Why Sacred Society use spatial audio to enhance relaxing ambient musicFor thousands of years, people have used sound and music as methods for healing. Sacred Society Music Group is putting those methods in the hands (and ears) of the listener using the power of spatial audio, creating sonic landscapes with ambient music that induces visceral experiences.

READ MORE: Audient’s ORIA is the Atmos interface that engineers have been waiting for

Sacred Society Music Group (SSMG) is the record label arm of the Sacred Society Wellness Center, based in Denver, Colorado. Every song SSMG releases is mastered in 7.1.4 Dolby Atmos with one thought in mind: “We’re completely surrounding you,” says Bradley Roulier, one of the co-founders of SSMG, also a co-founder of Beatport and a member of the dance music project Manufactured Superstars.
Members of the Sacred Society Music Group
Studies have shown that surrounding oneself in sound baths benefits emotional and physiological health. Sacred Society Wellness Center hosts sound baths in a fully equipped Atmos room, but SSMG also streams its music on Atmos-compatible platforms like Amazon Music, Tidal, and Apple Music.
By making these Atmos mixes readily available, SSMG is enabling people to listen to their music for self-healing, and in 2024, more and more people are looking for ways to heal themselves.
In February of this year, “#selfhealers” on Instagram had 955,000 posts. In June 2020, it had 160,000. Furthermore, the self-improvement market in the US was worth $9.9 billion in 2019 and was expected to reach $13.2 billion by 2023, according to a Gitnux study from last year.
“When we were 22 years old, we weren’t depressed,” says Roulier, who was throwing raves as early as the late 90s. “There wasn’t this isolation that people have [today]. You’re going to spend a lot of time by yourself, so what can you do when you’re by yourself to help yourself? You can have all these people around you to give you support, but at the end of the day, it’s you. You’re the one that has to get yourself out of bed every morning. Society is making it really okay to do whatever it is to make you feel better.”
SSMG is equipping people to feel better through three playlists: FOCUS, ENJOY, and REST. Each playlist is curated for eight hours of the day.
Adelio Lombardi in the Kali Audio Atmos studio
FOCUS is for working, studying, or any activity that requires consistent attention. The playlist includes tracks like Blissful Afternoon that employ lighter beats and smoother motions around the Atmos soundscape. It’s active enough to maintain the listener’s attention, but not so intricate as to be distracting.
ENJOY is for relaxing after work. Ancient Chant is in the ENJOY playlist because it demonstrates the full power of Atmos. Drums, vocals, and dozens of other different sounds shift through the 12 speakers, placing the listener inside a cocoon of chillout music as they dance, cook, or do anything that lights them up.
Finally, REST, the sleep playlist, is almost entirely ambient. Many of the tracks like “Dream Space” have no drums at all. Instead, they submerge the listeners in fluid frequencies. No one sound captures any attention. It’s pleasant music to help clear thoughts from the mind. Perfect for winding down at the end of the day.
Roulier’s had trouble sleeping for years, and he listens to the REST playlist in Atmos every night as part of his routine before bed.
“Sleep is the most important aspect of our lives. When you rest is when you heal and recover. If you’re not rested, it’s really hard to have a good day,” Roulier says.
Adelio Lombardi in the Side 3 studio
“I’m 50 years old. When I was 45–46, I started having these issues with sleeping and anxiety. I turned to [ambient music] as my medicine, and it worked. It made me a believer,” says Adelio Lombardi, another co-founder of SSMG, founder of Side 3 Entertainment, and owner of Side 3 Studios.
Lombardi and Roulier have known each other for 20 years, and their team masters every SSMG release in Lombardi’s Kali Audio Atmos studio.
This collaboration was sparked about a year ago, while Roulier was working with Barbie Beltran, founder of the Sacred Society Wellness Center, on a spa that would feature immersive music for sound baths and other wellness activities.
That project fell through when Lombardi had just started working in Atmos.
“I was like, ‘Dude, if you want to do it next level, come check this out.’” Lombardi said to Roulier. When Roulier heard music in Lombardi’s studio for the first time, the thought of a rainstorm immediately popped into his mind.
“I have a vision of doing a track of a West Coast storm. You’re on a beach on the West Coast. You can see a thunderstorm coming from miles away. There’s nothing you can do. The storm rolls in, comes in super heavy, and leaves. Kind of a metaphor for life. Storms are going to happen, and we can translate that through our music,” Roulier says.
Adelio Lombardi in the Side 3 studio
Shortly after connecting with Lombardi via the Atmos studio, Roulier brought in Andy Flebe, Head Engineer and Studio Manager at Side 3 Studios, to serve as the lead engineer for SSMG, and Jeziel Quintela, who worked with Roulier on Manufactured Superstars, to be their in-house producer. Quinetela has made 23 of the over 50 tracks SSMG has released.
Quintela starts his SSMG productions in Ableton Live, using popular wavetable synthesizers like Xfer’s Serum. Oftentimes, there is a specific healing intention behind the tracks as well.
For example, Beltran wanted to release a track with a focus on sounds in the frequency range of 20-300Hz. That’s around the fundamental frequency of bees’ wings when they fly, which is reported to help people relax. From there, Quintela picked chords that resonate with the notes produced by that fundamental frequency range as the basis for the track Dance of the Bees.

