AI-powered music creation app Moises launches new tools for easier productionMoises, an AI-powered app for music creation, has launched three new features which aid the production process.
The new features – AI Lyrics Transcription, Song Sections, and Extended Chords – will “empower singers, songwriters, and musicians to unlock their full potential”, according to the brand.

READ MORE: New music platform Myvox lets artists licence and monetise their own AI voice models

The app’s new AI Lyrics Transcription tool can transcribe lyrics from songs in multiple languages, such as English, Spanish, Portuguese, Italian, and French, and can synchronise lyrics with “word-by-word precision”.
Users can also access their transcribed lyrics on all platforms, so you record an idea on a mobile device, import it into Moises, and continue to work on the same project on a desktop device for easier collaboration, or producing on the go.
Also now in the app is Advanced Chords, a new addition to the Chord Detection feature. This provides more accurate chord detection and advanced chord capabilities so that users can access complex jazz chords and more.
Chords are also categorised into three different types (easy, medium, and advanced) so that musicians have the right chords for their skill level.
And finally, due to user requests, the platform is also now offering an AI-powered Song Sections feature which automatically detects and can loop different parts of a song such as the intro, verse, and bridge. The tool has been created to offer gigging musicians who need to learn fast a swifter way to practice.
“Each of these features provides new functionality unique to Moises,” says Spencer Mann, VP of Growth at Moises in a press release. “Our product team has listened to our incredible customers and these new features are the result. They are all designed to help intermediate and advanced musicians get the most from their experience in Moises.”
Find out more at Moises.
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BABY Audio Industry Standard Bundle 10 Industry-Leading Plugins Our Industry Pro Bundle offers the most cost-effective way to get your hands on all of Baby Audio's award-winning plugins. 3 Modern Mix... Read More

Antares update Auto-Tune Pro X With the latest update to Antares' Auto-Tune Pro X, users of Cubase and Nuendo can now enjoy enhanced integration with their DAW thanks to ARA2 support.

BABY Audio Industry Pro Bundle 10 Industry-Leading Plugins Our Industry Pro Bundle offers the most cost-effective way to get your hands on all of Baby Audio's award-winning plugins. 6 Modern Mix... Read More

New UAFX pedals by Universal Audio emulate vintage effects from ’50s to ’80sUniversal Audio has launched four new single-footswitch stompbox effects pedals – the Orion Tape Echo, 1176 Studio Compressor, Heavenly Plate Reverb & the Evermore Studio Reverb. Each pedal emulates a classic effects pedal made between 1950 and 1980 but in more compact units.

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The Orion Tape Echo, according to UA, is an authentic emulation of the vintage Maestro Echoplex EP-III tape echo launched in 1970, albeit far more portable. The brand has captured the essence of the original’s analogue preamp, making for fat tones and effects, and it has different tape types: Mint, Worn, and Old, and a Wonk control for added vintage flavour.
Universal Audio Orion Tape Echo
Universal Audio’s 1176 Studio Compressor emulates the iconic 1176LN Limiting Amplifier launched in 1967. It has Single, Dual, and Sustain modes, and you can adjust the Input, Output, Attack, and Release settings as with the original. There’s also a Ratio knob with the “all buttons in” mode, making for gritty results.
Universal Audio 1176
The Heavenly Plate Reverb pedal offers the same vibe of 1950s German-crafted studio reverbs. There are three vintage studio plate reverb types to pick from here – Vintage Bright, Vintage Dark, and Modern Full plate settings. You can also fiddle with the pedal’s Mod, Pre Delay, and EQ controls for precise and detailed effect crafting.
Universal Audio Heavenly
Finally, the Universal Audio Evermore Studio Reverb captures the textured ambient trails and captivating modulations found in vintage digital hardware from the late 70s. There are distinct sounding Room, Small Hall, and Large Hall programs within a compact stompbox design. You also get accurate vintage bass, mid, and treble decay controls.
Universal Audio Evermore
If you’re a fan of Universal Audio pedals, we recently reviewed the brand’s multi-effects UAFX Del-Verb. We called it an “ambience companion”, writing that it “potentially contains every ambient sound you could ever wish for”.
Each pedal costs $219, apart from the 1176 Studio Compressor, which will set you back $199. Check them out  over at Universal Audio.
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Applications open for two $40K Bob Dylan Center Songwriter FellowshipsThe Bob Dylan Center will award two annual $40,000 Songwriter Fellowships designed to mentor and develop aspiring songwriters. Universal Music Publishing Group is supporting the effort. Each fellowship will include $40,000,. Continue reading
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6 Questions with soulful indie singer-songwriter Shawn JamesFor this latest edition of ‘6 Questions With…’ I caught up with soulful indie singer-songwriter Shawn James while he was prepping for his  27-date fall tour. Onstage, James can be wonderfully. Continue reading
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A remix created by Frankie Knuckles nearly a decade ago has been releasedA remix that iconic house music producer, Frankie Knuckles, co-created with Eric Kupper has been newly released nearly a decade on.
The remix is of a track from Ultra Naté and Michelle Williams (Destiny’s Child), titled Waiting On You, which originally landed as part of Ultra Naté’s 2013 album, Hero Worship.

