InnerMost47 releases OBSIDIAN Neural Sound Engine, a FREE AI-powered jam partner
OBSIDIAN from InnerMost47 is a free and open-source AI-powered jam partner for macOS and Windows (VST3 plugin). If you’ve read any of my posts on artificial intelligence, you’ll know I approach it with caution. I don’t think AI is inherently bad, and I know we aren’t at the stage of being replaced by robot musicians. [...]
View post: InnerMost47 releases OBSIDIAN Neural Sound Engine, a FREE AI-powered jam partner

“There’s a terrible housewifely tidiness”: Why Brian Eno thinks there’s too much “fiddling” in modern music productionBrian Eno has absolutely had it with over-produced music. The musician and pioneering ambient producer has explained how he keeps creativity flowing in the studio, and why he avoids “fiddling” with his records.
Eno has just released two albums – Luminal and Lateral – with composer Beatie Wolfe. At a playback and Q&A event held in Eno’s West London studio earlier this week, the duo lifted the curtain on their creative process, and revealed how they bonded over a shared hatred of NFTs.

READ MORE: “If you knowingly build systems that can enable war crimes, you inevitably become complicit in those crimes”: Brian Eno calls out Microsoft over ties to Israeli government

As reported by NME, when writing, the pair used Eno’s famous Oblique Strategies cards, which he created with Peter Schmidt in 1975. The cards provide rules and constraints to make the creative process challenging and tear down any walls or mental blocks.
“If she has a card that says, for example, ‘destroy everything’, and I have a card that says, ‘change nothing and continue with immaculate consistency’, then you’ve got two people who are working at cross purposes, which sometimes produces good results,” says Eno.
“What we tried to do was to set it up so the game was always interesting, so it never became another day in the studio. We tried to make it so that every day was a thrill, and it was, pretty much.”
Eno later explains how he likes to leave an “emptiness”  in his work to allow for feeling to flow in: “You’d think that the first question people ask themselves when they’re making pieces of music in studios would be, ‘am I getting any feeling from this?’ But funnily enough, a lot of people don’t,” he says.
“I don’t like fiddling anymore. I can hear fiddling – it makes me nervous. When I listen to recordings that have a sense of slight carelessness, I prefer them, when it hasn’t been tidied up… There’s a terrible sort of housewifely tidiness presented with music, because it’s now possible to fix absolutely everything to some kind of platonic ideal of what a C-sharp bass note should be, for example.”

Luminal and Lateral are available to buy or stream. You can also head to Beatie Wolfe’s website to find out more about her work.
The post “There’s a terrible housewifely tidiness”: Why Brian Eno thinks there’s too much “fiddling” in modern music production appeared first on MusicTech.

Artist Media Studio releases FREE CPT-100 Mastering Compressor for Windows
Artist Media Studio just released their CPT-100 Mastering Compressor for free. Before we dive into the details, please note that this plugin is only compatible with VST2 plugin hosts on Windows. If you use macOS or Linux, feel free to raise your fists and shout at the clouds. If you need a free mastering compressor, [...]
View post: Artist Media Studio releases FREE CPT-100 Mastering Compressor for Windows

“I’m not just producing tracks anymore… I’m producing stars from scratch”: Timbaland unveils AI entertainment company – and its first Suno-powered artistProducer Timbaland has launched his own AI entertainment company and has unveiled its first artist, TaTa.
The company, called Stage Zero, has been co-founded with film/TV producer Rocky Mudaliar and entrepreneur Zayd Portillo. Their first “signee” TaTa is powered by Suno, and forms part of a new genre that Timbo has coined as “A-Pop”. However, he says that she is not just an avatar.