 
Quintella makes these tracks in stereo, but because they will be mastered in Atmos, he can get creative with other elements like reverb and layering.
“When you create a pad, you can layer more sounds. More pads, more of a lead sound, more of an analogue sound, and from that, you can add texture to it. You can notice the difference in all of the speakers. In stereo, it’s just in two ears. You cannot hear the dynamics in all the sounds and the layers,” Quintela says.
When Quintela passes a track to Flebe for engineering in Atmos, Roulier listens to every speaker in the room individually. He checks what sound is coming from where and provides notes on what sound may need more volume or may need to come from a different angle. After he approves the final master, SSMG releases the track.
Adelio Lombardi in the Side 3 studio
“Pretty much all the time, stuff is coming out of every speaker. Especially in ambient, because ambient by nature doesn’t have drums,” Roulier says. “We’re trying to fill this space around you.”
“You want to maximize the tech, but you don’t want to make it a circus either. Immerse a person, but if it’s a relaxing song, you don’t want to have 90 million things flying around you just because you can,” Lombardi says. “You can have all the tech in the world; if the music sucks it doesn’t matter.”
While Atmos systems aren’t standard tech for consumers yet, they are becoming much more accessible.
For home theaters, a Polk Signa S4 soundbar is $299. Then, for headphones, there are RIG gaming headsets with Atmos capabilities for as little as $29.99. These certainly don’t come close to the 7.1.4 studio at Side 3, nor to the 64-speaker setups Dolby has created before. But they can give you a taste, at least.
However, SSMG ensures every song they release, regardless of format, will provide the desired sonic effect of FOCUS, ENJOY, or REST. In addition to the Atmos mix, Flebe also makes a stereo mix for each song. He does it immediately after the Atmos mix is approved to ensure the ideal sound is still in his head.
Adelio Lombardi in the Side 3 studio
Once the stereo mix is complete, Roulier AB tests the songs on numerous systems. He listens on headphones, laptop speakers, Alexa Studio, and his Sonos Arc system, which mimics Atmos by firing sound at different angles out of its three speakers. So far, Roulier has only taken down two tracks for additional polishing before posting them again.
“I put our song on a YouTube channel, and it still sounded cool,” Lombardi says. “The Atmos file is going to adapt to what you have, and it’s going to give you the best it can deliver you.”
No matter how the track is delivered, SSMG’s core intention is always to make people feel good. They want you to feel like you’re being celebrated at a sacred ceremony 2,000 years ago every time you play one of their songs.
“When you’re listening to this, you’re the most important person in the universe,” Roulier says. “This is all for you.”
Learn more at sacredsocietymusic.com.
The post Why Sacred Society use spatial audio to enhance relaxing ambient music appeared first on MusicTech.

You can get a VCA Compressor from Softube totally free for a limited timeSoftube’s VCA Compressor plugin is currently free, and it’s branded as a “meticulous model” of a famous 1970s compressor – seemingly having taken inspiration from the DBX 160 of 1976.
The compressor already forms part of Softube’s Icons: The Compressor Collection, which is priced at €299, and is now available separately at no cost.