READ MORE: “I’ve never used a MIDI instrument in my life”: Jack Antonoff on his love of analogue gear

The new remix lands just shy of the Chicago holiday Frankie Knuckles Day (celebrated on 25 August), which honours the late producer who passed away in 2014. Knuckles played a vital role in the early popularisation of house music back in the early 1980s.
Knuckles and Kupper had originally produced the remix under a collaborative alias of Director’s Cut. According to EDM, Naté has confirmed that the Knuckles had provided his approval to release the track prior to his death.
“The remix was blessed by my mentor, big brother and cultural icon, Frankie Knuckles, officially ‘The Godfather of House Music,’ who at the time, was making his way back into remix and production work as ‘Director’s Cut’ along with Eric Kupper,” Naté says in a press release.
“Waiting On You has always been a centrepiece of the Hero Worship album and there’s no better time than now to drop it for Frankie Knuckles Day.”
Stream the remix below:

Everyone knows that the beauty of music is that it lives for long after so many great artists leave us – the well-missed EDM producer Avicii has just hit two billion streams on Spotify with his 2013 track Wake Me Up. The song joins an exclusive 40-strong club of tracks in the two billion region.
It joins the likes of 2018’s Someone You Loved by Lewis Capaldi, 2019’s Dance Monkey by Tones and I and Sunflower by Post Malone and Swae Lee in the two billion club.
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Using earned media to get your music noticed: Lessons from a PR ProTechnology has allowed musicians to make and release music from their bedrooms, but that also means the competition is tougher than ever. Here’s a guide on how you can build. Continue reading
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“Bouncing MIDI to audio is powerful for me creatively”: Chris Lake shares top tipsHouse and EDM producer Chris Lake has shared some of his top tips for music production, praising the benefits of bouncing tracks down to audio as you go.

READ MORE: “I’m an engineer first, producer second, performer third”: Deadmau5 follows up on his comments about pre-recorded DJ sets

Speaking in the latest edition of Future Music Magazine and for MusicRadar, Lake says that by bouncing down any MIDI sections to audio and seeing the waveform in front of you, you identify any issues you might have missed before.
“Committing parts to audio is powerful for me creatively.” He says. “I immediately think about how I can use the part in different ways. It’s always great to see what the part is doing via the waveform this creates in your DAW – things like audio tails or clicks that you maybe didn’t realise were there that you want to remove.”

Also in the interview, the Changes producer advises those making dance music to focus on breakdown sections by looping them with main sections to see if they work together.
“Like many, I start by building a 4 or 8-bar loop section that I vibe with,” he says, “but I always find it helpful to create breakdown sections within that loop. That can be as easy as dropping the bass in and out like I would if I was DJing, so I get a groove that feels good both with the low end in and out.”
The UK-born, LA-based musician goes on to urge producers to really think about the build-up to drops.
“Another thing I find really helpful is setting a loop region around the ‘drop’, so for example, having the loop region start two bars before the drop and loop for four bars, then focus on getting the impact of the drop to hit the way that feels good. It’s a very important part of the track. Focus on it.”
Check out all things Chris Lake via his official website.
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Tomorrowland voted as world’s No.1 festival in DJ Mag pollElectronic music festival Tomorrowland has been voted as the number one festival in the world in a reader poll run by DJ Mag.
The EDM festival was launched in 2005 and takes place annually in Boom, Belgium. This year’s festival took place in late July and saw names such as Steve Aoki, Eric Prydz, and Martin Garrix hosting sets.

