It’s funny; so many people just don’t realise just how many Scarletts exist,” says Nicholas Howlett, head of the marketing team at Focusrite. “I think we’ve got over six million Scarletts out in the world now, which outstrips the next-best audio interface by roughly a factor of two. In fact, I think it’s more than that.”
        It’s one of the most recognisable pieces of audio equipment anywhere, all but synonymous with the home recording revolution. Focusrite’s Scarlett interface first arrived in 2011; the little red box would soon find its way into bedrooms and studios around the world, enabling musicians of any level when it came to songwriting, recording and everything in between.
        Image: Simon Vinall
        New levels of accessibility meant that even musicians with little to no prior knowledge about recording, and with little more than a microphone to speak of, could plug in, play, and actually sound good. The Scarlett has, according to its creator, contributed to more records than any other interface in history; we’re not going to argue with that. Generation 2 arrived in 2016, then Gen 3 in 2019. Now comes a fourth iteration of the design, which Focusrite declares reinvents the Scarlett all over again: “The Original. Remastered.”
        Generation 4 welcomes significant updates across the Scarlett range; from the single mic preamp, single line input Solo, to the the dual-preamp, 2-in/2-out 2i2 and the 4-in/4-out 4i4. Intelligent gain and clip management, extended dynamic range, a recycled aluminium chassis and plenty more.
        The ubiquity of a product such as the Scarlett can become a curse as well as a blessing, particularly when it comes to those falling into the ‘affordable’ bracket. Nowadays, to walk into a home studio and see a Focusrite Scarlett by the computer is by no means remarkable, and might even prompt a contemptuous sniff of familiarity from an artist. Such is the lot of a benchmark-setting gear: what was once impressive is, by its own volition, now unremarkable. Just look at Apple’s iPhone, for a prime example.
        The developers of such products must inevitably find new ways of standing out in a marketplace that they have helped to define; in the world of audio interfaces, this also means navigating constant shifts in connectivity formats and home computing power, as well as third-party software developments.
        Image: Simon Vinall
        Leading The Pack
        In 2023, that marketplace is congested and the competition is stiff. More compact interfaces continue to hit shelves every year, from a litany of venerable developers: Audient, Universal Audio, Arturia, PreSonus and many more. All present their own take on the compact interface format and even the most heavyweight names in pro audio, such as Neumann, Solid State Logic and AMS Neve, have thrown their own hats into the ring, albeit with some of these products commanding significantly higher price points.
        “The Scarlett’s failure rate is still phenomenally low. You might see twice as many complaints about Scarlett on forums as anything else, but there are probably ten times as many interfaces in circulation.”
        It nonetheless remains that for all of these, to some degree, the Focusrite Scarlett is the product to beat. “What’s the first thing that pops into your head when I say the words ‘audio interface’?,” asks Patrick Baird on his home recording YouTube channel The GarageBand Guide. “Chances are, what you’re thinking of is rectangular, red, and has the word ‘Focusrite’ emblazoned across the top of it.”
        Image: Simon Vinall
        Focusrite enjoys over half of the desktop interface market share, meaning that it sells more units than all of its competitors combined, according to Howlett. He adds that it’s estimated that there are more Focusrite Scarletts in circulation globally than Fender Stratocasters.
        Howlett joined the company shortly before the release of the second-generation Scarlett range. “We’re always banging the drum about how low our failure rate is, how good our drivers are and all that sort of thing,” he says. “But because there’s always someone talking on a forum about a Scarlett going wrong, it’s easy to make it look like lots of Scarletts go wrong. But that’s only because there are just so many of the bloody things out there.
        “The Scarlett’s failure rate is still phenomenally low. You might see twice as many complaints about Scarlett on forums as anything else, but there are probably ten times as many interfaces in circulation. I haven’t worked out what we do about that one just yet! [laughs]”
        Image: Simon Vinall
        Focusrite’s name may, for many recording artists, be associated with compact interfaces in bedrooms and budget setups, while developers like Neve and SSL maintain a reputable association with six-figure consoles furnishing some of the world’s most vaunted studios. However, the gulf between these companies isn’t as wide as it might seem. In fact, in many ways, there is no gulf at all.
        In 1975, having made his name as an undisputed leader in pro audio, Rupert Neve sold the Neve company and along with his wife, Evelyn, established ARN Consultants to focus on education, sound reinforcement and acoustics. Ten years later, the couple decided to incorporate a new company: Focusrite Ltd.
