The BBC Sound Effects Archive now has over 33,000 free samples ready to downloadEver wanted to experience the roar of the crowd of the 1989 FA Cup Final? Or perhaps immerse yourself in the sounds of an African market? What about simply going on a muddy walk, or creeping close to a pack of grunting reindeer? Well, you’re in luck. With over 33,000 samples on offer, the BBC Sound Effects Archive might have the sound you’re itching for.
While BBC’s Sound Effects Archive opened in 2018, its library has more than doubled in the last 6 years. The selection spans from the sound of hands being washed in a bucket, to croaking frogs, to crackle and chatter of around a bonfire. Samples date back to the 1920s, with the earliest sounds being gas engines, chiming clocks and whirring sewing machines.

READ MORE: Sample libraries are here to stay – so why do some producers still find their use illegitimate?

The entire library is free to download – but you can’t use any sounds on music you plan to sell. Each archival sound has a non-commercial RemArc License, meaning you can’t legally use any of these samples for profit.
If you’re just experimenting in the studio or using it for a personal project, it’s fair game. And the site even has its own Mixer Mode, so you can build your own soundscapes without having to download anything.
The RemArc License aims to aid with research and education alongside personal projects. The tracks have also been shared specifically with dementia research in mind. The RemArc, short for ‘Reminiscence Archive’, was designed to assist those with dementia “by stimulating their long-term memory with material from the past.”
Musicians and sound designers can certainly learn a lot from the high-quality recordings. The BBC has put ample effort into atmospheric sampling for decades – and it all stems back to the height of entertainment radio. From cutting tape film with shears to simulate ‘cutting grass’, to mic-ing up and hopping into a shower to record ‘rainfall’, the 1920s welcomed in a bold age of sampling experimentation.
In a BBC article exploring the broadcaster’s sampling history, Radio 4’s Andrew Partington notes the importance of immersive sound design. “It is very easy to underestimate the importance of the sound effects because very often they’re going on at an almost subconscious level behind a scene where someone’s making a cup of tea,” he says. “But take them away and you realise how important they were.”
The BBC’s 1931 Yearbook notes that it would be “a great mistake to think of [sound effects] as analogous to punctuation marks and accents in print.” A strong archive of sound effects is the “bricks with which to build” any sonic world, and thus they should be considered with equal care as “speech and music.”
You can access the BBC’s Sound Effects Archive now.
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Spike Stent offers his expertise in Spike AI The acclaimed mix engineer with credits including The Beatles, Beyoncé and Ed Sheeran is attempting to bring his expertise to a much wider audience through Spike AI.

Sample libraries are here to stay – so why do some producers still find their use illegitimate?When Afrojack discovered that Fred again.. had used a Splice sample pack on ten – a track from his newly-released album ten days – he found it “disappointing”, as he recalled in a recent interview.
While Afrojack was quick to acknowledge Fred again..’s talent, his comments illuminate a viewpoint still held by more traditional DJs and producers: using pre-made Splice samples and loops is cheating. According to such purists, everything from synth sounds to samples should be created from the ground up for a recording to be authentic.

READ MORE: Splice CEO Kakul Srivastava on sampling: “It’s how young people create now”

It calls to mind that quote about skinning your goat to make a snare drum — but it’s true that stacking a bunch of pre-made loops and samples on top of each other without any original elements is difficult to pass off as your composition. But does interspersing your creations with Splice samples really delegitimise or subtract from the final product?

Sampling and synthesis from the ground up is a time-consuming process and, especially in an economy where regular releases are seen as paramount, finding regular hits of inspiration – like in loop and sample libraries – is crucial. If someone else has already created the perfect sound which complements your project and you’ve paid for it, why not use it?
In the case of an artist like Fred again.. – one of the world’s most popular electronic music stars – regular releases are perhaps less important than for an artist who’s just starting out. So maybe Afrojack’s implication that established artists not bogged down by such demands should take their time to create everything themselves is more valid.
But in any case, recording music has always been about making the best use of the tools at one’s disposal.
We have the tools to speed up the production process, so by choosing not to use them in pursuit of the often esoteric notion of ‘authenticity’, producers risk falling behind. By shunning sample packs as an idea altogether, they might miss out on an opportunity to inject a track with that little bit of magic to make it a hit.
Splice success stories are common, but none are more high-profile than Sabrina Carpenter’s 2024 smash hit, Espresso. With well over a billion streams on Spotify at the time of writing, it’s inarguably one of the biggest tracks of the summer. And it was created, largely, using a Splice sample pack.

