“No one’s better than him at that”: Bartees Strange on where Jack Antonoff excels as a producerBartees Strange recently spoke to NME following his set at Reading Festival this past weekend, where he opened up about his relationship with super producer and Bleachers frontman, Jack Antonoff:
“I produce a lot of records now, and I think the biggest thing is you become who you’re working with and you help them take a few extra steps they wouldn’t normally take,” Strange says. “The way you do that is by building trust. In the beginning, they’re only gonna listen to you so much, but by the end, they should trust you with everything. No one’s better than him at that.”
READ MORE: “He didn’t turn a knob. He didn’t give any technical advice”: System Of A Down guitarist on the magic of super producer Rick Rubin
Beyond his ability to build relationships with his collaborators, Strange went on to laud Antonoff for his work ethic and taste:
“I think it’s because he kind of approaches records like a plumber. He’s not a precious guy. He’ll pull up there early; he’s working hard. Everything’s set up. We can throw it at the wall. No idea is bad,” Strange says. “He’s not a tremendously talented player, so when he plays, it disarms the situation. He’s not a freaky guitar player or drummer. He’s just good at getting the ideas out. So after he plays, you’re like, ‘Oh, I can play that better, ’ and then it becomes a conversation. It’s very low-stakes, and it becomes really beautiful stuff because he has great taste. That guy’s great.”
Antonoff only came on to Strange’s third album Horror, the one that predicated his set at the legendary music festival, when it was in the final stages. However, Strange is quick to note that Antonoff “added a lot.”
“He helped me take it from 80 to 100 per cent, for sure. There were some songs that completely came alive once he got involved. He’s really good, man. I really like him,” Strange says. “All the structures and stuff stayed the same, and a lot of all the lyrics, but for example ‘Too Much’, he just kind of made that song sound like it was from outer space. [He added] all these weird ship noises and the synths, swells and dynamics were all things that he was able to build around the framework of my production.”
Watch the full interview with Strange on NME
 
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‘KPop Demon Hunters’ sing-along re-release tops US cinema, with up to $20M in box office salesThe film outpaced Warner Bros.’ horror film "Weapons," which was reportedly expected to claim the weekend title with $15.6 million.
Source

Meta partners with Midjourney on AI image and video modelsMeta's Chief AI Officer said that the company is partnering with Midjourney to license its AI image and video model technology.

This plug-and-play MIDI guitar from Jamstik is its “most affordable yet, without compromising on performance”Jamstik, the maker of real electric guitars that also function as MIDI controllers, has launched a brand-new, streamlined model at a lower price point.
The Jamstik Core has been designed for musicians, producers, and educators “who want plug-and-play versatility at a breakthrough price”, allowing musicians to control virtual instruments, synths, notation apps, and hardware gear directly from the instrument.

READ MORE: How to make better mixes in your bedroom studio

Players can record both analogue and MIDI simultaneously with Jamstik Core; use it to control virtual instruments in a DAW, or connect to analogue synths and gear via TRS-MIDI. It hosts onboard processing, USB-C connectivity, a 3.5mm TRS-MIDI output, plus an onboard MIDI mode-switch to toggle between settings.
Diving further into its features, the guitar itself is a 3/4 sized, solid-body electric guitar with 22-frets and a standard 25.5” scale length. It houses a single humbucker, a volume control, and a 1/4” guitar output for connecting with amps, interfaces, and effects pedals.
It’s also fitted with a unique Hexaphonic MIDI pickup that captures each string’s signal and feeds data directly to Jamstik’s onboard processors. Take a closer look in the video below:

The guitar has been launched via a Kickstarter page, which has already surpassed its fundraising goal. Pre-orders are being accepted on the platform now, with early supporters able to secure one for the limited-time price of $479.99.
The Jamstik Core can be shipped globally, and all backers receive access to Jamstik’s cross-platform companion software. Colour options include Midnight Black, Glacier White, Sky Blue, Lilac Purple, Forest Green, and Red Coral. Left-handed models will be available in Midnight Black and Glacier White.
“We’ve always believed that technology should make music more accessible – not more complicated or expensive,” says Ed Cannon, CEO. “With the Jamstik Core, we’re delivering our most affordable MIDI guitar yet, without compromising on performance or playability.”
Jonathan Keller, Senior Embedded Systems Engineer at Jamstik’s parent company, Zivix, adds: “We’ve taken everything musicians love about our higher-end MIDI guitars and streamlined it into a sleek, plug-and-play package. The Jamstik Core offers a level of tracking precision and software integration that simply hasn’t been available in this price range until now.”
To find out more or pre-order now, head over to the Jamstik Core Kickstarter page. You can also find out more about the brand via the official Jamstik website.
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“It’s more than just a machine”: Paul van Dyk’s Roland TR-808 goes on display at the Synthesizer Museum BerlinElectronic music pioneer Paul van Dyk has put his Roland TR-808 drum machine on display at the Synthesizer Museum Berlin, where it will remain for the next year.
One of his most prized pieces of gear, and one that is synonymous with electronic music culture, van Dyk used the 808 on multiple tracks, including his well-loved debut track, For An Angel, which was first released in 1994 and later remixed in 1998.

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The exhibit not only celebrates van Dyk’s long-standing influence on electronic music, but also pays tribute to the instrument that helped shape the genre through its use in countless legendary records. The exhibit announcement lands just after Roland’s 808 day, celebrated every 8 August in honour of its mighty legacy.
Paul van Dyk comments: “This Roland 808 has been with me since the early days; it’s more than just a machine, it’s a part of my musical journey. From For An Angel to countless other tracks, its beat helped shape my sound. I’m proud to lend it to Synthesizer Museum Berlin, where it can inspire the next generation of producers just like it inspired me.”

In honour of the recent 808 day, Roland has launched some generous deals on its plugins – with the spotlight on its TR-808 software, available now till 31 August as a perpetual license for just $49, or a third of its usual price of $149. All Roland plugins remain on sale over at Plugin Boutique.
Paul van Dyk’s Roland TR-808 will remain on display for one whole year – find out more about the Synthesizer Museum Berlin. 
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Eventide Offers CrushStation Distortion Plugin FREE for a Limited Time
Eventide is giving away its CrushStation distortion plugin for free for a limited time (usually priced at $99, currently on sale for $19). CrushStation is Eventide’s all-in-one distortion workstation, capable of everything from subtle saturation to complete sonic destruction. It’s based on the distortion algorithms from the company’s H9 Harmonizer pedal, but with extra tone-shaping [...]
View post: Eventide Offers CrushStation Distortion Plugin FREE for a Limited Time

The 1982 Commodore 64 is back – and it’s just as you remember itPlenty of plugins have attempted to recapture the timeless 8-bit sound of the Commodore 64’s SID chip – but now music fans can experience the retro magic of the Commodore 64 all over again.
While YouTuber Christian Simpson (AKA Retro Recipes) originally purchased the Commodore licence to create yet another emulation the nostalgic home computer, he’s gone a step further. Simpson has entirely revived the C64 computer, complete with its era-defining MOS Technology 6581 Sound Interface Device.

READ MORE: Best speakers to buy in 2025: 11 best small studio monitors for any budget

Newly marketed as a “digital detox brand”, the Commodore website explains: “Let’s be honest – today’s tech too often feels toxic, bloated, addictive. We wake to algorithmic noise, endless notifications, and devices that demand more than they give. Somewhere along the way, the magic disappeared.”
To bring back the joy of video gaming tech, the company is now “rooted in retro values and nostalgia” and “grounded in digital minimalism”. The revival of the Commodore 64 stays true to this notion of “minimalism”, recreating the 1982 original with minimal tweaks to keep things simple and authentic.