        A raft of new, modern outboard Focusrite gear soon followed; including the now-iconic ISA-110. The preamp was originally designed at the request of legendary Beatles producer George Martin for inclusion in his Neve console at AIR Montserrat. This new residential studio on a tiny British Overseas Territory in the eastern Caribbean would host Paul McCartney, Elton John, Dire Straits and more. Sadly, the studio would later be destroyed by a catastrophic hurricane in 1989.
        Image: Simon Vinall
        That same year, the assets of Focusrite Ltd would be acquired by Phil Dudderidge, co-founder of Soundcraft Electronics. From there, Focusrite would begin to expand its target customer base to include those recording on a budget, and four years later the design of the ISA-110 was rebooted and incorporated into the 2U rack-mount Red range.
        We looked back on those as the first pieces of audio hardware that really tried to be beautiful showpieces as well as things that really delivered from an audio perspective.
        Seeing Red
        Fast forward to 2011: Will Hoult, now Focusrite’s head of product management, had recently joined the company as a member of the marketing team. He was working on a bold new product that sought to unite the seemingly disparate notions of efficient functionality and a sense of genuine creative flare.
        “I launched Scarlett 2i2 back in September of that year,” he tells MusicTech. “I can remember us being really excited about the combination of both the audio performance and the aesthetic design of the product. It was really quite striking. We were coming from the Saffire 6 USB before that, and the Saffire FireWire range. They were nicely designed and highly functional, but they were also black metal and plastic boxes. When the 2i2 came along, it really was the start of something that married function with something that, I think, was quite beautiful.”
        Image: Simon Vinall
        Unlike other interfaces before it, the Scarlett range sought to deliver an audio interface that not only presented its functionality on a platter, but felt enjoyable and creative to use. This, Hoult explains, starts with a simple case of form meeting function.
        “There were two primary striking elements of it. One was the use of the colour red. We had developed the Red mic pres, compressors, EQs and so on, during the 90s. I think, as a company, we looked back on those as the first pieces of audio hardware that really tried to be beautiful showpieces as well as things that really delivered from an audio perspective. So to some extent, we were celebrating our heritage with that choice to go red. That was a big part of it; it was a great opportunity for us to tell the story of Focusrite and to marry that back to our history.
        “The second thing was the [LED] halos on the product. They were an innovation in terms of providing functional metering, but also metering that had a bit of excitement about it. And we had the halos in a continuous circle around the input knobs. It was just a very visually striking product. And at the same time, it was delivering really excellent audio quality.
        Image: Simon Vinall
        “It had a really straightforward user interaction, which meant it was really simple to get recordings going and ultimately get a great sound. For me, those were the elements that made it truly exciting. I don’t think we truly realised at the time just how big the range would become; how much Scarlett 2i2 would really propel us forward.”
        The second generation of Scarlett would see improvements to its physical design, its dynamic range and its sample rate, offering a maximum of 192kHz over its predecessor’s 96kHz.
        “We’d had nearly five years of learning by that point,” explains Howlett. “Learning what people liked about Scarlett, what people wanted from it. We learned a lot about the Solo customers as well. So we were able to make much more deliberate decisions about what we’re actually giving to customers and where our strengths are, where our value lies.
        “But to put it into context, we were selling something like a quarter of the amount of Scarletts we’re selling today. So it had taken a big step forward. We realised we were really onto something with Scarlett at that point. It was an iterative step, doubling down on what we learned and being a little bit more surefooted on what value we’re actually offering to our customers. But 3rd Gen is where it starts getting really interesting.”
        Indeed, if the company was stepping out with the first generation of Scarlett and had begun to find its feet with the second, it was hitting its stride with Generation 3. A key development came with the Easy Start tool, which Focusrite promised would get even the least experienced users up and running with their interface in a matter of minutes.
        Image: Simon Vinall
        “We ask you what you want to do, and we show you how to do it,” says Howlett. “Almost overnight, it changed the quality of the feedback that we were getting. It went from, ‘great interface!’ to: ‘I love it. It’s perfect.’”
        The Scarlett’s third generation also introduced Air mode, a switchable sound sculpting tool for imparting a transformer-like sonic character to the Scarlett, reminiscent of that of the original Focusrite studio consoles.
