“You’ve done so many classics”: Pharrell and Timbaland debate who is the better producer in wholesome videoIt’s an age-old argument: who really has produced the best Jay-Z songs? Well, it’s very much still up for debate, it seems. Iconic producers Timbaland and Pharrell Williams have been captured in a video exchange at Swizz Beatz’s birthday party debating over who produced best out of the two.

READ MORE: Grandmaster Flash to host masterclass and Q&A in celebration of 50 years of hip-hop

The video, originally posted to Instagram by Swizz Beatz, at first seems as though each producer is arguing their case that they themselves are better, while it soon becomes apparent it’s the other way round.
“Don’t do this to me!” Shouts Timbaland in the video.
“Are you done?” asks Pharrell. “Dirt Off Your Shoulder. What are we doing? Dirt Off Your Shoulder. Yeah, exactly.”
“I’m still thinking because you’ve done so many,” responds Timbaland, who himself has worked with Justin Timberlake, Missy Elliott, Jay-Z, Drake, Rihanna and Beyoncé.
“Do you know why you stopped?” Pharrell chimes in. “Because you’ve done so many classics, you’re just going through your rolodex right now. The greatest Jay-Z records. Timbaland, the king. Period.” Pharrell says.
“No. Pharrell, the prince.”
“You hear what he said? Do you hear what he said?” Asks Pharell. “He said ‘Pharrell the prince, Timbaland the king’.”

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One comment reads, “Fucking LOVE this!! We need more of THIS & less ego!!” while another fan writes “Two super producers having Black Excellence Dinner Debates over Candlelit Dinners ”. Another writes: “This is the ONLY drunken male back-and-forth, that I am willing to sit and listen to.”
While it’s fair to say Timbaland has slowed down in recent years, 50-year-old Pharrell, besides being appointed as men’s creative director of Louis Vuitton, is apparently making more music as N.E.R.D.
In an interview with Tyler, The Creator for GQ in August, he said on the new material: “They’re big choruses, but you know, out of nowhere, I’ll just come out of nowhere with the three-bar, crazy-nuts chords that go three-bar to four-bar to eight-bar. It’s good bro, it’s good.”
Follow Swizz Beatz on Instagram.
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AI legislation could unintentionally affect cover bands, law firm partner claimsDr Christian Mammen, an intellectual property expert and law firm partner, has said that if legislation is to be put in place to protect artists against AI-generated ‘sound-alike’ voices, this could have an “unintended consequence” on cover bands.

READ MORE: “Sampling led to hip-hop… AI music has the potential to do something similar”, says Holly Herndon

As stated in a recent interview with The Verge, Christian Mammen, an experienced lawyer with over 20 years of expertise in patent, intellectual property, and technology litigation, highlights the current laws surrounding cover bands.
He says that while the music industry has “struck a balance” with tribute bands so that labels and artists cannot sue cover bands as long as the groups don’t claim to be the original artists, this law could be affected if AI legalisation was to be introduced.
“If we change the law in order to restrict AI-generated audio ‘sound-alike’ recordings, we also need to consider whether the change in the law would upset the equilibrium for cover bands – an unintended consequence if the law is overbroad,” Mammen says.
Also in the piece, which explores the potential introduction of laws covering AI-generated voices that mimic other voices, Andrea Gleeson, CEO of TuneCore, says that there needs to be a process where artists have a say in who can use their voices.
“Generative AI that is transparent and very clear in what went into creating that AI art goes a long way, but we also need a process of control where artists have a say about how and who gets their likeness,” she says.
Many artists, streaming platforms and record labels are calling for legislation to protect artists in cases where AI is being used to copy the voices of others, such as Drake and The Weeknd. The Council of Music Makers recently outlined five key principles for AI use they want policymakers to adopt when considering how to regulate AI for use in music. These are:

Music-makers should give consent for AI model training
Protect music-makers’ publicity and personal rights
Share AI-generated music profits fairly
Collaborate with music-makers on revenue sharing
Clearly label AI-generated works and disclose training data sources

Read more about AI’s role in music via musictech.com.
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FMC - Film Music Contest 2023 This years Film Music Contest is now underway, with composers of film, television and video game music invited to register submit their original compositions.

SOS Awards 2024 voting now open! Once again, we need your help in selecting the most outstanding audio products from the past year across a variety of categories.