READ MORE: Softube Console 1 Channel MK III promises console-like mixing in your DAW

“Quirky and characterful, the legendary hardware we used to model our VCA Compressor is unique and highly acclaimed,” says Softube. “Much of that is owed to its famed hard knee compression curve and the harmonic content it adds in the gain stages.
“We left the grabby, vintage character and the unique attributes – such as RMS level detection and feed-forward gain reduction – intact,” says Softube. “But gave VCA Compressor a slate of modern features for mixing and production. The combination delivers snap and sheen in spades, plus superior Softube sound quality and an enhanced workflow.”
Controls available within this plugin include drive, dry/wet, compression, ratio, attack and release. There’s also a Sidechain section (with a punch switch and dials for filter/external level), and further switches for HF make-up and stereo link.
Check out more in the walkthrough below:

MusicTech rated The Compressor Collection an 8/10 in our review. We noted that the bundle offered well-judged new features which increased the flexibility of the processors, and that their aesthetic made them look just as good as they sound.
However, we also noted that there was no way to monitor the sidechain signal and that the Modern Extended Features of the plugin window were not accessible from all host DAWs.
View more of our choices for the best mastering compressor plugins and software processors.
You can get the free VCA Compressor plugin now via Softube.
The post You can get a VCA Compressor from Softube totally free for a limited time appeared first on MusicTech.

Waves MaxxVolume Is FREE For A Limited Time (Ends Soon!)
Mastering.com and Waves Audio are offering the MaxxVolume plugin as a free download for a limited time. The offer will soon end; however, we don’t know the exact end date. We already covered a similar MaxxVolume deal in September last year. If you missed that opportunity to get MaxxVolume for free or simply want to [...]
View post: Waves MaxxVolume Is FREE For A Limited Time (Ends Soon!)

Long live pub raves: How big-name DJs are helping to save British pubsPint-flinging pub raves are on the rise: Nia Archives recently brought her jungle beats to a packed Sebright Arms in Hackney, Disclosure DJ’d in the garden of the People’s Park Tavern last summer, and London’s DIY party crew The Cause take over Peckham’s iconic The Greyhound this week. Oh, and who can forget that viral clip of Fred Again.. behind the decks while serving Guinness during his secret after-party at Dublin pub Doyle’s?

READ MORE: How Ghost Funk Orchestra weave NASA’s Apollo missions into their music

