Get FREE LIMITER Plugin By Mastering The Mix — CLICK HERE! 🎁
Instead of making jokes on April 1st, we decided to do something more productive for our readers (thank you so much for supporting BPB!). Mastering The Mix kindly provided 25,000 FREE copies of the LIMITER (€58,95 value) plugin for Bedroom Producers Blog readers, and we will give them away on April Fools’ Day. To get [...]
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How to choose a DAW as a beginner
In this in-depth guide, we break down how to choose a DAW as a beginner that's best for you, covering everything from budget to unique features and more.

Blipblox MPC-style sampler myTRACKS aims to make music production fun for allPlaytime Engineering are continuing to shape the next generation of child prodigies with their Blipblox line.
Specialising in child-friendly instruments for kids three and above, Playtime Engineering’s latest addition to the Blipbox line encourages young people to experiment and unlock their musical potential. The Blipblox myTRACKS swaps out the lunchbox for a groovebox.

READ MORE: NAMM 2022: Playtime Engineering reveals synth and groovestation for kids, grown-up synth fans rejoice

Blipblox myTRACKS embraces a childlike, colourful aesthetic while also capturing the spirit of a hip-hop groovebox. It’s designed to be safe and accessible to anybody, just like a toy, meaning it can be enjoyed by just about any age.
The Blipblox myTRACKS is a total music production studio. There’s a built-in microphone for sampling, two FX processors and a slew of over 50 acoustic, electronic and percussion instrumental sounds to play with. With sound packs also available to download online, creators have ample to work with.
Powered by 25 glowing playpads and two bright purple levers, the myTRACKS is delightfully colourful. Navigating the tool is as intuitive as playing with a toy, the levers allowing users to adjust effects and modulation. There’s also a randomise feature to spur on creativity, allowing users to experiment with new sounds and be inspired by the unpredictable tracks myTRACKS generates.
The journey to creating myTRACKS started off as a fleeting hobby for a Silicon Valley engineer Troy Sheets. With his wife, Kate Sheets, the pair transformed the hobby into a fully fledged business. “Bootstrapping and crowdfunding our business has allowed us the freedom to design and produce our wildly creative line of instruments,” Kate Sheets explains.

“We are tremendously grateful for our supporters who helped fund both the original Blipblox and Blipblox After Dark, and we look forward to introducing more friends to the Blipblox community with the launch of myTRACKS,” she continues.
“Creating music with synthesizers and modern music tech has always felt like play to me,” Troy sheets explains. “By merging the portability, durability, and safety of toys with high-quality and advanced functionality of a legitimate instrument, we’ve created a fun and accessible music-making machine that anyone can play.”
Blipblox myTRACKS’  Kickstarter campaign to support the launch will open on 9th April. The first round of products is expected to be delivered by November 2024.
Reservations are currently open on the BlipBlox website.
The post Blipblox MPC-style sampler myTRACKS aims to make music production fun for all appeared first on MusicTech.

Roland launch GO:KEYS portable keyboards The GO:KEYS instruments take a simple approach to production, but still boast some more advanced features that allow for more involved work as users develop their skills.

How to find vocal harmonies: A step-by-step guide
Explore the qualities that make a vocal harmony effective and learn how to write your own harmonies from scratch.

Oeksound Bloom is now available Bloom promises to take the place of dynamic EQs and multi-band compressors, despite not doing either of those things. 

Basic Music Theory For Music Producers
Music theory can seem daunting for self-taught musicians and producers, particularly when you haven’t had any formal musical education. However, ensuring you have a solid foundational understanding of theory can help you reach new heights of musical creativity. Music theory can help you with your musical projects by helping you understand the basics of melody [...]
View post: Basic Music Theory For Music Producers

SideRack: mobile plug-in host from NovoNotes SideRack aims to combine the convenience of touchscreen-based plug-ins and instruments with the power of a full desktop DAW system.

How to maximize a music release’s potential for success [VIDEO]The right planning and preparation can make or break how well a music release does. This guide breaks down the steps needed to put out a successful song.....
The post How to maximize a music release’s potential for success [VIDEO] appeared first on Hypebot.

