Dear Reality introduces dearVR SPATIAL CONNECT to Cubase 12 for extended Dolby Atmos capabilitiesDear Reality has introduced its dearVR SPATIAL CONNECT mixing controller to Steinberg’s Cubase 12 for improved Dolby Atmos capabilities.
The virtual reality-lead music brand says it “streamlines spatial audio productions” and “enables extensive in-headset control of the most-used DAW functions and the dearVR PRO spatializer plugin.”

READ MORE: 50-metre hologram of Fatboy Slim plays surprise set above Alexandra Palace

In case you aren’t already familiar, the dearVR SPATIAL CONNECT utilises gesture control in a virtual 360 degrees environment for music production. In combination with Dear Reality’s dearVR MONITOR headphone monitoring plugin for multi-channel speaker setups, Cubase users can now bring their spatial productions up a notch.
Users can simply link a VR headset like the Meta Quest or HTC Vive with their DAW, to position and automate audio tracks in the virtual space by pointing at them with two handheld controllers. Users have direct VR access to the position, channel volume, solo and mute, and the automation status.
Additionally, dearVR SPATIAL CONNECT provides overlay modules for extended navigation and control in the VR headset. There’s a main control module for direct control of Cubase 12’s transport functions, a metre bridge module which brings the traditional mixing console to the VR world, and a  “minimap” module to provide a comprehensive overview of all audio sources in the scene.

“With the latest dearVR SPATIAL CONNECT update, we make our VR mixing solution available to a wide range of music producers mixing Dolby Atmos in Cubase 12,” says Dear Reality co-founder, Christian Sander.
“This combination enables them to experience a revolutionary way of working with spatial audio. By optionally adding our dearVR PRO spatializer and the dearVR MONITOR virtual headphone mix room, engineers benefit from a complete spatial audio ecosystem where they can spatialize, control, and monitor spatial audio sessions.”
The dearVR SPATIAL CONNECT is on sale now for a lower price of £219 (as opposed to £409).
Find out more via Dear Reality.
The post Dear Reality introduces dearVR SPATIAL CONNECT to Cubase 12 for extended Dolby Atmos capabilities appeared first on MusicTech.

Cacophony Is An Open-Source MIDI Sequencer By Subaltern Games
Subaltern Games has released an open-source MIDI sequencer called Cacophony, and it’s free if you want to compile the program for yourself. The developer wanted its strength to be its minimalist and ergonomic design, which is why the software looks like an old video game and has a strong tracker influence. It’s minimalist because it [...]
View post: Cacophony Is An Open-Source MIDI Sequencer By Subaltern Games

Exoverb Micro By Dear Reality Is FREE For A Limited Time
Dear Reality offers the Exoverb Micro (€25 value) realistic reverb plugin as a free download to its email subscribers (including new signups) for a limited time. Exoverb Micro is a compact reverb plugin that emulates realistic spaces in your DAW. Because of this, the plugin is more suitable for use as a reverb for mixing [...]
View post: Exoverb Micro By Dear Reality Is FREE For A Limited Time

Over 200 GrimesAI records now available for content creators to use on any platformGrimes and CreateSafe have teamed up with music technology platform Slip.stream to make over 200 GrimesAI songs available for use by content creators on any platform.

READ MORE: Tony Visconti walks out of Rolling Stones’ secret show early blaming Questlove’s DJ set – Questlove responds

Earlier this year, the singer rolled out Elf.Tech, an AI software that allows users to mimic her voice in any song of their choosing. Powered by CreateSafe’s Triniti API, the platform enables artists to distribute their new creations to DSPs like Spotify, Apple, Tidal, and others. Over 1000 songs have been created since its launch.
Of the new collaboration, CreateSafe co-founder and CEO Daouda Leonard says, “Central to the mission of Grimes and CreateSafe is empowering artists with the means to not only conceive and collaborate on their creations but also to share them with a global audience.”
“Through our partnership with Slip.stream, creators will now have the unique opportunity to enhance their videos with GrimesAI music, opening up new horizons for artistic expression. Simultaneously, musicians will gain access to the burgeoning creator economy at an unprecedented scale via Slip.Stream.”
Jesse Korwin, CMO and co-founder at Slip.stream adds, “We’re beyond excited to be collaborating with a groundbreaking visionary like Grimes. At Slip.stream, our mission is to change the music industry by breaking down barriers and enabling creators and musicians to elevate their creativity by bringing them together. This partnership is a big step forward in that endeavour.”
Known for her support of artificial intelligence and its intersection with music, Grimes has previously spoken about where she thinks the technology is headed, saying: “I do think AI is gonna be the next thing.”
“I have a lot of opinions about how it should be pursued,” she told Wired. “So another reason I’m here [in San Francisco] is that I’m trying to meet with all the people making generative AI music to try to convince them to do things in ways that are safe for the human psyche.”
To create a GrimesAI track, head to elf.tech.
The post Over 200 GrimesAI records now available for content creators to use on any platform appeared first on MusicTech.

Chart data collection change will under-report physical sales by 95%, say indie music storesIndie music stores and labels are sounding the alarm over plans by Luminate, the music data provider for the Billboard charts, to change how it calculates physical sales at independent. Continue reading
The post Chart data collection change will under-report physical sales by 95%, say indie music stores appeared first on Hypebot.

What is a DAW (and how do I choose one)?
We take a look at what a DAW (digital audio workstation) is, explore their rich history, and discuss how to choose one that's right for you.