        Generation 3 also saw a shift in Focusrite’s marketing strategy. “We really backed ourselves with 3rd Gen,” continues Howlett. “We spoke much more about the musical side of it. All of our marketing content was led by musical performances, that sort of thing. We allowed ourselves to be musicians talking to musicians, rather than do what I think everyone in this industry has felt like they’ve had to do for a really long time, which is going out with punchy statements about ‘class-leading conversion’, and ‘industry beating specs’ here, there and everywhere.
        Image: Simon Vinall
        “We wanted to show that we are our own customers. We are musicians; we know what the music-making experience is actually like for people. Not just talking about buying this ‘pro audio box’ that’s going to do this ‘pro audio thing.’”
        Will Hoult agrees. “I don’t want to sound like I’m claiming this is unique in our industry, but it’s true to say that just about every person who has been involved in some aspect of the Scarlett’s development or design – even anyone who provides customer support or works in the marketing department – almost everybody is a musician. And that goes for the CEO of our whole group, our managing director, our chief revenue officer… They are musicians working in a music company. The whole way through the decision-making process, it’s musicians who are making those decisions.”
        Going Fourth
        Where else could the range possibly go with Generation 4? In one sense, not too far. “If you look at a Scarlett 4th Gen,” says Hoult, “you’ll still see the same iconic red aluminium unibody chassis that I coined in 2011. You’ll still see the black panels on the front and the rear. It still looks and feels like a Scarlett. But in almost all other respects, it’s actually quicker to say what’s not changed from Scarlett 3rd Gen.”
        The 4th Generation welcomes brand new digitally controlled analogue mic pres on the 2i2 and 4i4, with an impressive dynamic range of 120dB and 69dB of gain, along with greater input gain across the entire range – including the Solo.
        Image: Simon Vinall
        Auto Gain allows players to perform a ten-second ‘sound check’ and have the interface adjust its gain automatically, even taking noise and spurious sounds (such as a mic stand-knock) into account in the process. Though not new to the industry – Audient’s EVO series has boasted this for a few years – it’ll be a welcome addition for many.
        Clip Safe also makes its Scarlett debut, something that Hoult describes as “like somebody watching over your input level, making gain adjustments as needed to prevent you from clipping – except they’re doing it thousands of times per second!”
        The Scarlett’s metering also receives an update: now, instead of full-circle LED halos simply illuminating in different colours, Generation 4’s meters move dynamically, ‘filling up’ clockwise with higher SPL. “We know that customers over the years, particularly those who are new to audio, have found it difficult to set the right input level for their recording,” continues Hoult. “The combination of having lots of gain in the analogue domain, having sound check functionality, having Clip Safe mode, and also updating the way that the meters work… it all makes it so much easier to get a great input level when you’re recording.”
        Image: Simon Vinall
        Those on the ground are already responding enthusiastically to the new generation of Scarlett. The aforementioned Patrick Baird, for one, has dubbed it “One of the best audio interfaces you’ll ever use.” MusicTech’s 4th Gen reviews, meanwhile, declared the Solo interface “perfectly meets the needs of the singer-songwriters, podcasters and streamers,” and of the 4i4 concluded: “it’s hard to think of an interface better suited to a small studio or portable setup.”
        Grammy-winning engineer, mixer and producer Adrian Bushby, known for his work with Foo Fighters, U2 and New Order, also sings its praises: “It’s a vast improvement on the other models –and it’s great for working on the go,” he tells us.
        “I sometimes record in DIY studios, and being able to throw this into a backpack and set up a high-quality recording experience wherever I am is awesome. I can imagine it’s going to help a lot of breaking producers in today’s landscape level-up. We’ve seen so many great records being made outside of the traditional studios, and I’m all for that innovation. This is a tool that helps me keep up with that shift.”
        Image: Simon Vinall
        What, we ask, might be in store for Generation 5? Will Hoult laughs. “I obviously can’t go into any detail on that. But what I will say is: I remember, the week after we launched Scarlett 3rd Gen, I was in a meeting with some of our board. I said, ‘Right, we’re going to start working on 4th Gen today.’ That was four years ago. The conversations, the visions, they all started there. So it’s been really nice reaching this point. It’s definitely something that I’m proud of. I’m proud of everybody here who has delivered that. It’s a huge moment for all of us, to see it go out the door. And the reaction to it has been fantastic.”
        “We’ve learned a lot,” agrees Nicholas Howlett, “about how much of ourselves that we can get into a product, and what we can achieve for our customers when we keep asking, ‘What if…?’ And when we keep trying different stuff. That’s an approach that we’re going to carry forward with us from here. I’m really excited to see what happens.”
        Learn more at focusrite.com.
        The post The Scarlett 4th Gen story: Focusrite’s journey from George Martin’s AIR to bedroom studios everywhere appeared first on MusicTech.