TikTok says its revamped creator fund has increased total creator revenue by over 250%TikTok announced today that its revamped creator fund has increased total creator revenue by over 250% within the last six months. The company says the fund, which launched a year ago and eventually replaced TikTok’s original $1 billion Creator Fund, is exiting beta in the coming weeks. TikTok also announced that its LIVE Subscription monetization […]
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Pager Lives Again Thanks to Python And MastodonPagers were a big deal for a while there, even if they never quite made it into the pantheon of excellent sitcom plot devices like answering machines did. Anyway, [Finnley Dolfin] had some pagers and gave them a refresh for the modern era, using them to receive message alerts from Mastodon.
The project is laced together with a bunch of Python code. It uses the Mastodon library for interacting with the social media website. When it detects an incoming direct message, it hooks into DAPNET – the Decentralized Amateur Paging Network.  Via this network, a message is sent out over the airwaves to [Finnley’s] pager, serving as a notification that someone’s reached out to chat on Mastodon.
It’s neat that the amateur radio world is keeping pagers alive, using distributed base stations to share messages. Unfortunately, given the existence of smartphones, we don’t quite see pagers catching on again any time soon. And yet, [Finnley’s] setup has a certain level of old-school cool that no modern phone could match.
We’ve seen only a handful of pager hacks over the years, but they’re still pretty neat. If you’ve got your own cooking up in the workshop, drop us a line, yeah?

No, Daniel Ek, the music industry isn’t like professional footballI’m sure Daniel Ek has a better grasp on the inner workings of the music industry than I do. The Spotify CEO probably has immense access to listener statistics and data, and a deeper understanding of the company’s royalties and revenue systems than most. But his apparent inability to empathise with artists, of all levels, is on frequent display and his input to the music industry’s discourse is often perceived by musicians as tone-deaf.
Ek’s latest gaffe came last week in the form of a selfie video posted to social media. In it, he boasted that Spotify “paid out more than $9 billion to the music industry in 2023” and then compared the music industry to professional sports. “The best analogy that I would have is that the music industry… is like professional sports,” said the Swedish CEO, who once tried to purchase Premier League club Arsenal.
READ MORE: “Football is played by millions of people – but there’s a very small number that can live off playing full time”: Daniel Ek addresses Spotify’s low royalty payments
“If you take football, it’s played by hundreds of millions of people around the world. But there’s a very, very small number of people that can live off of playing soccer full-time. FIFA tells us that there are about 100,000 people who can make it in football or soccer. [And there are also] hundreds of millions of people that are trying to make it in the music industry.”
He’s essentially saying that not all musicians will turn a profit. That’s not news – music-making is a rewarding hobby for many who accept that they’ll never reach superstar status. That’s been true for as long as people have been paid to write and perform music.

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A post shared by Daniel Ek (@eldsjal)