READ MORE: Record labels reportedly in licensing talks with AI music firms Suno and Udio

While details remain minimal at this stage, it is reported that Stage Zero will also bring along a number of AI-driven creative tools. Timbaland – who has worked with Nelly Furtado, Justin Timberlake, Madonna, and many more — will be handling the majority of the production side of things within the company. He already has a working partnership with Suno, serving as its Strategic Advisor.
In a statement, as shared by Billboard, Timbaland comments, “I’m not just producing tracks anymore. I’m producing systems, stories, and stars from scratch. [TaTa] is not an avatar. She is not a character. TaTa is a living, learning, autonomous music artist built with AI. TaTa is the start of something bigger. She’s the first artist of a new generation. A-Pop is the next cultural evolution, and TaTa is its first icon.”
He also tells the outlet directly, “The technology of today is perfect for what this is. What used to take me three months only takes me two days. In the beginning, it was like a toy. It was like going to a toy store. You gotta go through gluttony, because you can’t believe that it’s here.”
Mudaliar adds, “The artists of tomorrow won’t just be human, they’ll be IP, code and robotics that are fully autonomous. That’s what we’re building at Stage Zero.”

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A post shared by Timbo the King (@timbaland)

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A post shared by Timbo the King (@timbaland)

Last March, in a new interview with The Inner Court, Timbaland shared his thoughts on the current state of music and AI’s role within it. Reflecting on how politics and social divides have bled into music, he said, “This whole election divided us. What I mean by that is it divided the music. The music sounds bland, it sounds boring.”
He continued, “We talk about AI, and that is the only thing that has a pure soul right now. That you can create something and just express your true feelings and it comes out beautiful.”
The post “I’m not just producing tracks anymore… I’m producing stars from scratch”: Timbaland unveils AI entertainment company – and its first Suno-powered artist appeared first on MusicTech.

W. A. Production DJFX Multi-Effect Plugin is FREE for a Limited Time
W. A. Production has released DJFX, a free multi-effect plugin for macOS and Windows, available at no cost until June 20th, 2025. DJFX is a fun and creative plugin designed to deliver instant DJ-style effects. It’s the result of a collaboration between W. A. Production and Bvker. I always say how much I love simple [...]
View post: W. A. Production DJFX Multi-Effect Plugin is FREE for a Limited Time

Hollywood Independent Music Awards DeadlineAre you feeling hyper-positive about your music? Consider for a moment how great it would feel to hoist aloft a Hollywood Independent Music Award in a moment of victory, a baying crowd chanting your name Rocky-esque. The world at your feet.Well, you'd better get a move on because the deadline for submissions is fast approaching. "HIMA is accepting SONG, ALBUM, PUBLISHER and RECORD LABEL submissions through June 15th," they said this week in a statement. "Reviews are ongoing and a select few early nominations will be posted in a few days. Early selections are for the benefit of nominees located outside of California, allowing time to make travel arrangements."June 15 is deadline day, and all of the submission links can be found here.So make it happen. Back yourself and get submitting.The post Hollywood Independent Music Awards Deadline first appeared on Music Connection Magazine.

Why are Elon Musk and Donald Trump fighting?Elon Musk donated $288 million to Trump's 2024 election campaign, but now, the tech mogul is calling for Trump's impeachment.

Circle stock price jumps 167% on first day of trading after IPOCircle had boosted its IPO to a range of $1.05 billion on June 4 as investor demand grew significantly.