Games need decentralized randomness to be fairDoes your RNG have sufficient randomness? Is it secure against tampering? Is it decentralized? These qualities are critical to building a viable metaverse.

Charlatan3 FREE Virtual Analog Synth Is In Public Beta!
BlauKraut Engineering has announced the beta version of Charlatan 3.0, a freeware softsynth classic and one of the best released over the years available for Windows and Linux users. It has been redesigned from the ground up to better meet the needs of today’s productions. The original Charlatan is still one of our favorite free [...]
View post: Charlatan3 FREE Virtual Analog Synth Is In Public Beta!

The latest version of Reaper is now available with new features and bug fixesUS-based digital audio brand Cockos has announced the newest update to its Reaper DAW, including a range of new features and fixes.
Reaper 7.001 landed just earlier this week (16 October), and a huge changelog has been made available online listing all of the adjustments made to the software.

READ MORE: Universal launches claims-free music and sound effects subscription service for content creators

As also summed up by Sound On Sound, Reaper 7 most notably now has a Track Lanes feature, which allows users to manage and organise alternative versions or takes of their in-progress piece. Using a new Swipe Comping tool, you can also quickly create composite takes by selecting parts from multiple versions of your track, and you can also run A/B comparisons with just one click.
Reaper users can also store and recall self-contained FX chains, even with complex routing configurations, and apply parallel routing to multiple plugins and FX Containers. Track channel and MIDI In/Out counts have been increased, with tracks now supporting up to 128 channels.
MIDI routing is able to handle up to 128 buses, and there are no restrictions on the number of tracks, send/receive paths, FX and ReScripts you can use. Other key features include:

V6 option for overlapping recording to create new media items is replaced by option to add lanes, but playback behaviour is identical to V6
Supports adding lanes by dragging media to a hashed ‘parking area’, automatically removing empty lanes
Supports naming individual lanes, resizing lane name area
Supports reordering fixed lanes by dragging lane buttons up/down
Displays media item volume knob, FX button, mute button by default
Enables preference to record media, copy imported media to project media directory by default
MIDI editor defaults to one editor per project

The update is free to those with a licence. View the full list of changes and find out more via Reaper.
The post The latest version of Reaper is now available with new features and bug fixes appeared first on MusicTech.

Hello,
My new music called "Electro House"
It will be released on October 20 at 07:00 PM UK time. Please pre-save my music from the link below!

Analog Obsession Releases FREE Rare Bundle Of EQ Plugins
Analog Obsession’s Rare Bundle vintage EQ plugins are available for FREE download. Analog Obsession is undoubtedly one of the most trusted names in audio freeware. The ever-popular developer made all Analog Obsession plugins available for free a few years ago and released a few notable freebies in 2023, including UREQ and KolinMB. KolinMB is the [...]
View post: Analog Obsession Releases FREE Rare Bundle Of EQ Plugins

Sonicware update SmplTrek firmware The latest SmplTrek firmware introduces new features such as a Performance mode and loop playback support, as well as numerous improvements and bug fixes.

Post your High score here to get Rewards in PMCs! 🎮

Ardour 8.0 Released, What’s New?
Free and open-source digital audio workstation Ardour is updated to version 8.0, including several new features and improvements. Fans of the free and open-source digital audio workstation Ardour have plenty to celebrate this week! October 8th marks the release of Ardour 8, and the new version brings a bevy of interesting and useful features to [...]
View post: Ardour 8.0 Released, What’s New?

“We went into the darkness looking for something”: Pharrell recalls studio sessions with Daft PunkIn a new interview, Pharrell reveals how studio sessions with Daft Punk opened his eyes to the magic that comes from doing things “over and over and over and over again”.

READ MORE: AI-powered loop stacking tool Splice Create has been revamped

Speaking on episode six of Daft Punk’s Memory Tapes documentary series, the musician shares some of his takeaways from working with the legendary duo on their final album, Random Access Memories.
“I’ve always been like ‘okay I’m gonna go in there and once it feels good to me that’s it.’ But it’s really not, that’s just the beginning,” says Pharrell, who co-wrote and featured on the tracks Get Lucky and Lose Yourself to Dance.

“I’ve never went in there to perfect it and he continued to push me. So it might have been written, but he’s like ‘Okay now record it again. Okay cool. Now record it again. Okay cool take this again. Okay cool stack this again. Okay do it again, do it again, do it again.’”
“It was like over and over and over and over again which is the right way to do it, right? You get all the knots out and for me that’s what I learned in working with the robots,” he says.
“Now I understand the value of just taking the time to iron it out – that it could be perfection. That’s the difference between a human and a robot.”
Describing his songwriting process with Daft Punk as “all feeling”, Pharrell says: “We went into the darkness looking for something.”
“Working with them is just very magical because I feel like we all see music the same way. We saw music as just like, gift that was given to us to connect with people and set people free and liberate people.”

Also in the chat, Pharrell recalls how the band surprised him by using his recorded vocals on the final versions of Get Lucky and Lose Yourself To Dance.
“I didn’t know who was gonna end up singing it. I left the studio thinking, ‘Okay, can’t wait to see who sings and what it sounds like,” he said. “I didn’t hear it for a year, so I forgot what the song sounded like – both of them.”
The post “We went into the darkness looking for something”: Pharrell recalls studio sessions with Daft Punk appeared first on MusicTech.