But by comparing music-making to professional football, Ek has presented a flawed analogy that hobbyists and professionals alike are queuing up to correct in the most robust terms.
Why? Because the statement leans harder into a competitive ‘tech bro’ mindset than into the core values shared by most artists. The music industry might be competitive but art should not be a competition.
But let’s humour this analogy for a moment. There may well be only 100,000 professional footballers, but the average player in the lowest UK professional division reportedly earns £750 a week, or £39,000 a year, before any potential sponsorship deals. Meanwhile, on Spotify in 2023, there were around 200,000 “professional or professionally aspiring artists,” and in 2022, the top 50,000th artist on the platform earned $12,584 annually.
So I dunno, Dan, it feels like I’d be better off trying to get a regular paycheck out of Rob McElhenney and Ryan Reynolds at Wrexham than I would be trying to make a living from Spotify streaming revenue.
Daniel Ek speaks onstage during Spotify Investor Day at Spring Studios on March 15, 2018 in New York City.Image: Ilya S. Savenok/Getty Images for Spotify
The true aggravation for musicians, though, is that Ek’s statement follows other claims and blunders that seem to further distance him from the platform’s musicians – the people whose creative labour Daniel Ek’s company relied on to get where it is today.
Notably, in late 2023 — a few years after claiming that fast-produced albums will trump thoughtful, considered albums made over several years — he confirmed that Spotify would not ban music made by AI. At a time when OpenAI is giving media creators a glimpse of their potential demise with ChatGPT, DALL-E and Sora AI, Ek’s Spotify is teetering on doing the same.
It feels like Spotify cares about audio but not about music. I have no doubts that Ek and Spotify’s employees are avid music lovers and find deep value in sonic art. I’m sure that Ek’s dream is for all artists to be paid better for their artistic efforts. But the streaming model has changed the way artists are expected to release music, and Spotify’s pivot to podcasts and audiobooks felt like a kick in the teeth for the artists without whom Spotify wouldn’t exist. After all, who can explain giving $100 million to Joe Rogan when musicians who have worked their whole lives to build small but previously sustainable careers are told their labour is only worth $0.004 per stream?
Daniel Ek, Founder & CEO, Spotify, at The Future of Audiobooks Event with Spotify 2023 on October 03, 2023 in New York City. (Photo by Bryan Bedder/Getty Images for Spotify)
Music creators are worried that Ek’s Spotify is preparing us for AI-generated music to infiltrate our libraries; where ‘mood’ playlists aren’t made by a collection of lo-fi hip-hop makers and ambient artists, but by algorithms that are trained on those genres. Ek and Spotify might not be thinking of doing that, but you can’t help but feel that’s where we’re heading.
This weekend, trailblazing UK producer James Blake addressed this, too: “If we want quality music somebody is gonna have to pay for it. Streaming services don’t pay properly, labels want a bigger cut than ever and just sit and wait for you to go viral, TikTok doesn’t pay properly, and touring is getting prohibitively expensive for most artists. The brainwashing worked and now people think music is free.”
“And by the way,” Blake continued, “since it’s cheaper to produce fast, synthetic music to drop on streaming every week to capitalize on the strengths of the model, watch how the model is preparing you for AI-generated music that pays musicians nothing at all.”

And by the way, since it’s cheaper to produce fast, synthetic music to drop on streaming every week to capitalize on the strengths of the model, watch how the model is preparing you for AI generated music that pays musicians nothing at all.
— James Blake (@jamesblake) March 3, 2024

Can you think of any football players, amateur or professional, who are expressing concerns about being replaced by AI? I don’t think Boston Dynamics robots are going to be shoulder-to-shoulder with Erling Haaland or Mo Salah anytime soon.
On top of this, Spotify is said to have enabled some practices that further create an unfavourable climate for many musicians. In 2023, Benn Jordan spoke at length about the alleged money laundering schemes that centre around Spotify and the royalty model the company runs. In fairness, Spotify has responded in The Guardian that such streaming exploitations are “an industry-wide challenge and Spotify has been working hard to address this issue…Less than 1 per cent of all streams on Spotify have been determined to be artificial and those are promptly mitigated prior to any payouts”
Still, Jordan asks: “How much of your money as a musician is giving a money launderer or con artist a 3 to 1 return?”
Meanwhile, by the way, Ek sold $57.5 million worth of his Spotify shares last month. Cool.
The wider streaming landscape and the modern music industry in general is a flawed environment that makes it harder than ever for artists to make a living from their art. But Spotify has driven this race to the bottom – the company has never turned an annual profit while globalising a business model that has completely changed the way we consume music, likely forever.
Photo by Sebastian Reuter/Getty Images for Spotify
Obviously, the concept of music streaming is amazing and it has generated opportunities for many that would have perhaps been unheard of in a pre-streaming era. But by telling the world that you can have the entirety of recorded music for what was initially five bucks a month, the company’s backed itself into a corner.
Because it wants to offer all music, rather than a curated selection like Netflix or HBO, it’s forced to cooperate with major labels who are far more corporately combative than Spotify tends to be — at least, according to ex-Spotify employee Tony Lashley, who went on to found Marine Snow. That results in too much revenue being diverted away from independent artists and into the deep pockets of major labels.
Making a sustainable income from music should be more accessible than ever but, instead, it’s never felt so far away.
So, yes, Daniel Ek. The music industry might well be like football in the sense that it has professionals and amateurs. But when it comes to fair payouts, grassroots schemes, and a pay-to-win model, the only likeness is that you’d have more chance of scoring with five Alisson Beckers on the goal line.
The post No, Daniel Ek, the music industry isn’t like professional football appeared first on MusicTech.