Created by Oliver, a popular Splice loop maker who’s also had his work used in Doja Cat’s Say So, among others, the Power Tools Sample Pack III features a number of loops which were obviously pretty unchanged before they were used in Espresso.
Just scroll down to a file named ‘OLIVER_104_pop_loop_surf_dad_rhythm_lead_C.wav’ and you’ll instantly recognise the track’s distinctive clean chord stabs. Or listen to ‘OLIVER_105_drum_loop_disco_live_feel.wav’ to hear the song’s drum loop in isolation.
Of course, the degree to which someone might find Splice sample usage to be egregious depends on how much it’s used, and while Espresso relies heavily on loops, the bassline is a new creation for the song, and Carpenter’s catchy vocals – which make it the hit it is – are all original.
And as Splice tells MusicTech, sample libraries are helping close the proficiency gap between more skilled and less skilled producers: “There will always be producers with more technical skill than others, but why would anyone gate-keep creativity?”
“We believe that music production has been underserved by technology, and now is the time to make it even more accessible,” the company goes on. “That doesn’t mean quality won’t always rise to the top, but if we’ve seen anything over the past 10 years, it’s that music production is increasingly global. There are new audiences opening up every day. Over 50 per cent of our users don’t live in North America.”
Ultimately, music production is an inherently niche and nerdy space, with many different ways of working and therefore many opposing opinions as to how something should be done. The ratio of music producers to music listeners is acutely small, so this is naturally going to foster a somewhat elitist mentality.
It’s easy to get bogged down with how music ‘should’ be recorded, and forget why we’re all here in the first place: to make music that connects with and inspires people. And if a little Splice usage helps achieve that goal, what’s the problem?
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Artcore adds Physical Media and Merchandise Sales Artcore has rolled out a new feature allowing UK and EU artists and labels to sell physical media and merchandise directly on the platform.

Lake People launch G103-D-4 Lake People have announced the release of the G103-D-4, a Dante-enabled dual stereo headphone amplifier.

Apple Album Booklets: 50K added to Classical but not Apple Music50,000 Apple Album Booklets have been added to Apple's classical music app "to enhance your listening experience," but no booklets are available on the main Apple Music service.
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Serato to revive its iconic Scratch Live Control Vinyl for a limited-edition anniversary reissueIn celebration of its 25th anniversary, Serato is launching a limited-edition reissue of its Scratch Live Control Vinyl.
Serato Scratch Live first launched in 2004, becoming the first digital vinyl system to allow DJs to mix and scratch digital music using specially designed control vinyl or control CDs with DJ hardware.

READ MORE: Limp Bizkit’s Wes Borland launches digital amps and effects suite in partnership with STL Tones

The brand itself was founded by New Zealand natives Steve West and AJ Bertenshaw, with its first product, the Pitch ‘n Time, landing back in 1999. In honour of its birthday milestone, just 1,500 units of the Scratch Live Control Vinyl are to be launched as part of this commemorative reissue.
Buyers will receive a pair of 12” 140g control vinyls, encased in a special 25th-anniversary jacket. Five classic colours will also be available, including black, transparent red, transparent blue, orange, and grey marble – though this will remain a surprise until you actually unwrap the package.
Throughout its lifetime, Serato has been name-dropped across lyrics from Eminem, Snoop Dogg, Drake, A$AP Rocky and more. Artists like Questlove, Erykah Badu, Metro Boomin, A-Trak, DJ Snake and DJ Jazzy Jeff have also utilised its software for their music.

“At Serato’s core is a passion for music and technology, and we’ve built our foundation on the ongoing commitment to creating best-in-class products for DJs and music producers,” states Nick Maclaren, Serato’s Chief Strategy Officer who, as a club DJ in the 2000s, was one of the first to trial Scratch Live.
“When Serato Scratch Live was first introduced, it reinvented what was in the realm of possibilities for DJs at the time. As we celebrate 25 years of empowering artists through Serato’s advanced technology, we’re excited for our community to experience the magic of this innovation once again with the reissue of the Serato Scratch Live Control Vinyl.”
This limited drop will be available to purchase in select stores globally for $49 USD starting October 1 2024 at 9am NZT. Find out more via Serato.
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Kesha goes independent, launches label with ADA and CrushKesha has launched her own independent label. It will be distributed by WMG's with Crush Music overseeing marketing and promotion.
The post Kesha goes independent, launches label with ADA and Crush appeared first on Hypebot.