The rebirth of the C64 now features a more modern processor, boasting an AMD Xilinx Artix-7, as well as an amped up 128MB of DDR2 RAM. There’s also an understandable increase on the 1982 original’s 64KB of flash memory, amping it up to 16MB.
A new HDMI output has also been added for modern convenience, as well as USB ports A and C for the connection of keyboards and other modern controllers. It can also be hooked up to your Wi-Fi.
However, the C64 is otherwise a complete replica of the original computer. The programmable FPGA circuit is fully compatible with the original peripherals, cartridges and floppy disks, meaning any vintage ‘80s C64 games and components can still be utilised with the 2025 edition.
In fact, Commodore have quoted a 99% compatibility across the C64’s 10,000+ game library. It even comes with a USB stick containing 50 retro games and demos to start you off – including a brand new Jupiter Lander game.

Back in the ‘80s, the SID chip’s three-voice synthesis and four waveform capabilities were ground-breaking. While that sounds limited by modern standards, its polyphonic potential birthed plenty of iconic video game soundtracks.
For those keen to get your hands on some retro nostalgia, the C64 is available in a classic Basic design, as well as Starlight and Ultimate Founders Edition versions. The Ultimate Founders Edition is limited to a rather fitting 6,400, which is inspired by Commodore’s own Golden Anniversary Edition, which boasts an amber-tinted design and gold-plated keys.
The C64 is available to order now. The Basic model is $299, while the Starlight C64 costs $349. The limitedFounders Edition will set you back by $499. Shipping kick off in October.

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Make your release stand out with Apple Music Album MotionWant to make your album pop on Apple Music and drive more fan engagement? Like Spotify Canvas for Apple Music, Album Motion lets you animate cover art. his guide makes it easy to get started in minutes.
The post Make your release stand out with Apple Music Album Motion appeared first on Hypebot.

@letthe @miklek @Articode @pmsocial added here remix music video made for Ida.

Ida Prester - Sad (LifeCycle remix) [Music Video]

FestiVAL 2025 is the first hybrid IRL/virtual microfestival — and it hopes Twitch is tuning inThis weekend in Los Angeles dozens of artists will take the stage at FestiVAL, a 24-hour microfestival running from 12 pm on 26 July in an undisclosed location. The audience? Over 800,000 attendees — potentially.
FestiVAL is the “world’s first hybrid IRL/virtual microfestival”, according to the organisers, and will play host to Twitch-partnered DJs, performers, and other content creators on the platform. These acts will all livestream the entire festival from various perspectives on their respective channels, providing viewers with a more holistic experience of the event.
“We’re trying to give everybody all the streams, angles, and perspectives so that they really feel like they’re there and that they’re not missing anything,” says Chris Valdes, AKA Valdudes, co-founder of the festival alongside CaseSpowboy, and a Twitch-performing DJ in his own right.

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IRL (in-real-life) attendees, meanwhile, will be able to see the live comments of at-home viewers projected on a screen. Although it’s “another way for the viewers to feel involved in the festival,” says Valdes, it’s also about bringing the Twitch energy to FestiVAL as a whole. “It just adds this whole other element of interaction and magic that will create opportunities of awesomeness that we haven’t even planned on yet,” Valdes adds. In practice, that might look like in-chat memes emerging from moments of the festival, as well as live reactions to a track a DJ plays or an event from the in-person crowd.
DJs playing at the festival include Valdudes, CaceSpowboy, Chris Cox, Gabriel & Dresden, Magda Halina, Teknokat and more. In addition to DJs, FestiVAL will also welcome TheSushiDragon (“a tech guru, visual artist, genius”, says Valdes) plus ‘IRL streamers’ DippedInPoison, McD00dle, and WhoIsChelsea. These creators will be broadcasting on Twitch, interacting with IRL attendees, and even hosting minigames themselves, like tarot card readings.
FestiVAL is certainly a Twitch-focused event, but it is yet to secure the financial support of the livestreaming platform — it first has to prove itself.
“We, the community, came up with [FestiVAL] and said to Twitch, ‘Hey, what do you think? Do you want to help us out?’” says Valdes. “It has to go perfectly…and then they’ll send over their official sponsorship support. So far, it’s all looking good!“
The event does, however, arrive a year after the launch of Twitch’s DJ program, which was seemingly the company’s acknowledgement of its DJ community and their lucrativeness. During COVID-19, the number of streamer DJs rose, and there are still thousands of DJs streaming regularly on Twitch. The company’s goal was to offer more opportunities for DJs on the platform to monetise their performances and build a better framework for licensing and royalty payments from streams on Twitch.