Turning the Pluto SDR into a Network Analyzer
Usually when we see a project using a software-defined radio (SDR), the SDR’s inputs and outputs are connected to antennae, but [FromConceptToCircuit]’s project connected an ADALM-Pluto SDR to an RF bridge and a few passive components to make a surprisingly effective network analyzer (part two of the video).The network analyzer measures two properties of the circuit to which it is connected: return loss (S11) and insertion gain or loss (S21). To measure S21, the SDR feeds a series of tones to the device under test, and reads the device’s output from one of the SDR’s inputs. By comparing the amplitude of the input to the device’s output, a Python program can calculate S21 over the range of tested frequencies. To find S11, [FromConceptToCircuit] put an RF bridge in line with the device being tested and connected the bridge’s output to the SDR’s second input. This allowed the program to calculate the device’s impedance, and from that S11.The RF bridge and other components introduce some inaccuracies to the measurements, so before making any other measurements, the system is calibrated with both a through connection and an open circuit in place of the tested device. The RF bridge’s directivity was the biggest limiting factor; transfer back from the bridge’s output line caused the reflection under load to exceed the reflection of an open circuit in some frequency ranges, at which point the analyzer couldn’t accurately operate.[FromConceptToCircuit] was eventually able to make measurements throughout most of the 0.1-3 GHz range with a dynamic range of at least 10 dB, and expects a more directive RF bridge to give even better results. If you’d like to repeat the experiment, he’s made his Python program available on GitHub.We’ve previously seen [FromConceptToCircuit] use the Pluto SDR to make a spectrum analyzer. We’ve also featured a guide to the Pluto, covered a project that improved its frequency stability, and seen it used to transmit video.

Black Octopus Sound Dubbed Out Techno by BlackwarpBlack Octopus Sound and Blackwarp have released Dubbed Out Techno - a collection of samples ideal for Techno, Tech House and a variety of other electronic music genres. What's inside: 100% Royalty Free. 24-bit high quality wavs. Cleared for: Spotify, Youtube, Soundcloud, Record Label Releases. Inspired by: Dubfire, Boris Brejcha, Tale of Us. 1+ GB unzipped. 349 Total Sounds. 111 Synth Loops. 82 Drum One Shots. 65 Drum Loops. 50 Bass Loops. 17 FX One Shots. 14 FX Texture Loops. 10 Synth Pad One Shots. https://www.youtube.com/watch?v=16B8RZyNA84 Read More

Save over 70% on Melodyne 5 Essential at Plugin Boutique
Melodyne has long been the industry standard for pitch correction, and it’s a great tool to have in your arsenal if you can get a good deal. You can save over 70% on Melodyne 5 Essential at Plugin Boutique. Plugin Boutique is offering Melodyne 5 Essential for £22, rather than the regular price of £63, a [...]
View post: Save over 70% on Melodyne 5 Essential at Plugin Boutique

Ableton Live 12.2 is coming out of beta – Here’s all you need to know, from launch date to new featuresAbleton Live 12.2 now has an official launch date following its public beta testing phase, which began back in March this year.
Now, with a confirmed release date set for this June, Ableton Live 12.2 is due to bring increased creative capabilities and introduce new devices and workflows, completely free for all Live 12 users.

READ MORE: Best MIDI controllers to buy in 2025: 12 best Ableton Live controllers to buy

What are the new features of Ableton Live 12.2?
Ableton Live 12.2 brings new key features like the introduction of Bounce to New Track, plus improvements to the search and browsing experience. It also brings the launch of Expressive Chords and the new Auto Filter. There are also major new features for Push.
Expressive Chords is a new MPE-enabled Max for Live device, for all editions of Live and Push. It lets you play interesting progressions intuitively, one key or pad at a time.
With the update you’ll also be able to bounce clips or time selections on any MIDI or audio track, including all processing, to a new audio track with a few clicks. Similarly, you can also use Bounce Track in Place to convert the whole track to audio.
Auto Filter – which now comes to Move for the first time – has also been redesigned with new filter types, real-time visualisation, and a revamped modulation section.
To view the full list of new changes, you can view the beta release notes. Check out the videos below for more:

When will Ableton Live 12.2 be released?
Ableton Live 12.2 will officially launch on 11 June. This update is free and automatic if you own a Live 12 licence, but if you have Automatic Updates turned off, you’ll need to download 12.2 in your user account on release day.
Am I eligible for the Ableton Live 12.2 update?
If you own a Live 12 licence you are automatically eligible to receive the Ableton Live 12.2 update for free. Ableton Live licences can be purchased online directly from Ableton Live Shop, with three tiers available – you can pay in full or in three instalments for these. System requirements are also listed on the shop website.
For more information, you can head over to the Ableton website to read its new blog post on the update.
The post Ableton Live 12.2 is coming out of beta – Here’s all you need to know, from launch date to new features appeared first on MusicTech.