The best news for fans is that many of these events are free entry, meaning no cash barrier for ravers, plus more pennies for pints to support local venues. Last year was the worst on record for venue closures, with 16 per cent closing for reasons including vast rent increases, rocketing operating costs and crazy energy bill raises.
There is a stark difference, however: 2023 was the best year on record for the commercial end of the sector, says George Fleming, founder of campaign group Save Our Scene (SOS), which has been standing up for UK music culture since May 2020.
“We want to highlight that the issues our sector is facing aren’t just about music venues. It’s also affecting our community spaces, such as pubs,” he says. “We wanted to shine a light on that fact,” he adds, citing that the UK is currently seeing two pubs close every day. “In reaction to the current demise of our pubs and venues”, SOS launched their Culture Calling campaign last winter with the aim of getting the UK Government to reduce VAT to 12.5 per cent (down from 20 per cent) for the hospitality and cultural sectors.
Pub fireworks
At the start of that campaign, BRIT-Award-nominee Charlotte Plank got in touch with SOS to show her support. This resulted in them teaming up to host a bonfire night d’n’b rave — complete with fireworks — on the doorstep of Hackney pub Anchor & Hope in November 2023. “The Anchor had no idea what was coming,” Fleming recalls, but the pop-up — which also saw sets from Danny Byrd, Lens and Issey Cross — resulted in “their busiest ever night”.
Rudimental-collaborator Plank has similarly fond memories. “It was mad! We docked a barge outside The Anchor & Hope in Hackney,” she recalls. “It was rammed and so good of the pub to let us use their space, allowing hundreds of ravers to come drink ’em dry of booze and gatecrash their firework night. It was such an amazing, surreal experience.”
Considering the “huge success” of that d’n’b rave — 900 people attended at short notice, which generated hundreds of supportive emails to MPs, as well as providing the pub with a record taking on the bar — Fleming thinks “it’s time for the top end to step up”. Like Plank, who “genuinely cares and loves her scene”, he feels that artists with influence — many of whom have come through the grassroots circuit, playing in small pubs and venues — “could definitely do more to support the spaces and people who helped nurture and develop them”.
But how could this be achieved? Fleming thinks the answers are pretty simple: “whether it’s implementing a ticket levy on their big shows, ensuring funds are filtering down, or even playing events in small pubs and clubs to help drive needed awareness and funds to those spaces, we all have a responsibility to stand up for our grassroots, rather than just focusing on the commercial end of the sector.”
Laurence Guy at the White Hart
One artist who has been making all this seem effortless is Laurence Guy. The British electronic producer hosted his album launch party at his local, The White Hart, in Stoke Newington last summer, and even left some exclusive dubplates behind the bar. “It was one of the best nights of the year,” he says. In fact, Guy loved it so much that he returned to the pub at Christmas to throw another free party which resulted in, as he puts it, “rowdy vibes”.
The idea of doing the pub parties in general was inspired from the first DJ gigs that Guy and his friends used to put on in their hometown. “We just needed a room and some speakers and had the time of our lives,” he says, adding that it was usually a pub or village hall. “Everyone would show up and it would boot off.”
The Christmas party idea, Guy adds, was a nod to his mates who used to run a festive get together called ‘Unwanted Wooly Garments’ every year back home. “The atmosphere at both parties was rowdy, which is exactly what I was after — something chaotic and messy and not glossy or overproduced; something free and for the fans and friends.”
These goals largely sum up the ethos of throwing a pub rave in the first place. “For me, it boils down to wanting to run a party for the party’s sake, rather than for money or tactics,” he says. Instead, Guy sees it as “a way of connecting with my fans and building a community without asking for anything in return”. He feels this is even more important considering the ongoing cost-of-living crisis: “times are tight for everyone right now, so why not offer something easy and free to the people that support my music so much?”
Pub selfie with Laurence Guy and friends
What Guy enjoys most about the pub parties is the intimacy that they enable. “I invite my friends to DJ, I can chat to fans, everyone mingles. We don’t hire the pub out, we just set up our speakers on their usual Saturday night, right in the thick of it,” he says. Guy also likes the possibility of doing different things in the future: “maybe on the next one I can invite fans to come DJ or bring their demos to play, or it could be an early listening party for a release,” he adds. The crucial point is, he reaffirms, “to keep it small and keep it free”.
From a DJing perspective, Guy adds that there are many benefits to such pub parties. “You can be a bit more fast ‘n’ loose with the music selection. Maybe play a few more classics and fun stuff. Also, and probably most importantly, you can genuinely get to know the crowd and create a really lovely atmosphere.” The only “downside”, as he puts it, “is that you can’t install a state-of-the-art soundsystem”. He’s not so worried about that, however: “this is balanced out by the vibes in my opinion. I love both the full club experience and these small parties in equal measure for different reasons”.
With all this in mind, Guy says he could see more high-profile pub parties popping up across the country. “There’s plenty of places to do it!” He enthuses, before outlining his one concern. “If it becomes more of a ‘thing’ and we end up in a situation where the events are ticketed or too ‘produced’, then the essence would be lost for me.”
Guy’s comments are extremely timely, especially as iconic South London boozer The Greyhound gears up to reopen six days a week and with a DI Audio soundsystem. Under the helm of the capital’s DIY party crew The Cause, the 240-capacity two-floored Peckham pub has been reinvented with help from South London music heads Warren Mansfield (Zsa Zsa Sapien), Nathan Saoudi (Fat White Family / Dash The Henge), Oliver Mosley (Meat Raffle dancer) and Matt Pryer (former general manager of Rye Wax).
Laurence Guy behind the bar
To kick things off, there will be two weekends (Thursdays to Sundays) of move-in parties with Ambient Babestation Meltdown, FYI Chris, Meg Paine, Richard Sen, Tom Unlikely and Al White’s ‘Avant Practiced’ jam among the artists booked. The Cause’s former and current residents will also play alongside the odd special guest, and there will be regular pub quizzes with a musical twist.
“Nearly nine months in the making, we are really proud to present our latest venture,” says Eugene Wild, co-founder of The Cause… “our first tiptoe into the pub game, with a twist we all hope you will love!”
So, with The Greyhound reopening this week and 300-capacity Shoreditch boozer Horse & Groom having hosted dance favourites since 2007 (including Dimitri From Paris, Greg Wilson, Move D, Jamie Jones and MK), things are moving in the right direction. Add to that the rise of “anywhere but a club” party-throwers Lab54 — who teamed up with rising Irish duo NewEra to transform Dublin pub The Wellflington into a nightclub complete with strobe striplights — and it’s clear that, alongside Save Our Scene, such initiatives are making a positive impact by thinking outside of the box.
“These aren’t just boozers, they are essential spaces which are vital for communities to have access to,” affirms SOS’s George Fleming. “I sometimes think, if I was a lonely elderly man and my local pub shut down, what else would I have? The cold park bench? These pubs provide human connection, which is the most important thing we need for a happy existence.” He draws a stark conclusion, however: “We’ve got fewer licensed spaces now than since venue records began – it needs attention.”
The White Hart
We’ll leave the last word to someone who knows this better than most. “Historically, pubs were at the heart of communities,” recalls Charlie Short, general manager of The White Hart. “But, after the last few years, and with the current issues, we need connection more than ever. Dancing together is more than just a Saturday night out,” he attests. “It’s a chance to connect and release; these events are medicine for the modern world.”
The post Long live pub raves: How big-name DJs are helping to save British pubs appeared first on MusicTech.