        Focusrite's Will Hoult and Nicholas Howlett tell the story of the Scarlett, with U2 and Foo Fighters mixer Adrian Bushy sharing his love for the audio interface.

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          Sounds like: Phoenix, The Strokes, Still Woozy What's so good? Manic RomanceThe Plastics melt our...
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            Grandmaster Flash to host masterclass and Q&A in celebration of 50 years of hip-hopGrandmaster Flash will host a live masterclass and Q&A session at this year’s Amsterdam Dance Event in October.
            The iconic DJ and producer is known for being the inventor of the slipmat, and for creating Quick Mix Theory – a technique which utilises duplicate copies of vinyl, and provides elongated beats for rappers to speak on.

            READ MORE: Chris Lake: “If you’re trying to sound like everyone else, how are you going to stand out?”

            His Keynote speech comes as part of a celebration of the 50th anniversary of the hip-hop genre and will form part of the week-long electronic music gathering, with his event taking place on the Saturday (22 October).
            ADE writes on its Instagram page, “We celebrate 50 years of Hip Hop at ADE Beats with its founding father and turntable legend Grandmaster Flash, one of the culture’s most influential pioneers.”
            It continues, “He will host an exclusive keynote and Q&A on the evolution of Hip Hop and DJ culture on ADE Saturday. Flash has influenced generations of DJs and artists with his pivotal role in using record players to create new music, scratching and much more; laying the foundation for turntablism and helping turn DJs into fully fledged live acts.”

            View this post on Instagram

            A post shared by Amsterdam Dance Event (@amsterdamdanceevent)

            Last month (August), Grandmaster Flash revealed in an interview how he prevented other DJs from copying his work by switching the labels on his records.
            “The way I would look for a break on a record is I would buy one copy and I would put it up with a light. And the area where it was the most shiniest was where the least band members was playing,” he told Music News.
            “Now, if there wasn’t a turntable in a record shop, I would look at that, I’d go and I’d say, this is probably a drum break because this area of this composition is shiny. And I would buy two of these and I would take it home.”
            He later added, “what I would do is switch the labels on it, so if there was a person from another DJ crew that was trying to see what I was playing, the label was wrong.”
            Get tickets to Grandmaster Flash’s masterclass via the official ADE website.
            The post Grandmaster Flash to host masterclass and Q&A in celebration of 50 years of hip-hop appeared first on MusicTech.

            Grandmaster Flash will host a live masterclass and Q&A session at this year’s Amsterdam Dance Event in October. 

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              Bose introduces QuietComfort Ultra headphones and earbuds with spatial audioBose has officially launched its new QuietComfort Ultra range, featuring headphones and earbuds which come with ANC and the brand’s all new Immersive Audio.
              The launch follows a leak which occurred in August, but the addition of Immersive Audio had not yet been uncovered until now.

              READ MORE: Best headphones 2023: 10 of the best all-purpose wired headphones under $500

              Bose says the new range adds “a rich, spacious feel to everything – no matter the content or source,” and says that the playback “is taken out of your head and placed just in front of you. So it’s like you aren’t wearing headphones at all.”
              There are two modes of its new Immersive Audio tech on board to switch between, these are Still and Motion. Still is suggested for use when you are stationary and you want your music to be in a fixed position, and Motion, which “allows the audio to move with you, so it’s always out in front of you,” according to Bose (via What Hifi).
              When it comes to battery life, the Immersive Audio tech does have an impact. With it in use, along with ANC, users can expect 18 hours worth of playback from the headphones. With Immersive Audio disabled (but ANC still in use), the figure reaches 24 hours.
              For the earbuds however, battery life comes in at an average of six hours with Immersive Audio turned off, dropping to just four hours when it’s turned on.
              Take a closer look in the videos below:

              Along with these main two releases, Bose has also launched another pair of over-ear headphones without ‘Ultra’ branding – simply called the QuietComfort Headphones – these appear to lose the offering of Immersive Audio. Users can still adjust levels of ANC and set custom noise-cancelling modes, however. They have up to 24 hours of battery life, and come in at £349.95.
              Both the headphones and earbuds are available to pre-order now (with shipping commencing in October), and come in Black or White Smoke colourways. The Bose QuietComfort Ultra headphones are priced at £449.95, whilst the ear buds sit at £299.95.
              Find out more and view full specifications at Bose.
              The post Bose introduces QuietComfort Ultra headphones and earbuds with spatial audio appeared first on MusicTech.