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“[Twitch DJ] had two major effects,” explains Valdes. “The good effect has been that Twitch can now push DJs and promote us on the front page, host DJs at TwitchCon, and really bring them into the fold of Twitch — and ultimately get sponsorship money for an event like this.
“But the big drawback,” Valdes cautions, “is that since the launch [of Twitch DJ], it’s been slowly introducing more fees that we have to pay [as DJs on the platform]. So, more views, to speak, should translate into more revenue — and it does — but then, combined with the fees, some people are still making the same amount, or even less. People are still doing their thing and going strong, but it’s definitely been a struggle for a lot of DJs.”
To support its DJs, FestiVAL will pay its acts to perform, but artists will also be able to generate additional revenue via their individual Twitch streams. Viewers can donate and subscribe to creators during their set, offering an additional revenue stream for their performance, marking a first in the electronic music festival scene.
“We’re really hoping that that is the new model going forward,” explains Valdes. “Livestreaming is huge, we know people love it. Festivals are huge, we know people love those. We really want to bring those two worlds together, and help Twitch DJs break out, just not only on Twitch, but in the greater landscape.”
If it works, FestiVAL could mark a blueprint for the next generation of music events — one that recognises livestreaming not just as a stopgap, but as a permanent stage.
Grab your ticket for the event at festivalttv.com and find streams and updates on its Discord server. 
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“Investing in local music is more than good sense”: Music tourism pumped £10 billion to the UK economy in 2024, per new reportLive music isn’t just booming – it’s big business. Music tourism generated a staggering £10 billion for the UK economy in 2024, according to UK Music’s Hometown Glory report published today (1 July).
That figure marks a 26% increase from 2023’s £8 billion and comes off the back of blockbuster tours from artists like Taylor Swift, Bruce Springsteen, Charli XCX, Dua Lipa, and Sam Fender.

READ MORE: 93% of UK music fans support £1 ticket levy on large events to help fund grassroots venues