Best AI Graphic Generators for musicians, album covers, playlists, moreNot everyone is tech/artistically savvy, but luckily this list of online generative AI tools will create album covers, playlists, and marketing graphics with just a few words as a prompt.. Continue reading
The post Best AI Graphic Generators for musicians, album covers, playlists, more appeared first on Hypebot.

How the vinyl industry weathered pandemic disruptions to emerge stronger than everCOVID-19 hit the vinyl industry as a perfect storm. Making a recording, even at the best of times, demands an intricate and specialised production process. The pandemic introduced shortages of key materials and skyrocketing manufacturing costs that pushed lead times for new vinyl pressings to as long as 12 months.

READ MORE: Tycho’s $160,000 studio collection is flying off Reverb’s shelves

Stores shuttered. Global shipping delays kept existing stock off shelves. And, as the disruptions of 2020 stretched into 2022, stakeholders across the industry were left with the uneasy but not unfamiliar feeling that maybe the medium of vinyl truly might not recover this time.
However, if there’s one thing we should have learned over the last few decades, it’s that vinyl doesn’t go down easy. In 2023, the industry has not only weathered the tempest but has seemingly emerged stronger than ever, thanks to a dramatic expansion of production capacity at existing facilities and new pressing plants opening up around the world.
“The current lead times are a lot healthier,” says Anouk Rijnders, project manager of Artone Studio in The Netherlands. “When you have a new album recorded, you don’t want to have to wait a year to get it released. A turnaround time of 12 weeks is much better for the industry.”
DeWolff at Record Industry. Image: Jaap Kroon
Similarly, while some local record stores were forced to close permanently, many more pivoted to online sales. It proved effective in connecting with customers during the lockdowns and pushing through the pandemic slump, says Larry Jaffee co-founder of the annual Making Vinyl conference and author of Record Store Day: The Most Improbable Comeback of the 21st Century.
“The latest sales numbers suggest that consumer demand for vinyl remains strong,” says Jaffee. “New brick-and-mortar outlets have opened on both sides of the Atlantic Ocean since life has returned to normalcy.”
Esher Vollebregt, manager for Record Store Day in the Netherlands, sees a similarly encouraging trend: “Stores are doing really well and not many locations had to shut down. The total number of shops in the Netherlands has remained very stable over the years and vinyl sales are still growing. Fun fact: of the five or six new stores that opened after the pandemic peak, two are run by young girls – 20-year-old Sophie from Artistic Records and 14-year-old Quinty from Q-Records.”
That young people are interested in retaining these local hubs is an important victory for the industry. While online sales may offer convenience for customers, and a financial lifeline for businesses, the unique role that physical record stores hold is hard to replace.
Record Industry vinyl pressing plant. Image: Jaap Kroon
From crate-digging culture to community connection, these spaces are about more than making a purchase. “Record stores are places to get in touch with new music in an accessible way,” says Vollegregt. “They are the main physical meeting point for vinyl enthusiasts and the vinyl culture.”
Record stores are essential in maintaining existing vinyl communities on a local level. But large-scale in-person events have emerged as the best way to excite the wider public and introduce younger generations to the medium.
Jeffrey Smith, VP of marketing at Discogs, says events like the upcoming Haarlem Vinyl Festival in the Netherlands are pivotal in sustaining the culture and growing connections within the diverse communities who celebrate the medium.
“These events provide a space for collectors, fans, artists, sellers, and historians to celebrate their shared passion for music and vinyl,” says Smith. “In essence, they are the beating heart of the vinyl community, igniting connections, nurturing growth, and preserving the enduring appeal of vinyl records for generations to come.”
Featuring an open-air record fair, live performances, listening sessions, and a conference program, Rijinders says multi-day events like the Haarlem Vinyl Festival function as a generational bridge – where people can not only celebrate the medium but exchange knowledge.
Vinyl against the sunlight in the Netherlands
“The great thing about an event like this is that many people, young and old, can get together,” she says. “They can hear new music, share collections and stories, but perhaps also learn things; how to set up their system or the history of classic albums.”