              Bose has officially launched its new QuietComfort Ultra range, featuring headphones and earbuds which come with ANC and the brand’s all new Immersive Audio. 

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                “Sampling led to hip-hop… AI music has the potential to do something similar”, says Holly HerndonElectronic producer, singer and AI advocate Holly Herndon has drawn a comparison between AI music and sampling, saying that AI music could impact music in the same way sampling did hip-hop.

                READ MORE: Spotify launches new Daylist feature based on daily listening habits

                Herndon made the statement during a recent interview with Mixmag, as part of a feature entitled The rise of AI music: a force for good or a new low for artistic creativity?. The feature explores the advantages and disadvantages of using AI technology to create music.
                “Sampling old records to create something new led to the formation of genres like hip hop and innovative new forms of artistic expression.” She says. “AI music has the potential to do something very similar.”
                She goes on to discuss the inevitability of AI technology in music, saying “AI music is no longer this sci-fi concept, it’s our new reality.”
                It’s “here to stay”, she continues, referring to the fact AI is set to be integrated into every major DAW in the next decade. herndon sees the potential for music to become more strange and innovative with AI, while producing formulaic music will become easier – something also stated recently by Bombay Bicycle Club’s Jamie McColl.
                “There’s an opportunity to open up an ethical dialogue between the present and the past,” she continues. “Rather than try to fight it, we now need to build an infrastructure around AI music so that it will make ethical sense for everyone.”
                In July 2021, Holly Herndon created Holly+, a browser-based AI deepfake that transforms any audio file into her voice. In 2022, she created an eerie cover of Dolly Parton’s Jolene using this tool, alongside an animated music video.
                James Blake is another artist who has recently praised the use of AI in music. In a podcast with Zane Lowe, he said “There’s going to be people who will make music in ways they weren’t previously able to”, after explaining the concept of Synplant, an AI-powered synth that lets you turn any audio into a synth sound.
                Read the latest developments from the intersection of AI and music technology at MusicTech.com.
                The post “Sampling led to hip-hop… AI music has the potential to do something similar”, says Holly Herndon appeared first on MusicTech.

                Holly Herndon recently said that AI music is “our new reality”, adding that AI music could have the same impact sampling had on hip-hop