“The brainwashing worked and now people think music is free”: James Blake on TikTok’s impact on the music industryJames Blake has spoken out on TikTok’s impact on the music industry and the financial difficulties facing artists.
Although TikTok has become a platform where many new artists are discovered, Blake argues that labels are now waiting for their artists to get lucky and land on a viral hit, and even then those artists are not always fully compensated for their virality.

READ MORE: James Blake: “It takes about six months before you can get anything out of a modular synth”

On his X (Twitter) account, alongside a repost where Blake is quoted saying that neither himself nor Frank Ocean made any money from his viral Godspeed cover, Blake adds further context to his concerns over fair royalty payouts for artists in the TikTok era.
“It’s worth noting this is just an example I used in a post talking about the wider effect of TikTok on music,” he says. “Just seeing this part makes it seem navel gazing but I’m speaking on a thing that’s affecting artists all over the world.

It’s worth noting this is just an example I used in a post talking about the wider effect of TikTok on music. Just seeing this part makes it seem navel gazing but I’m speaking on a thing that’s affecting artists all over the world. https://t.co/4pd2iRuNlB
— James Blake (@jamesblake) March 3, 2024

​​“Something I keep seeing is, ‘If you’re lucky enough to go viral, just use the exposure to generate income some other way.’ Musicians should be able to generate income via their music. Do you want good music or do you want what you paid for?”
Blake further adds, “If we want quality music somebody is gonna have to pay for it. Streaming services don’t pay properly, labels want a bigger cut than ever and just sit and wait for you to go viral, TikTok doesn’t pay properly, and touring is getting prohibitively expensive for most artists. The brainwashing worked and now people think music is free.”

Something I keep seeing is ‘if you’re lucky enough to go viral, just use the exposure to generate income some other way’. Musicians should be able to generate income via their music.
Do you want good music or do you want what you paid for?
— James Blake (@jamesblake) March 3, 2024

If we want quality music somebody is gonna have to pay for it. Streaming services don’t pay properly, labels want a bigger cut than ever and just sit and wait for you to go viral, TikTok doesn’t pay properly, and touring is getting prohibitively expensive for most artists.
— James Blake (@jamesblake) March 3, 2024

The brainwashing worked and now people think music is free.
— James Blake (@jamesblake) March 3, 2024

Also via X and his Instagram account, Blake comments on the impact of both AI and sped up/slowed down versions of tracks being used online:

James Blake on the TikTok-ification of music (sped up/slowed down versions of songs) pic.twitter.com/pjLBCEbcsR
— w-lar (@w_larproducer) March 2, 2024

And by the way, since it’s cheaper to produce fast, synthetic music to drop on streaming every week to capitalize on the strengths of the model, watch how the model is preparing you for AI generated music that pays musicians nothing at all.
— James Blake (@jamesblake) March 3, 2024

Despite his concerns over AI, Blake has previously made music integrating the tech. In 2022, he released an ambient album called Wind Down, made to help its listeners have a better night’s sleep. The music was originally made for Endel, an app that uses AI technology to provide personalised soundscapes.
The record became the first-ever full-length LP made using AI technology to be released on a major record label. Asked about this contradiction online, Blake explains how Endel takes what is considered an ethical approach to artificial intelligence:

There’s a difference. Endel uses AI to take music an artist has already made, and remix it into ambient form designed for sleep/other functional applications. They then give the artist a cut and it lives as a separate entity.
— James Blake (@jamesblake) March 3, 2024

View James Blake’s upcoming live dates via his website.
The post “The brainwashing worked and now people think music is free”: James Blake on TikTok’s impact on the music industry appeared first on MusicTech.

Independents accounted for 50% of Spotify industry revenue last yearIndependent artists generated $4.5 billion on Spotify in 2023. This is the first year ever that Indies accounted for about 50% of what the entire industry generated on the streamer, which totaled $9 billion....
The post Independents accounted for 50% of Spotify industry revenue last year appeared first on Hypebot.