The importance of connecting vinyl to Millennial and Gen-Z demographics is hard to overstate. For the medium to continue its renewed relevance, passion has to be passed down to the next generation. Here, there are many promising signs.
“There’s no better example than Taylor Swift selling nearly one million units of Midnights,” says Jaffee. “Seven of the top 10 US best-selling albums on vinyl in 2022 were artists popular with Gen Z and millennials. That included Harry Styles, Olivia Rodrigo, Kendrick Lamar, and Tyler, the Creator.”
Moving forward, Jaffee says he hopes this trend continues, with labels increasing vinyl releases for current artists with big streaming numbers. However, he also sees opportunities to revisit older albums that missed out on a vinyl release.
“Albums from 1990s artists, released during the CD era’s heyday, are still not available on vinyl,” Jaffee points out. “Let’s not forget the first decade of the vinyl comeback was driven by baby boomers like me who missed spinning on a turntable the beloved albums of our collective youth.”
In a similar manner, Jaffee continues, vinyl releases of classic Gen X and Millennial anthems could drive future growth for the industry by offering an entry point for middle-aged listeners who want a more tangible connection to the albums they’ve loved for years.
Vinyl shot against backdrop in the Netherlands
There are plenty of positive signs and future opportunities for vinyl – but there are still challenges to overcome. Both Jaffee and Rijnders point to the recent surge in production capacity as having potentially negative consequences. “There’s actually too much capacity at the moment,” Rijnders says. “This might lead to lower prices and perhaps even a price war between the smaller pressing plants.”
“The industry appears to be a victim of its success,” agrees Jaffee. “Vinyl record manufacturers must not make the same mistake that CD replicators did in the 1990s and embark in a cutthroat price war to win new business because it’s not sustainable.”
The process of manufacturing vinyl is far from streamlined. There is currently only one company – based in Japan – producing the lacquer needed to make a ‘master’ disc for vinyl pressings. Such bottlenecks in the supply chain leave the industry vulnerable to future disruptions.
Similarly, the machinery needed by pressing plants grows increasingly rare and specialised and there is a growing need to update both the industry’s tools and its materials. “It’s all vintage equipment,” says Jaffee. “Speaking of which, the vinyl industry continues to – and needs to – do its part to help reduce its carbon footprint amid the global warming reality, by developing non-toxic materials that go into the actual composition of a record.”
Overcoming these hurdles offers benefits not only for collectors, store owners, and manufacturers, but for artists as well. Given how financially precarious streaming is for the majority of artists, a thriving vinyl industry may offer an essential alternative source of income.
DeWolff signing their vinyl jacket at Record Industry. Image: Jaap Kroon
“Musicians make far more money from sales of their records than they’ll ever see from streaming royalties,” says Jaffee. “This is even more true for those artists who take records on the road to sell at gigs. They will earn far more profit – as much as a 50 per cent margin per record – when compared to the royalty stake from traditional vinyl sales.”
At the same time, Jaffee acknowledges that vinyl pressing remains a costly proposition when dealing in smaller quantities – something that is likely to be prohibitive for smaller or independent artists.
Decades after its supposed demise, the story of vinyl is one of remarkable resilience. A cat with nine lives, a phoenix from the ashes, Bruce Willis in Die Hard – not one of them can match the staying power of the humble LP.
The entire catalogue of recorded music is readily available at bargain bin prices, and yet people still gravitate to vinyl because it offers something that digital streaming platforms have been unable to replicate.
The vibe of a listening bar, the sense of accomplishment that comes with finding a rare gem, the feeling of owning a music collection rather than renting it via subscription, the personal connections offered by stores and events – these are much-needed counterpoints to the increasingly abstract and passive listening experience offered online.
Vinyl is the musical medium that just won’t quit – and we, in turn, can’t quit vinyl.
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Avid release Pro Tools Sketch Avid have announced the release of Pro Tools Sketch, a new non-linear, clip-based creation window in Pro Tools that is also available as a free iPad app.