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                  Focusrite Scarlett 2i2 4th Gen is ideal for recording artists with a modest studioHaving been founded by studio electronics design legend Rupert Neve, it is little wonder that the Focusrite name carries so much heft in the music tech world. The company is now a far cry from the boutique outfit set up by Neve, with its fingers firmly planted in many different studio-flavoured pies, but its reputation for sonic excellence – especially in the realms of preamps and input conditioning – has remained strong.
                  It’s distilled this reputation into a number of different rose-themed product lines. The affordable Scarlett range of audio interfaces, which has just been updated to its 4th generation, is the focus of our attention here, specifically the Scarlett 2i2.
                  Focusrite Scarlett 2i2. Image: Focusrite
                  Two-by-two
                  Connection-wise, Scarlett 2i2 offers two input and two output channels. The inputs can take instrument, line or mic signals, however the connectors are split between front and rear panels – instrument/line jacks on the front panel, and mic XLRs on the rear. The inputs feed an all-new converter taken directly from Focusrite’s flagship RedNet range, and that provide 120dB of dynamic range, which is considerably more than Scarlett 3rd Gen, and very impressive for such an affordable interface.
                  The pair of output jacks are also rear-mounted, as you would expect, and are doubled by a front panel headphone output powered by a headphone amp that’s been newly designed for Scarlett 4th Gen. This delivers a strong level suitable for most circumstances and, whilst not the loudest, is very clean and crisp all the way to full volume.
                  Focusrite Scarlett 2i2. Image: Focusrite
                  The unit connects to the host device via USB, and whilst it can be host-powered, a second power-only USB port is included when connecting to low-power devices like laptops and tablets.
                  All of this is packed into a compact enclosure that sports Focusrite’s resplendent metallic red colour scheme. This stylishness has received a lift in the form of new ‘Gain Halos’ – circular level meters that surround the input gain controls and output level control. Unlike the previous generation’s halos, which simply flickered on and off, the new halos advance around the ring to provide detailed visual feedback of both signal level and, when adjusting input gain, the gain level.
                  Air and assistance
                  All input configuration – with the exception of stereo-linking the two channels – can be performed from the interface’s front panel, which is very convenient. This includes enabling the global phantom power, switching a channel between line and instrument mode, and enabling the preamp Air modes and assistance tools.
                  There are now two Air modes in Scarlett. The first is similar to the Air mode found in the 3rd Gen interfaces, introducing a presence peak that can be particularly flattering to vocals and other sources that carry detail in the upper-mid registers. The curve has been modified in the 4th Gen hardware, though, taking the edge off its intensity and, in doing so, marginally broadening its usefulness.
                  Focusrite Scarlett 2i2. Image: Focusrite
                  The second, entirely new, Air mode maintains the presence peak but adds to it a gentle harmonic distortion. This breathes liveliness and analogue-style sparkle into signals, and is well suited to vocals, acoustic guitars and the like. Thankfully – and unlike Scarlett Solo – Air is available via both the interface’s mic inputs and its instrument/line inputs, and what makes this particularly welcome is how well the new Air mode works with DI’d electric guitars and analogue synths – the former drives that bit harder into plugin amp simulators for a punchier sound, whilst the latter benefits from the additional high-end detail.
                  In addition, 2i2 includes the same Auto Gain and Clip Safe features as found on Scarlett 4i4. As its name suggests, Auto Gain listens to a few seconds of your signal and automatically dials-in the ideal input gain. Clip Safe, on the other hand, constantly monitors the input signal level and reduces the gain when it detects a peak that would result in digital clipping. Between them, these two features make light work of capturing a perfect, unclipped signal every time.
                  Direct control
                  The front panel controls are duplicated in the Focusrite Control 2 app, where there is also an option to link the two channels for stereo operation. The input level of each channel is also shown but, as we found with Scarlett Solo, there is no monitoring mixer for balancing the inputs’ direct monitor signals with each other, or with the return-from-DAW signal.
                  Focusrite Control App. Image: Focusrite
                  Direct monitoring can be switched between mono and stereo modes (with stereo mode panning the input signals to opposite extremes in the headphones to aid separation), but otherwise is either enabled or disabled, and whilst this does keep things nice and easy to use, it won’t suit everybody. Focusrite is considering adding monitor mixing to the software,but, in any event, the interface is quite zippy, with input and output latencies low enough for most purposes – we measured 8.583ms of input latency and 7.354ms of output latency at 48kHz – so monitoring via a DAW is not out of the question with Scarlett 2i2.
                  Sitting halfway between the more capable Scarlett 4i4 and the ridiculously affordable Scarlett Solo, the Scarlett 2i2 4th Gen represents a middle-ground solution to audio I/O. It is more flexible and sports a better feature set than Solo, yet it manages to be significantly more affordable than 4i4 without sacrificing much of the functionality – and none of the sonic credentials – of that higher-specced interface.
                  Key features

                  Price: £199.99 / €184.87 / $199.99 (USD) / $290.00 (AUD)
                  USB audio Interface
                  2 input channels, 2 output channels
                  Front panel line/instrument input jacks
                  Rear panel mic input XLRs
                  Rear panel main outputs
                  Front panel headphone output with independent volume control
                  Powered from host computer or via separate USB power connector
                  Full suite of production software including DAWs, effects and instruments
                  Contact: focsurite.com

                  The post Focusrite Scarlett 2i2 4th Gen is ideal for recording artists with a modest studio appeared first on MusicTech.

                  If Scarlett Solo is too limited but Scarlett 4i4 has features you'll never use, then Scarlett 2i2 4th Gen is the perfect middle ground for your studio.

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                    How do Spotify and streaming royalty payments work now?A controversial shift to ‘artist-centric’ streaming payments gained traction last week with the launch by Deezer of “double-boost” payments to select UMG artists, and indie powerhouse Believe blasted the plan. Continue reading
                    The post How do Spotify and streaming royalty payments work now? appeared first on Hypebot.