READ MORE: Aphex Twin’s new augmented reality app lets you enjoy the “festival experience” in your living room

DJ Mag’s poll collected verified votes from 100,000 readers between 26 April and 21 June. This year’s poll marks a shift to a public vote for the first time, as opposed to being decided by top DJs.
Tomorrowland had previously landed the top spot back in 2019, but this year marks the first time the festival has been chosen as winner by a general public vote.

Speaking about the festival being crowned as number one, founders and owners of Tomorrowland, Manu and Michiel Beers, said in a statement, “We are delighted to once again receive this recognition from the public, festival goers and DJ Mag readers.
“What once started as a dream, took wings thanks to the tireless efforts of a passionate young team and the enthusiasm and unconditional support of the Tomorrowland community, the People of Tomorrow. We are already looking forward to the 20th anniversary next year but now we are getting ready for the return to Brazil in a few weeks.”
Also coming in close to the top spot was Ultra Music Festival of the US in second place, with the UK’s Glastonbury Festival coming third. EDC came in fourth, with Coachella landing in fifth place.
DJ and TV personality Paris Hilton played a set at Tomorrowland earlier this year, afterwards she shared a clip of herself responding to audience members who accused her of not mixing live which went viral. “This is dedicated to the two haters at the front holding signs up saying I’m not playing live, ‘cause honey, yes I fucking am,” she said. “Sorry I’m a girl, I’m hot, I’m blonde. We can do everything. Go hate on someone else.”
The full top festival list by DJ Mag is now available. Find out more about Tomorrowland on its website.
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Strymon unveil Deco Plugin Strymon have released their second plug-in, offering users the chance to employ the popular Deco Tape Saturation & Doubletracker in their DAW sessions.

Man missing after Boomtown as police and family share appealA 31-year-old man is missing after attending the Boomtown Fair festival in Hampshire earlier this month, with police and family appealing for his safe return.
Cameron Crowther went to the festival, which ran from August 9 to 13 this month, and police have shared a photo on social media.

#MISSING | We need your help to find Cameron who has gone #missing from #Birmingham.
The 31-year-old is 5ft 9ins tall and is known to have also recently travelled to Hampshire.
Anyone with information is asked to contact us via 999 and quote PID: 441705. pic.twitter.com/vG0O5lfVmd
— Birmingham Police (@BrumPolice) August 16, 2023

The 5 foot 9 festivalgoer has been described by his mother as mild-mannered in conversation but funny and charismatic. He has a beard and fair skin, and wears glasses.
He arrived at the festival on the 9th, and left on the 12th after losing his phone. The police picked him up on the M3 and took him to Basingstoke railway station, and it’s thought he travelled on to Bournemouth on the 13th.
His family believe he may have travelled to Winchester to pick up his belongings, and think he may still be in the area. They’re appealing for anybody who was on the 19:11 train from Basingstoke to Bournemouth to come forward if they have any information that could help. And, they’ve asked anyone with dashcam footage or doorbell cameras to get in touch with the police.
Crowther had a coach ticket from Boomtown to Birmingham, but it’s unknown whether he used it. He’d been to Boomtown previously, but this was his first time going alone.
Birmingham Police have asked anyone with potential information to contact them via 999 and quote PID: 441705. They’ve also shared some additional photos of Crowther on Twitter.

#MISSING | We have some new photos of Cameron as the search continues to find him.
Cameron has gone missing from #Birmingham.
The 31-year-old was last seen in #Basingstoke.
Anyone with information is asked to contact us via 999 and quote PID: 441705. https://t.co/a3bwAPjr59 pic.twitter.com/pbWtr6m2N5
— Birmingham Police (@BrumPolice) August 18, 2023

His mother, Jacqueline Bird, told ITV: “I’ve been calling him every day to contact me, and on the Monday morning, I was waiting for him to come home. He didn’t come home.”
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Mixing elements of a project is like “playing Tetris”, says BreauskiIn partnership with BandLab Opportunities.
As part of MusicTech’s Bandlab Opportunities collaboration, we’re showcasing an artist with a Bandlab account who deserves more recognition for their music production skills. The artist in the spotlight is Breauski. He’s an upcoming artist from the city of Charlotte, North Carolina, who makes variety of genres in EDM, from bass house to trap, to dubstep and drum ‘n’ bass.