this is it https://www.instagram.com/p/C3qhjbrOlvD/ Lady Gaga at #Fortnite #MusicTechnology #Music #Games

Remove drum bleed with ReMuse:KIT The first release from ReMuse promises to eliminate the need for the likes of gating and extensive EQ while preparing drum multitracks for mixing.

The recording quality must be proper. However, there was a lack of experimenting for a while and what is more - lack of discovery. Even now most of times it's just words.

MonkeyC release Rando software sampler Rando helps users to find inspiring new sounds by randomly combining samples from their existing libraries. 

Initial Audio’s New Dynamic EQ Plugin Is FREE Until March 31st
Initial Audio’s Dynamic EQ plugin is currently available for FREE from the company’s website, which represents a saving of $49.  The deal is part of the developer’s 10th-anniversary sale and terminates at the “end of March.”  Dynamic EQ is a parametric equalizer with multi-band compression.  Initial Audio states that “each band has a built-in compressor [...]
View post: Initial Audio’s New Dynamic EQ Plugin Is FREE Until March 31st

Nero rediscover stack of old CDs full of original WAVS and unreleased music from 2004-2010Drum and bass trio Nero have found a mighty stack of old CD-Rs in an attic, which just so happen to contain the original WAVS of their music from 2004-2010, plus a bunch of their unreleased tracks from the same era too.
A picture of the CDs was shared by the outfit on X, and show the words “old Nero bits” sprawled on one of them in marker pen. It seems there have been no official plans yet revealed as to what they might do (if at all) with these unreleased treasures.

READ MORE: “Thank you GarageBand”: PinkPantheress named Billboard’s Producer Of The Year

The outfit are celebrating their 20th anniversary this year, and are due to release a new album, titled Into The Unknown, later this year. It will mark their first full-length release in nearly a decade, with their 2015 album, Between II Worlds, being their most recent LP.
Of course, these newly uncovered CDs were made during the era which saw them release some of their biggest hits including Guilt and Promises, both from their 2011 album, Welcome Reality. When contacted by EDM.com about any potential plans for the CDs, Nero said they’re “still figuring it out.”

Just discovered a stack of old CD-Rs in the attic. Amongst them are the original WAVS of all of our released DnB from 2004-2010 as well as loads of unreleased tunes from that era. pic.twitter.com/NtVp05pvtZ
— Nero (@NeroUK) February 15, 2024

In the meantime, their latest singles from this new and upcoming era, Truth and Blame You, are out now.  Check them out below:

In other news of unreleased music, an upcoming documentary that follows the career of Brian Eno has been announced, and the official soundtrack (created by Eno himself) will feature three previously unreleased recordings. Overall, it is made up of 17 tracks that span Eno’s career, from his early solo works to his acclaimed collaborations and recent compositions.
A former session drummer for Daft Punk also recently alleged that the duo have unreleased fifth album “in limbo”, though they are yet to provide official comment on this.
The post Nero rediscover stack of old CDs full of original WAVS and unreleased music from 2004-2010 appeared first on MusicTech.

This year again #PublMe is your friend!
The digital platform with spaces, monetization and The Musicverse network to connect creators around music. For Everyone. Really.

1. We continue to build and of course prolong the fee-free Music Distribution for the Musicverse community active and contributing members.
2. We have released the Premium extension and started to add new tools for professional teams in the network.
3. Many useful features and platform updates have been added in the new version release like files cloud sharing and more.

Happy 2024 to everybody in the World! ❤💫🌌🎶🐉

Stay tuned 💫🌌🆕
#Space #Music #artists #musicproduction #PublMe #Pro #distribution #community #Tools #TheMusicverse #PublmeNews

Abletunes introduce Infinite Keys for Ableton Live Abletunes' latest free release is a dual-layer Instrument Rack that samples over 30 vintage and modern analogue synthesizers and acoustic instruments.

Play “hyperrealistic” turntables in the rebuilt Algoriddim djay app for Apple Vision ProAlgoriddim’s newly reimagined version of its djay application has arrived for Apple Vision Pro, and the brand says it has been “rebuilt from the ground up”, placing users in front of “hyperrealistic” decks and immersive environments.
Alongside the launch, Apple Music integration in djay is now available in 167 countries, across all platforms. Users can connect their Apple Music account directly within djay for immediate access to over 100 million songs, including their personal library.