                    A controversial shift to ‘artist-centric’ streaming payments gained traction last week with the launch by Deezer of “double-boost” payments to select UMG artists, and indie powerhouse Believe blasted the plan. Continue reading

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                      Everyone has ideas, but do you have a plan to make them a reality?Everyone has ideas. Ideas are a dime a dozen, but they are nothing more than dreams unless you have a strategy to execute them. Michael Brandvold and Jay Gilbert discuss. Continue reading
                      The post Everyone has ideas, but do you have a plan to make them a reality? appeared first on Hypebot.

                      Everyone has ideas. Ideas are a dime a dozen, but they are nothing more than dreams unless you have a strategy to execute them. Michael Brandvold and Jay Gilbert discuss. Continue reading

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                        How some musicians are using video to boost merch salesA few smart and creative artists are selling exponentially more merch using innovative marketing strategies driven by tech from Single and Shopify. Read, watch, learn, and get ready to earn.. Continue reading
                        The post How some musicians are using video to boost merch sales appeared first on Hypebot.

                        A few smart and creative artists are selling exponentially more merch using innovative marketing strategies driven by tech from Single and Shopify. Read, watch, learn, and get ready to earn.. Continue reading

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                          W. A. Production KickShaper Pump & Thump Kick drums form the bedrock of most music, but without a robust foundation, a mix can fall apart. We get it... sometimes you're working with kick samples that... Read More

                          https://www.kvraudio.com/product/kickshaper-by-w-a-production?utm_source=kvrnewindbfeed&utm_medium=rssfeed&utm_campaign=rss&utm_content=27116
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                            Focusrite Scarlett 4th Gen audio interface reviews: Which Scarlett should you buy?Britsh brand Focusrite has seen roaring success with its family of Scarlett audio interfaces. Sales of the first, second and third generations of Scarlett surpassed six million, making it the most popular interface in the world. Now, with Generation 4, the company brings more features for all levels of producers to enjoy – but which model is right for you?
                            MusicTech has tested out the three 4th Gen Scarlett models that are currently on the market: Scarlett Solo, Scarlett 2i2, and Scarlett 4i4. Each version has practically been as impressive as the last, all boasting immense value for producers and recording artists. Whether you’re starting out your journey as a producer, musician, podcaster or streamer, or if you’re looking for an upgrade to a new interface, the Scarlett range is certainly worth considering.
                            Focusrite Scarlett 4th generation
                            What’s new?
                            Across the board, Scarlett 4th Gen users can enjoy a sleeker, modernised design compared to previous models. Looks aren’t everything, however, and Focusrite has made sure to upgrade the parts that matter. For example, the new Halo LED gain meters offer more detailed visual feedback of your instrument levels. Plus, the audio interface now offers 120dB dynamic range and boasts 192kHz, 24-bit audio converters from Focusrite’s pro-grade RedNet audio interfaces. They’re all equipped with USB-C connectivity to hook up to your computer, too.
                            Some of the new Scarletts also feature smart tools such as Auto Gain, which will automatically set your levels after you play into it for 10 seconds. No more lengthy sound checks in the studio. Clip Safe, meanwhile, checks your audio levels 96,000 times a second and will automatically adjust your gain if you’re about to clip so that you can prevent your tracks from clipping without compressors or limiters. Air Mode, a staple on the 3rd Generation Scarletts, returns in this generation, boosting the high end of your audio signal and even adding a touch of Harmonic Drive.
                            You’re also given access to a bundle of software to get you creating swiftly after unboxing the unit.
                            Focusrite Scarlett Solo 4th Gen. Image: Focusrite
                            Alright – now you know what’s new, check out what we’ve said about each model and whether it might be for you.
                            Focusrite Scarlett Solo
                            Only recording a couple of instruments? Maybe you’re streaming gameplay to Twitch, recording a podcast, or maybe you just want to connect your music-making laptop to some studio monitors. It’s gotta be the Scarlett Solo.
                            Focusrite Scarlett Solo 4th Gen. Image: Focusrite
                            With two inputs and two TRS jack outputs, you can connect two instruments and output the audio from your laptop to a pair of speakers. Easy for simple, fuss-free recording jobs. What you can’t do, however, is record in stereo, as one input is an XLR socket and the other is a Hi-Z input for instruments like guitars and synths. To get around this, you can use a DI box – but you’re probably better off paying a little extra on a Scarlett 2i2. A few other features are absent too, such as Auto Gain and Clip Safe, so check whether you’d like them or not.
                            In our review, we said: “It’s excellent value for money. Yes, you may need to add a DI box to get the most out of it, but it allows you to do an awful lot of music-making for very little initial outlay.” Read the full review for more info.
                            Focusrite Scarlett 2i2
                            The 2i2 is designed with artists in mind. Here, you’ll get two XLR inputs, two Hi-Z instrument inputs and two TRS jack outputs, you’re able to capture a couple of extra instruments at once than the Solo. You’re also able to record in stereo and, importantly, you’ll be able to use Auto Gain and Clip Safe, which will be a boon when recording.
                            If you’re looking for a few extra outputs and more flexibility with your inputs, you might want to consider the 4i4.
                            In our review, we said: “Sitting halfway between the more capable Scarlett 4i4 and the ridiculously affordable Scarlett Solo, the Scarlett 2i2 4th Gen represents a middle-ground solution to audio I/O. It’s more flexible and sports a better feature set than Solo, yet it manages to be significantly more affordable than 4i4 without sacrificing much of the functionality – and none of the sonic credentials – of that higher-spec’d interface.”
                            Focusrite Scarlett 4i4
                            Focusrite Scarlett 4i4. Image: Focusrite
                            Currently the most comprehensive model in the Scarlett lineup, the 4i4 offers the most connectivity with two XLR/TRS combi inputs, two Hi-Z instrument inputs, and MIDI In/Out. Four outputs are featured in the 4i4, for listening to your mix through monitors and headphones, and running your audio to outboard gear. If you’ve got a modest studio that’s slowly building up, the 4i4 should suit you best for recording and producing.
                            In our review, where we awarded the 4i4 a 9/10 and a MusicTech Choice Award, we said: “The new Scarlett 4i4 delivers a top-notch sound, has sufficient I/O for many different projects, is easy to use and looks smarter than ever – it’s hard to think of an interface better-suited to a small studio or portable setup.”
                            Learn more about the 4th Generation Scarlett range at focusrite.com.
                            The post Focusrite Scarlett 4th Gen audio interface reviews: Which Scarlett should you buy? appeared first on MusicTech.