NFTs promised to save music; now, they are officially WORTHLESSPromoters of NFTs promised that they would ‘revolutionize the music industry’ and provide a much-needed funding source for musicians. While I never quite drank a full glass of the Kool-Aid,. Continue reading
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Bootlegs, covers, and scammers: inside Slushii’s fight to reclaim digital ownershipIf having a hit viral song is the dream, then seeing your track go viral with someone else’s name on it must be the nightmare. Julian Scanlan had just such an experience.

READ MORE: Tycho’s $160,000 studio collection is flying off Reverb’s shelves

Better known as Slushii, the producers’ anime-inflected dance tunes have made him a favourite in EDM circles since the release of his full-length debut, Out of Light, in 2017.
However, Julian has a second creative outlet – the more ambient and experimental, sapientdream. It was under this moniker that he uploaded a bootlegged remix of BØRNS’ Past Lives, unwittingly kicking off a chain of events that would see the song garner 40 million daily views on YouTube, 140 million cumulative streams on Spotify, and somewhere north of 2 billion views on TikTok.
Quite an achievement for a song Julian says he originally released online for free and then forgot about.
“I initially heard Past Lives through an advert for iPhone X,” he recalls. “They did a campaign where they use just the intro vocoder part.” That minimalist rendition of BØRNS’ mega hit left Julian feeling inspired to make his own version. He eventually uploaded the resulting track as a bootlegged remix during the pandemic, “as a kind of therapy.”
“I kind of went renegade, against my team’s wishes, and leaked the sapientdream music out there,” he admits. “But, it ended up being for the best because somehow, someway, it gained traction on all these platforms.”
Slushii. Image: Jennica Abrams
Crucially, Julian says that while he sampled BØRNS without permission, he uploaded his remix without any intention to monetise it. It was months later that he discovered the track had been monetised, just not by him.
“I started looking on Spotify and I saw that another artist had distributed my remix,” Julian recalls. “When it initially went viral, there were 200,000 unique videos of the song. I was scrolling through YouTube Shorts, and every two or three Shorts was my version of Past Lives.”
Julian was left with deeply conflicted emotions regarding the track’s viral success. On the one hand, his work was being heard and shared on a massive scale; on the other hand, there were worrying legal and ethical implications.
“At that point, I was very afraid,” he says. “I had initially released that remix for free during the pandemic, and then this guy went ahead and just ripped it off of YouTube and distributed it to Spotify; not only breaking BØRNS’ copyright, but also taking my intellectual property. So, it ended up being extra uncool.”
With his remix spreading like wildfire on streaming platforms and social media, Julian began the daunting task of reclaiming copyright over the song. Working with record label, Trap Nation, they began the slow process of matching all versions of the track across the internet and issuing takedown requests.
Slushii. Image: Jennica Abrams
However, that was only the first step. The original bootlegged upload had featured an unauthorised sample of BØRNS’ voice and to legally monetize the track, Julian and Trap Nation produced a new, official cover version of the song.
“I recorded the vocals myself,” he says. “I’ve always had a love for vocoders, so mimicking it only took about an hour while I was packing for a flight.”
After years seeing his remix attributed to other producers and monetized against his wishes, the new version has now been released under both the artist’s Slushii and sapientdream aliases. While the process leading up to this point has been an unusual and complex one, Julian says it has ultimately all been worth it: “I’m over the moon. I feel so vindicated that people can finally see it’s by me – for years, I’ve gone under the radar and it feels good to be appreciated.”
At the same time, Julian hasn’t lost sight of his remix’s origins as a bootleg and has no plans to fight if the song’s original composer comes knocking: “For me, it’s never really been about monetary gain. If Interscope Records comes to us tomorrow and says ‘we want all of the money that you’re getting from the version with BØRNS vocals’ then that’s cool. I’m just happy that the song was able to have a second life.”
Slushii. Image: Jennica Abrams
While Past Lives was released under both of his artistic aliases, moving forward, Julian says he now sees a much firmer line separating the sapientdream and Slushii projects.
“Now, I’m able to differentiate what’s going to be a Slushii song and what’s going to be sapientdream song. Before, it was like playing with a new can of paint – but now I can actually mix the colours.
Fans won’t have to wait long to hear those new colours, as Julian says a new sapientdream album – his fourth – is nearly completed. In addition to that, Julian is currently in the process of founding his own record label – Sonic Dream. “I want to use it as a platform,” he says. “Not only to release my music, but to sign people who are musically like-minded and to create our own wave.”
Moreover, Julian says the label is part of a larger desire to pass along information, pay forward his own success, and nurture young talent. “I understand my role in the scene now, and I’m beginning to find my tribe of producers. I think once the seed is planted, and you bloom, then it’s your responsibility to keep it going for the next generation; I don’t believe in gatekeeping, I believe there’s really room at the top for everybody.”
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Say hello to SpatialAI, the world’s first spatial AI mastering solutionAI mastering platform Masterchannel has launched SpatialAI, a new tool that specialises in mastering immersive music to be used on spatial audio systems.