READ MORE: The Apple Vision Pro could be game-changing for music makers – with a host of futuristic DJ and production apps already available

Those who’ve got their hands on an Apple Vision Pro can now mix their tracks on two 3D turntables within djay, and apply effects through tactile hand gestures. You can physically drag the needle or scratch a record, and even drag a song out of its sleeve from a floating vinyl library to place it on a turntable.
You can also preview the next track by imitating how you would hold headphones to your ear, and utilise features such as automatic beat and tempo detection, filters, looping, time-stretching, advanced audio effects, and transitions. You can of course play right from your own space – such as your living room or studio – or place yourself in an immersive virtual environment.
Take a closer look below:

“We’re thrilled to introduce djay for Apple Vision Pro. Its innovative spatial interface offers a completely new way to experience music and marks a new chapter in the  evolution of DJing,” says Karim Morsy, CEO of Algoriddim. “Integrating Apple Music across the entire djay product line represents a significant milestone in Algoriddim’s mission to make DJing accessible to everyone.”
Existing Apple Music subscribers can access an exclusive two-month free trial of the full djay Pro subscription. Those without Apple Music can get djay for £6.99 ($6.99/€6.99) a month or £48.99 ($49.99/€49.99) a year. A free version is also available, but with limited features.
Find out more at Algoriddim.
The post Play “hyperrealistic” turntables in the rebuilt Algoriddim djay app for Apple Vision Pro appeared first on MusicTech.

The Apple Vision Pro could be game-changing for music makers – with a host of futuristic DJ and production apps already available12 years ago, Google unveiled Project Glass to the world.  The tech specs both stunned and alarmed consumers; the concept seemed like something from science fiction, overlaying a virtual interface over the real world.
Fast forward to present day, and Apple has its own answer to Google Glass – and it’s even more surreal. Rather than a mere tech interface over clear glass, the Vision Pro entirely emulates the ‘real world’ on two 4K micro-OLED screens. The screens are kitted out with a staggering 23 million pixels to recreate the ‘real world’ as a crisper virtual one. It’s virtual reality, but pushed into an entirely new era. Proper Black Mirror stuff.

READ MORE: What could Apple’s Vision Pro mixed-reality headset mean for music production?

Last week, the first shipments of the Vision Pro were shipped out to the public, and with them, the first wave of 600 Vision Pro compatible apps were unleashed onto the App Store.
Already, the Vision Pro looks set to be a game-changer for music lovers and producers alike. Those who get their hands on the mixed-reality headset will be able to play around with a huge range of apps designed with music creation and experience in mind, such as djay, which will allow users to mix on hyper-realistic 3D turntables, and Animoog Galaxy, which transforms the virtual space into a whirl of evolving sounds and colours based on your chosen tracks.

Apps like Spool also let editors and directors step into their music videos, allowing them to fully immerse themselves in their projects and utilise Spool’s studio-quality visual effects and unique editing tools.
STAGE+ allows users to get up close and personal with classical musicians, placing them in the centre of rich orchestral performances. AmazeVR Concerts will also place users in the best seat in the house, allowing them front row access to endless hours of high-quality concerts rendered in 3D environments.
Alongside the musical magic on offer, the Vision Pro is set to change the way users experience movies. They’re able to experience more than 200 3D movies through the Apple TV app, while the Apple Immersive Video app places users slap-bang in the centre of 8K 3D recordings captured with Spatial Audio.

It looks like the world is eager to experience this new form of mixed reality, considering Apple reportedly sold as many as 200,000 units in the Vision Pro presale.
Speaking about the Vision Pro, Susan Prescott, Apple’s Vice President of Worldwide Developer Relations, says: “Apple Vision Pro is unlocking the imaginations of our worldwide developer community, and we’re inspired by the range of spatial experiences they’ve created for this exciting new platform.”
“These incredible apps will change how we experience entertainment, music, and games; spark our imaginations with new ways to learn and explore; unlock productivity like never before; and so much more,” she adds. “Developers are already capturing the promise of spatial computing, and we can’t wait to see what they create next.”
The Apple Vision Pro is currently available for $3,499. For more info, head to Apple.
The post The Apple Vision Pro could be game-changing for music makers – with a host of futuristic DJ and production apps already available appeared first on MusicTech.