                            Focusrite Scarlett Solo, 2i2 and 4i4 – perhaps some of the best audio interfaces for beginners and professionals alike. Which one's for you?

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                                  Artists back out of Japanese festival, The Labyrinth, following founder’s comments on trans issuesA number of electronic artists including Surgeon, Carsten Jost, Imaginary Softwoods, and Timnah Sommerfeldt, have withdrawn from a festival in Japan, The Labyrinth, due to controversial comments made by its founder Russ “Monk” Moench on trans rights and related issues.

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                                  Moench has taken to Twitter – now X – in recent months to express his views on subjects such as gender pronouns and trans rights. In now-deleted posts, he criticised pronoun use, writing “the pronoun people are dumb”, and called TERF (trans-exclusionary radical feminism) a form of “misogynistic hate speech”.
                                  The festival founder also followed and engaged with gender-critical X accounts, such as Right Side of History. After facing backlash for these actions, he made his account private and has since deleted the account entirely.
                                  On 30 August, after a trans activist reached out to some artists on the lineup notifying them of Moench’s views, the festival founder emailed nine artists set to perform at The Labyrinth, according to Resident Advisor. In his email, he criticised the trans rights movement as “illiberal and totalitarian,” alleging misogyny and homophobia.
                                  According to RA, Moench expressed support for “detransitioners” and termed youth gender-affirming care as “gay transversion therapy,” claiming it creates lifelong pharmaceutical dependence.
                                  Carsten Jost has been asked not to play at the festival by Moench after criticising the email.
                                  Speaking to RA, Jost has said: “We owe respect and protection to those who have paved the way for what the underground techno scene is today, which is to a large extent due to a community of queer and trans people of colour.
                                  “I believe in trans-inclusive intersectional feminism and that the underground music scene must continue to be a safe space for queer, trans and gender non-conforming people.”
                                  The Labyrinth festival is still set to take place on 7 October at the Hodaigi Campground in the landlocked, mountainous region of the Gunma prefecture on Japan’s Honshu Island, despite these cancellations.
                                  The finalised lineup is yet to be announced. If you’re attending, look out for updates via mindgames.jp.
                                  The post Artists back out of Japanese festival, The Labyrinth, following founder’s comments on trans issues appeared first on MusicTech.

                                  A number of artists have withdrawn from The Labyrinth due to controversial comments made by its founder Russ "Monk" Moench on trans rights

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