READ MORE: Bose introduces QuietComfort Ultra headphones and earbuds with spatial audio

SpatialAI, according to Masterchannel, is the world’s first spatial AI mastering solution, streamlining the creation and technical compliance of spatial audio projects, making them ready for distribution in a matter of minutes.
To use the tool, you upload your music file as an Audio Definition Model Broadcast Wave Format (ADM BWF) to Masterchannel. It will then process the file and return with an optimised track for streaming platforms, along with an individually optimised stereo version for traditional distribution.
The launch arrives just as the popularity of spatial audio on streaming platforms is booming. Apple Music recently disclosed that after just over a year since its introduction, over 80 per cent of its global subscribers have embraced spatial audio, leading to a 1,000 per cent surge in monthly listeners of the format in 2022.
“There’s a growing urgency for artists to deliver tracks in spatial audio, with the format being prioritised for streaming playlists,” Masterchannel CTO Simon Hestermann states in a press release. “However, until now it has been an elite technology. Producers have needed expensive equipment and add-ons to trust it, and engineers and their studios needed to be certified to attract business, making it prohibitively expensive and complex for many.”
“That’s why we launched SpatialAI, to democratise access to spatial audio. Now DIY artists have the opportunity to compete with major signed artists for listener attention. Our aim is to streamline the switch to spatial audio for artists of all kinds.”
To find out more, head to platform.masterchannel.ai.
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“Always record ideas on your phone. Whether they’re good or bad – decide that later”: Basement Jaxx’s Felix Buxton shares tips for aspiring producersOne-half of British electronic duo Basement Jaxx, Felix Buxton, has offered some production advice, both technical and psychological, to help music producers.

READ MORE: Touring in the US “not viable”, say The Chemical Brothers

During the first episode of the new OpenDAW Talks podcast, hosted by Lex Luca, Buxton advises listeners to find their flow in music production, “follow your heart”, listen to what resonates, and take creative energy seriously.
“Always record ideas on your phone,” he says. “That’s what I do. I did that this morning at about half two in the morning. Whether they’re good or bad – decide that later.”
He also talks about flow: “As producers our most divine experience on earth comes when we’re in a state of flow. So the key is to find that flow – that may come from singing, or playing an instrument, fiddling around with some buttons, building something with eggs boxes and tapping away on that – whatever gives you that feeling.”
The Good Luck producer goes on to highlight the importance of energy in the studio, recalling how he used to encourage singers to “make the sound of a cow”, or have collaborators “jump up and down on the spot” to shift the body chemistry and energy.

“Being very serious about energy when creating music is crucial. That’s your precious gold; respect it and respect all the people you work with.” He says.
Buxton also encourages producers to “live and infuse life into the music”, “don’t worry” and to quite simply “keep on going”.
“Keep going,” Buxton says, “even when it’s tempting to give up. If you’re struggling to finish a piece, share it with someone else.”
On the launch of the new OpenDAW Talks podcast, the host Alex Kenning, AKA Lex Luca, has said: “I’m incredibly excited to launch our new podcast series, and couldn’t have hoped for a better guest to kick things off with.
“I’ve wanted to do this podcast for a while, it’s been a brilliant experience to record and I’m really proud of what we’ve got lined up. OpenDAW Talks will add yet another resource to what OpenDAW offers budding music-makers.”
Subscribe and find more episodes via opendawtalks.com.
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Stability AI launches new text-to-music AI sound generatorStability AI – the company behind image generator Stable Diffusion – has announced the launch of Stable Audio, a new AI-powered text-to-music audio generator.
The new tool is Stability AI’s first foray into music and can generate high-quality music clips and sound effects of up to 90 seconds in length. It can also respond to detailed instructions on genre, instrumentation, mood, BPM and more.

READ MORE: Waves launches AI-powered mastering tool, Waves Online Mastering

Stable Audio was trained on a dataset of over 800,000 audio files from the stock music library AudioSparx. Stability AI says the new platform is “ideal for musicians seeking to create samples to use in their music”.
The examples they gave in a blog post of what the generator can do showed, for example, that it is capable of generating a music sample to any given BPM, something which previous AI music generators created by the likes of Meta and Google have so far not yet been capable of doing.
Stable Audio also has the advantage of being able to create structured musical ideas, thanks to it being trained to account for “audio file duration and start time” in addition to musical attributes like genre and instrumentation. This circumvents an issue many AI generators have had, whereby they have created random sections of a song that start or end in the middle of a phrase.
Stable Audio will generate audio samples of up to 20 seconds for free, while a paid version costing $11.99 a month will let users generate up to 500 tracks a month, each lasting up to 90 seconds.
“As the only independent, open and multimodal generative AI company, we are thrilled to use our expertise to develop a product in support of music creators,” said Emad Mostaque, CEO of Stability AI. “Our hope is that Stable Audio will empower music enthusiasts and creative professionals to generate new content with the help of AI, and we look forward to the endless innovations it will inspire.”
The post Stability AI launches new text-to-music AI sound generator appeared first on MusicTech.