In total, a record-breaking 23.5 million ‘music tourists’ flocked to concerts and festivals across the UK, up 23% from 2023’s 19.2 million. Of those, 21.9 million were domestic visitors, while 1.6 million came from overseas – a sharp 62% increase on the previous year’s numbers.
And it’s not just artists and promoters who benefitted. The report estimates that music tourism supported 72,000 full-time equivalent jobs in the live music sector, up from 62,000 in 2023.
Of the £10 billion generated in 2024, £5.1 billion went directly to ticket sales, travel, food, accommodation, and on-site purchases. The remaining £4.9 billion came from indirect or secondary spending; think additional staffing, security, transport, and supply chains like bars and restaurants.
Notably, the Hometown Glory report also highlights strong public support for live music infrastructure. Half of surveyed adults say they’d attend more concerts if public transport aligned better with gig times, and 69% agree that builders – not venues – should bear the responsibility ‘to make sure noise isn’t a problem’ when building new homes near music venues.
In a statement, UK Music chief executive Tom Kiehl says that “while music generates huge benefits for our local areas, there remain a number of challenges facing our sector such as the rising cost of touring for artists and the threat of closure looming over venues, studios and other music spaces.”
“At a time when government is seeking growth, it is crucial to empower local leaders to make this happen to help boost our artists, creators, venues, studios and music businesses. The Local Music Action Charter, launched in this report, will embolden local actors, particularly in the face of change and disruption, to support sustained growth, and enable those that form part of our local music industries to truly fulfil their potential.”
Councillor Liz Green, Chair of the Local Government Association’s Culture, Tourism and Sport Board, adds that the latest figures “show just how important live music is – not just for our local economies, but for the happiness of our communities.”
“UK Music’s Hometown Glory report is a timely reminder that investing in local music isn’t just good sense – it’s a way to boost pride in place and breathe new life into our high streets. We’re committed to working with local partners to make sure music continues to thrive in every corner of the UK.”
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“These are not songs coming out of Sabrina Carpenter’s head”: Rick Beato says most modern popstars are just “vehicles” for songs crafted by professional songwritersRick Beato has called out the machinery behind modern pop and the way most popstars today just function as “vehicles” for songs crafted by teams of professional songwriters.
Using Sabrina Carpenter’s latest hit Manchild as an example, the producer and YouTuber explains how most fans don’t realise just how curated the process really is – or how little of the song may actually originate from the artist themselves.

READ MORE: “Labels have found a new way to put artists in a position where they seem to be making a lot of money, but they essentially own nothing”: Rick Beato and Anthony Fantano discuss the impact of Spotify and streaming

“When an artist like Sabrina Carpenter is doing a new record,” says Beato, “she’s presented hundreds of songs to choose from. Or, she will go and ‘write’ with people she had hits with from the last record. Which she did – Amy Allen was one of the writers, and so was Jack Antonoff. And they will write new songs for this thing.”
“Yeah, she might be in the room for some of this stuff. But the fact of the matter is, these same people are all over multiple hit songs.”
According to Beato, hitmakers like Allen and Antonoff are part of a “professional songwriter group of people that write a majority of big hit songs out today that we hear constantly.”
“These things are created by the producers. And then they figure out what the image is going to be for the video, for the record. This stuff is all put together. And when I see people make videos on YouTube where they’re talking about her lyrics – what this Manchild thing means – it’s like ‘it doesn’t mean anything!’”
“They’re not written by these people. They’re no statement,” he says. “All of it is a completely calculated thing.”

While Beato acknowledges that artists like Carpenter may be musically capable – “I know she plays guitar and piano and everything. You can see videos of her doing that” – he remains skeptical of their involvement on the actual records.
“You think she’s playing anything on here? That’s Jack Antonoff playing that, I’m sure. These things are all just programmed. They bring her in, she sings over it, she reads all the lyrics, she might say ‘You know, I wouldn’t say that, I would say this,’ and she gets her songwriting credits on there. The fact of the matter is that these songwriters need artists that are young – let’s be honest about it – that are vehicles for their songs.”
“These are not songs coming out of Sabrina Carpenter’s head,” he continues. “I bet she doesn’t play one note on any of her records.”
At the heart of it, Beato says, is an old truth about the music industry: “This has been going on since the beginning of the music business. In order to get your song cut by a huge star, you have to give a piece of the song. Even if they wrote nothing, and it’s really terrible. Especially when there’s so little money in the business these days as compared to 25 years ago, even.”
The exception, in his view, is Billie Eilish and Finneas – one of the few major acts who not only co-write their music but play the parts too.
“She and her brother write the songs together. Not only do they write them, but he plays all the parts,” says Beato. “They’re one of the very few people.”

The post “These are not songs coming out of Sabrina Carpenter’s head”: Rick Beato says most modern popstars are just “vehicles” for songs crafted by professional songwriters appeared first on MusicTech.

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

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.

Softube and Weiss collaborate on Weiss Exciter Designed for professional mix and mastering engineers, Weiss Exciter uses a proprietary algorithm developed in collaboration between the two companies.