READ MORE: Robb McDaniels’ Beatport wants to cultivate a new wave of creators and build “the Connected DJ Booth” of the future

We’re instantly hooked by Breauski’s – real name Jake – sound and approach to sound design, so ask him what his approach is to making music. We cover what hardware he uses, how he creates intriguing sounds using plugins like Serum, and his tips for EQing, and letting all the components of a song fit together like blocks in a game of Tetris.

Hey Jake! What’s your story?
I got into music production in high school. A buddy of mine’s older brother had turntables, and he was really deep into house music, so we would go to my buddy’s house and mess around on his techniques and his brother’s Technics [turntables]. Then we started getting really heavily into drum ‘n’ bass in the mid-late 90s. It kind of just grew from there. We started buying our own turntables, spinning parties and stuff like that.
I’ve been doing music production as a labour of love. It’s not something that can sustain me financially right now, but whenever I can get a chance to be in the studio and work on something I’m excited about, I’ll hop in there and start working on it.
Who are your favourite artists and how do you channel that influence into your sound?
Aphex Twin, Alix Perez, Chase & Status, Badjokes, Camo & Krooked, Noisia, G Jones to name a few! I’ll usually try to deconstruct anything they do that I like. It’s kind of like when you hear a track and something stands out and you’re like “Wow, that was really cool. I wonder how they did that?” and then I just experiment and play around and try to achieve a similar effect.
What’s been a standout collaboration for you?
I’ve collaborated with a few artists. One that sticks out is a vocalist by the name of Sedia B on our track Income. She brings such a fun and wild energy and I love her vibe and tone in general in the composition. Another Charlotte-based DJ/Producer buddy of mine Joneses AKA Rogue Inertia. He’s a talented artist and definitely someone to keep an eye on.
Breauski in his home studio
You’re a diverse producer. How do you know which genre you’re going to make on a given day?
I’ll grab a sample – sometimes I start with a sample or a bass sound I like – then, I use it as a catalyst and build off that sound, adding components that give it a nice catch and release. They need to play well together. If it works better at 72 beats per minute, like for a trap song, I’ll go down that route. If it sounds more house-y, I’ll lean in that direction.
Tell us about your setup.
I use Apple Logic Pro. I use Xfer Records’ Serum and Native Instruments’ Massive for synths. For beats and drums, I use a bit of Native instruments’ Maschine. And then, I have a couple of Yamaha HS8s.
Are you more of a gear nerd or a plugin-based producer?
I used the Moog Sub Phatty for a while [for] working on basslines. I’ve also had a few keyboards in the past but I feel more comfortable working with soft synths. I would love to delve into working with more external gear, like patch-based synthesis, but the [modules] tend to be pricier. So, it’s a bit challenging to dip your toes in when the entry cost is around $2,000 for a good synth.
I would love to get something like an old Roland Juno or a Jupiter; one of those classic pieces. I’m familiar with many of those sounds and that hardware, given my deep interest in synthesizers. However, when it comes down to it, I usually rely on soft synths.

Are there particular plugins you always find yourself coming back to?
Recently, Serum. Every sound packs such a strong punch. There’s a lot of synthesis you can do in it, and it’s pretty easy. It’s like playschool compared to Massive but in terms of oscillators and getting everything dialled in, Serum simplifies things. I mostly use it for basslines and things like that.
For melodies, I might opt for Alchemy or other Logic Pro synths, like ES2, which is a good-grade synth. I use that a lot. Also, I use Alchemy and Massive for synths, pads, and the like.
And what about a secret weapon plugin?
Dada Life’s Sausage Fattener.
Do you have any music production tips you’d like to share?
When you’re finished, make sure to compress where necessary, especially on essentials like kick and snare. Not everything, but certain elements like the kick and snare are vital in electronic music to break through the mix.
Getting your kick and sub to harmonise is crucial – properly EQing both is key. One of the most significant things I learned was how to compress and sidechain the kick and sub effectively. Also, use subtractive EQ; less is more. It’s better to remove frequencies than to boost. I used to over-boost, but it resulted in poor sound quality. With subtractive EQing, you can free up space for other sounds to shine in their areas.
Remember, there’s limited space for all these sounds, so arranging them is like playing Tetris, ensuring they coexist and have their own place in the mix.
Check out Breauski’s music on ReverbNation.
Editor’s note: BandLab is a subsidiary of Caldecott Music Group, which MusicTech, NME Networks, is also part of. 
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