Concord’s film and TV division acquires legendary studio RKORKO was behind numerous classic films such as 'King Kong,' 'It's A Wonderful Life' and 'Citizen Kane'
Source

AI futures: Culture warsAI is transforming culture, entertainment, business, and society at a pace unprecedented in the digital era. Unlike previous tech, AI is evolving at the speed of computing, not the speed of the human brain. While some disillusionment with AI will inevitably follow, it is likely to be shallow and short lived. Meanwhile, entertainment business and culture will have been turned upside down. 

Building on MIDiA’s already-extensive body of AI analysis, we have just released our biggest and most comprehensive report yet. The report provides an exhaustive view of where AI is at right now, where it is heading, and how entertainment companies need to respond and adapt. With more than a hundred companies and brands referenced, nearly 30 pages of analysis, new data, workflow analyses, and scenario mapping, if you are in entertainment or the creator economy, this report is a must read. The report is immediately available to MIDiA clients.

Here are a few highlights…

The early buzz around AI has focused on what it can make rather than what it can do. The simple fact is, it is easier to gauge the potentially transformational impact of something by seeing or hearing what it does than by thinking about how it might change processes and workflows. Yet, it is the latter that we should pay most attention to – and this is where AI’s most important work will be done.

AI will reshape entertainment from three directions:

Creators using AI

Consumers using AI

Companies using AI

AI alone will not drive change and disruption to entertainment – it needs consumers, creators, and companies to use it. While the first wave of AI hype focused on creation, creators’ primary needs lie in their wider workflows, and the AI vendor landscape is evolving to meet this wide array of needs. The following are key workflow focuses:

●  Inspiration (e.g., Songstarter, CoSo, vidIQ) 

●  Creative co-pilot (e.g., CoPilot, Descript, CoProducer)

●  End-to-end creation (e.g., LTX Studio, Mubert)

●  Final touches (e.g., LANDR, Captions AI, Resound.fm)

●  Workflow(e.g., Podcastle, COSMOS, Dream Screen)

●  Career (e.g., MNGRS.AI, Replo, Albert)

While creators are leaning into workflow tools, consumers are engaging en masse with utility and creation tools. While much of this leans towards functional creation (writing cover letters, writing college papers, etc.) AI is also presenting wider creative opportunities to consumers, and this behaviour will grow. Rather than a blurred line between creator and audience, the overlap is more like a segment of a Venn diagram. AI will result in more consumers creating – not just for the results, but because creation will become a form of entertainment in its own right. 

Entertainment companies are adopting AI at pace too, integrating it across their workflows, from sourcing content through to royalties and reporting. The most interesting area to keep an eye on is entertainment companies using AI to stamp their visual or sonic identity on their releases and output and using AI to identify talent before it is talent. In other words, the top of the funnel is going to start outside the funnel!

It is becoming clear that, unless specific lanes are built for it, AI will encroach upon everything. There is a growing body of thinking about how to compete against AI, but the harsh reality is AI can compete with everything where it can exist, and we are going to reach a point where it is hard to distinguish between “AI” and “non-AI” content. It is the platforms, therefore, that must actively build walls around AI.

This is just a high level overview of the report. There are lots (and I mean, lots) of interesting reads about AI at the moment – but, this is not only an interesting read, it is a necessary read! 

If you are not yet a MIDiA client and would like find out more about the report, email businessdevelopment@midiaresearch.com 

Why DIY Live Music Spaces are more important than everEven as streaming dominates music and the music industry, grassroots and DIY live music spaces remain the heart of real music culture. Learn how they build community and launch careers even in an increasingly algorithm-driven world.
The post Why DIY Live Music Spaces are more important than ever appeared first on Hypebot.