Rupert Neve Designs unveil Master Bus Transformer Rupert Neve Designs' latest all-in-one processor combines EQ, compression and stereo width sections with the latest iteration of the their acclaimed Silk circuitry.

Streaming’s problems will not be fixed by royalties alone [Mark Mulligan, MIDiA]After Universal and Deezer’s royalty proposal made headlines, Mark Mulligan of consultancy MIDiA explained that much more needs to be considered to fix the over-arching problems troubling music streaming. by. Continue reading
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Waves Audio Introduces Online Mastering Service Waves Audio, the world’s leading developer of professional audio signal processing technologies and plugins, introduces the AI-powered Waves Online Mastering service, allowing users to get high-quality masters, quickly and easily. 

Waves has leveraged over 30 years of award-winning audio technology and expertise to offer an online mastering service that produces accurate, release-ready, custom-tailored masters for any uploaded track, guaranteeing exceptional sound quality. Waves Online Mastering will get your song’s quality on par with other songs on the market, ensuring that your tracks sound professionally mastered on any platform.  

This has been accomplished by integrating Waves Neural Networks® technology in an advanced AI mastering engine, along with invaluable input from top-tier mastering engineers. The result is a service that is unparalleled in the AI mastering space. 

Acclaimed mastering engineer Piper Payne (Dolly Parton, Janis Ian, Madame Gandhi, Corook, LeAnn Rimes), who has been part of the Waves Online Mastering development team, comments, “I got involved with this project intending to create a tool that would be as good as, or even better than, my own skills. We have modeled the processes and techniques I use daily, using advanced machine learning technology, and meticulously compared the sound to that of my own mastering chain, until we achieved the required level of excellence. We’re very proud to share this service with you: it provides such dependable masters, that often even I can't distinguish between them and my own mastering. It is intuitive and beneficial for any DIY producer/songwriter, professional mixing engineer, or music licenser.” 

Waves Online Mastering ensures high-end mastering results with maximum musicality. Whether you’re a seasoned producer or musician, or just starting out, you can now attain professional-sounding masters quickly and easily. You can personalize the result using the service’s Style and Tone customization options. You can also guide the service to your desired result, by uploading reference tracks whose sonic characteristics you wish the service to match. 

High-profile producers and engineers who have tested the service attest to its impressive results, high-end audio quality, and user-friendly workflow: 

Mixing engineer Tony Maserati (Beyoncé, Selena Gomez) says, after testing the service, “I’m thoroughly impressed with the various levels of treatment this service provides. From light-handed to more aggressive, there’s a setting that will help your track sit perfectly between whatever comes before and after it in a playlist.” 

Mixing engineer and producer Lu Diaz (DJ Khaled, Pitbull, Beyoncé, Jay Z) comments, "The sound quality and ease of use are fantastic. This service makes top-notch mastering accessible to everyone." 

Hip-hop producer and songwriter Knxwledge (Anderson .Paak, NxWorries, Kendrick Lamar) adds, “Waves Online Mastering is one of the cheat codes we've been waiting for. I’m getting high-quality masters, so fast.” 

Producer/engineer Mark Ralph (Clean Bandit, Years & Years) concurs: “The sound is impressive and accurate. This is great for a variety of genres, whether you need your masters to be subtle or more ‘pushed.’”

Mastering is essential to ensure your audio reaches its peak quality across all platforms, especially in today's landscape where music is consumed through a multitude of formats and devices. For producers and musicians ready to release their music, mastering is indispensable to achieve a professional result. Waves Online Mastering makes high-end professional affordable and immediately accessible to all.   

From Kendrick Lamar and Billie Eilish to Drake, Taylor Swift and Foo Fighters, Waves’ Technical GRAMMY®-winning audio technology has shaped countless hit recordings for decades. Now, Waves brings its technology and expertise to the world of AI-powered online mastering. 

To learn more about Waves Online Mastering, click here.

To access Waves Online Mastering, click here.