Limp Bizkit’s Wes Borland launches digital amps and effects suite in partnership with STL TonesLimp Bizkit guitarist and nu metal’s snappiest dresser Wes Borland has debuted a new digital amp and effects suite in partnership with STL Tones.
Tonality: Wes Borland, the sixth entry in STL’s Tonality series, is based on the amplifiers and pedals from Borland’s own touring rig, enabling guitarists to experiment with Borland’s own tones, and recreate the teeth-rattling riffs of Break Stuff, Nookie and more.

READ MORE: Our favourite plugins, effects and VST instruments released this week

“Developed in collaboration with Wes Borland, this signature guitar plugin suite accurately captures the sonic and visual anarchy that Wes has become so distinctly renowned for,” STL promises.
“Using the most advanced hardware modelling algorithms, STL’s software uses internal circuit tracing from the schematics of the amplifiers Wes uses playing live and in the studio, as well as his favourite overdrive pedals, effects, and personal guitar cabinets.”
Credit: STL Tones
Three amps are included in Tonality: Wes Borland. First is the Roland JC-120 Jazz Chorus, a mainstay of Borland’s touring rig used for his clean tone. There’s also the Diezel VH4, a versatile and heavy amp that was employed by many nu metal giants in the early noughties. Finally comes the Selmer Zodiac 50 MKII Tremolo, which Borland has for his edge-of-breakup tone.
The plugin also features five pedals. The Mini Filter is based on the Electro-Harmonix Mini Q-Tron, which Borland uses for his wah. The Big Wezz is inspired by the Electro-Harmonix Big Muff Pi fuzz pedal. There’s also the Borland Delay, which is based on the Dunlop Echoplex delay pedal. Lastly there’s the WB7 Chorus/Flanger, which STL says “is capable of warm, vintage choral tones to morphing flange sounds”, and the Digital Delay WB-8, based on the Boss DD-8.

STL Tones meticulously studied Borland’s rig and playing to make the new plugin; the company measured each amplifier in his live setup using five microphones in 156 different positions to get as close as possible to the nu metal master’s sound.
The company has previously made Tonality plugins in collaboration with Will Putney (Fit for an Autopsy/End/Better Lovers), Josh Middleton (Sylosis/ex-Architects), Andy James (Five Finger Death Punch), and producers Howard Benson and Lasse Lammert.
For more information on Tonality: Wes Borland, head to STL Tones.
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“Why do so many DJs and festivals fail to tag music they play? It’s disrespectful”: Richie Hawtin backs campaign to credit electronic artists on social mediaA newly launched campaign is urging DJs, promoters, and brands to credit the artists behind the music they are sharing online.
#RespectTheCreators is backed by the Association for Electronic Music (AFEM) alongside a number of venues and artists, namely Richie Hawtin.

READ MORE: “It’s very easy to lose yourself in a large show and end up creating something more for the eyes than for the ears”: Richie Hawtin warns against the spectacle of modern DJing

It asks that when DJs post a video from their gig, or a mix where the music isn’t theirs, that they tag the artists behind the tracks, and list the full track names in the most visible part of the post. Online platforms and promoters are also urged to credit any music featured in any shared sets or promotional materials for events.
“I thought supporting the community and the musicians who make the musical structure that our scene (and DJs) stand on was simply common decency (and sense),” Hawtin comments (via Billboard).
“So why do we see so many social media posts from DJs, promoters and festivals that completely fail to tag the music being played in the clips? It’s disrespectful and only takes further advantage of the musicians who are already struggling for recognition and a fair share of the economic pie of our ‘beautiful’ culture.”

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The campaign was partly inspired by research cited by Dutch DJ and producer Frank Nitzinsky at the International Music Summit (IMS) in Ibiza earlier this year. On average, only three percent of a DJ’s set is music that they have produced themselves, yet up to 90 percent of DJ performance content shared on Instagram does not provide any credit for the artists behind such music.
AFEM COO Finlay Johnson says in a statement that while the campaign “may seem like a straightforward initiative, encouraging people to share and credit new music addresses significant challenges in the discoverability of emerging artists”.
Johnson further adds, “It also serves as a reminder for individuals to consider their metadata, which can directly enhance income through royalty collection. While white label and dubplate culture should be celebrated, the use of generic ‘original audio’ tags on social media does little to support artists. We encourage everyone to acknowledge and promote the team behind a record’s production and release.”
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Digital Bumper Sticker Tells Everyone What You’re Listening ToBumper stickers are usually political, crude, or otherwise inflammatory. Rather a more fun example is this digital creation from [Guy Dupont], who made a bumper sticker that broadcasts what he’s listening to on the stereo.
[Guy] found a nice wide 11-inch bar LCD that was the right aspect ratio to suit the “bumper sticker” aesthetic. It had an HDMI interface, so he decided to drive it with a Raspbery Pi Zero 2W. Power for the system was derived from 12-volt lines going to his vehicle’s rear view camera. For an enclosure, he simply stuck the Pi and a buck converter on the back of the display and heat shrinked the whole thing. He also threw some magnets in there to stick it to the car.
How does the screen know what song to display? Well, [Guy] already has his Spotify listens scrobbling to Last.fm. Thus, he just made a script that scrapes his Last.fm page, which runs on a Particle Boron microcontroller, which has a cellular connection of its own. The Boron gets the song data, and spits it over to the Pi via Bluetooth. Then the Pi generates an image for the display.
Oh, and there’s also a neat Easter Egg. In honor of brat summer, the background changes to #8ACE00 green if the system detects you’re listening to Charli XCX. Neat.
It’s a neat build with a lot of moving parts. We’re surprised we haven’t seen anything like this before though, it’s really rather fun. Also, how’s about that taste of the old Internet—when was the last time you heard somebody mention scrobbling? Gosh, we’re getting old.
We’ve featured some of [Guy’s] works before, too, like the amusing Mailblocks project. Video after the break.

Apple’s new iPhones apparently have four “studio-quality” mics and multi-track recording in Voice MemosIt’s that time of the year again, as Apple unveils its latest generation of iPhones at Monday’s ‘It’s Glowtime’ keynote event.
Between the new A18 chip, an added Camera Control button, and the arrival of Apple Intelligence — the Cupertino giant’s very own artificial intelligence software, the iPhone 16 boasts a slew of exciting hardware and software upgrades for both serious and casual users alike.
For musicians and producers who rely on their iPhones for music-making and capturing song ideas, the new lineup introduces a range of audio enhancements designed to level-up your creative process.

READ MORE: Spotify wins lawsuit over Eminem’s publisher in licensing rights dispute

To start, the brand’s top-of-the-line iPhone 16 Pro and Pro Max models are said to deliver a “big leap in audio performance” with not just one, but four “studio-quality” mics for higher-quality recording. The mics provide a lower noise floor so you get more true-to-life sounds without the need for extra gear.
Multi-track recording will also be coming to the Voice Memo app later this year. Users can now layer another track on top of existing recordings, which will come in handy for when you want to record your singing over guitar instrumentals, for example.
According to Apple, Voice Memos plays the guitar track through the iPhone speakers while simultaneously recording your voice. The system then uses “advanced processing” to isolate your new vocals and cancel the background audio for a professional result — without the need for headphones, or another app.

The iPhone 16 will hit the shelves officially on Friday, 20 September, with prices starting at $799 for the base model and $999 for the Pro model.
Grammy-winning producer and songwriter Tourist previously spoke about his love for Apple’s Voice Memos app, calling it an “absolute no-brainer” for music production.
“I mean there’s even a part of me that’s really happy with that built-in iPhone mic because it has such a character,” he said on MusicTech’s My Forever Studio podcast. “It sounds like the year that the phone was made. And the compression, whatever they do with that compression… I think people can hear an iPhone mic. I like that.”
Learn more at Apple.
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Wusik Limiter is FREE until November 1st
Wusik offers the Wusik Limiter (49.95 value) for macOS and Windows as a free download until November 1st. You might have already grabbed a bargain limiter this month with Plugin Boutique’s 1176 bundle deal: all three UAD 1176 plugins for £38 (usually £261). If you’re interested in the UAD collection, act fast; it’s a limited-time offer. [...]
View post: Wusik Limiter is FREE until November 1st

Essential Financial Strategies for Touring MusiciansIncome from live performances has become less reliable, but there are financial strategies for touring musicians that help turn a road trip into a profitable success. Avoid common pitfalls and learn how to maximize your earnings while on the road.
The post Essential Financial Strategies for Touring Musicians appeared first on Hypebot.

Meta and Instagram spotted developing a new social music-sharing featureMeta and Spotify are exploring deeper music integration in Meta’s Instagram app. New findings indicate the companies are testing a feature that would allow users to continuously share what music they’re listening to through Instagram’s Notes. The new functionality was first spotted by reverse engineer Alessandro Paluzzi, who often finds unreleased features while they’re still […]
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