Dynastia Is A FREE OTT Clone By Outobugi
Outobugi releases Dynastia, a free OTT clone plugin with additional features. Outobugi is the new name for the plugin development scene. They’ve made their debut a blast by releasing three free plugins ready for your productions. These aren’t your typical bread-and-butter freebies, either, as they all feature a rather rich visualization feature set and slick [...]
View post: Dynastia Is A FREE OTT Clone By Outobugi

Seven Systems Trinity | Audio Mastering 3 Band Reference Based Audio Mastering. Trinity is an effective integrated mastering solution for digital music production enthusiasts & professionals, containing a set of precisely... Read More

Money Management For Musicians: Everything You Need To Know [Bobby Borg]Many independent musicians struggle to pay bills on time and build credit, and many others who blow up lose their fortunes within ten years. This is why all musicians need. Continue reading
The post Money Management For Musicians: Everything You Need To Know [Bobby Borg] appeared first on Hypebot.

How to build a brand as a musicianTo attract an audience to your music, you need to tell a story, and a deliberate approach to building your artist brand is key to doing it right. by Tony. Continue reading
The post How to build a brand as a musician appeared first on Hypebot.

Music fandom’s problem is TV’s opportunity Music fandom is approaching a crisis point. The good news is that because of streaming, more people are listening to more music than ever and more artists are releasing music than at any time in the past. But, while doing so, streaming has turned music into a ubiquitous commodity – a passive soundtrack to our daily routines. The biggest price paid for convenience has been the steady erosion of fandom. With music transformed into a raging torrent of new songs that live for a few minutes in a user’s playlist before giving way to the ‘up next’, music has become a song economy. In this song economy, the artist is a second-class citizen, forever feeding the streaming algorithm with new music in an effort not to be swept away.

Music fandom is fragmenting. Super fans are still present, but there are fewer of them. Most have become passive music consumers, acclimatised through a decade of streaming to background listening and desensitized to the deprioritising of fandom. Even half of music aficionados (those who spend the most time and money on music) are now listening to music in the background while doing other things. It is an inevitable trajectory for a model that offers so few ways for listeners to lean in and connect with an artist’s story. To some extent, this gaping hole in music fandom has been filled by TikTok, allowing the rise of new internet-centric scenes and a place for music fandom to thrive again.

However, with TikTok being used by less than a third of the UK population (and two thirds of those being under 35 years old), most consumers still face a fandom blackhole. It was not always this way. There used to be many more places where even the most casual of music fans could learn about new artists and connect with their story. Traditional platforms such as radio and TV used to play a crucial role in this, but radio listening continues to fall and music showcases have become few and far between. Yet, TV (and video streaming) may represent the missing piece in the fandom puzzle.

The promise of streaming was to democratise listening and do away with the human gatekeepers in favour of the algorithm. As streaming nears its peak, the veneer is beginning to wear off. This is so much so that 54% of consumers want music chosen by humans, not algorithms, while 38% of music streamers say they struggle to find music they like on streaming services. If they are struggling to find new music they like,  they are also struggling to find and connect with new artists. When the half-life of a song is the swipe of a finger, the distance between an artist and their potential fans is greater than it ever was. Artists and their labels are finding it harder than ever to even start an artist’s career, let alone sustain it. Instead, artists are stuck in a perpetual struggle to keep their head (just) above water long enough to breath, playing an energy sapping game in the hope that a few streams happen. Consumption is abundant, fandom is not.

The endless hustle of the song economy has forced labels into pursuing short-term marketing tactics aimed at creating hits, pulling them away from their true heartland: long-term artist brand building. Artist branding requires expertise in the first principles of marketing – creativity and integrated marketing communications – joined-up campaigns that build an artist’s ‘brand equity’ and set them up for longevity. Instead, everybody finds themselves stuck in the hamster wheel of chasing the latest trend. It is no surprise so many artists have expressed relief that they arrived on the music scene before the dominance of social media.

The heart of problem Is that streaming is about consumption, not artist-fan engagement. While Spotify’s recent vertical feed launch is a step in the right direction, it is just one (as of yet unproven) move by one music streaming service. Artist storytelling must happen elsewhere. TikTok may be the industry’s go-to, but its role is far from perfect. 64% of TikTok users rarely know what the music is in a video they are watching and just 19% go elsewhere to listen to music they discover on the app.

The problem is not even TikTok. It is the fact that TikTok’s young audience skew means that it is not even part of the equation for most consumers. While the 16% of TikTok users that discover music from viral trends (equating just to 6% of all consumers) is small, 37% of consumers say they discover new music through TV shows (which includes streaming TV shows). It is not all about scale, it is about reaching different parts of the population: twice as many over 35s discover music through TV shows than discover music on TikTok.

Sync has become a massively important part of the modern music business and the power connection that music can deliver in a TV show is loud and clear. Imagine how much more impactful TV could be if there were more showcases where audiences could meaningfully engage in artists’ stories, not just at the breakneck 15 seconds of fame pace of social media.

TV / video is one of the few places genuine cultural moments can still occur. Why does everyone talk about The Last of Us? Because TV and video streaming are some of the few media assets left that can create watercooler moments – times when people can come together and be part of something bigger. TV and video formats enable people to see beyond the song, to share in the story of the artist, and build a depth of fandom so rare in the streaming era. They can help develop artists into more than playlist-fodder. Artists that have a voice, a story to tell, and a fanbase, that are greater than three minutes of a streaming consumer’s day or 15 seconds of a social media user’s day.

If TV sync can have such an impact on music discovery, think about the impact of TV showcases. There is power in seeing artists perform their songs while conveying their musical skills, talent as performers, and having their personality and passion shown on their sleeve. With showcases becoming fewer and further between, audiences are craving what they have been missing. It is no coincidence that Eurovision is enjoying a renaissance. Consider the 2021 winners Maneskin. The rock bands’ success follows a long list of TV showcases and award shows supercharging artist careers, from The Beatles on the Ed Sullivan Show, through Adele at the 2015 Brits, to X Factor launching the career of One Direction (without whom of course we would not have Grammy award winning Harry Styles).

Indeed, X Factor is a key illustration of how TV showcase formats can build fame and fandom while encouraging audiences to become invested in artists’ success by making them part of the story. It is a model that social platforms since tried to adopt for audiences to feel that they understand the artist and their journey, rather than swiping past a vacuous post about what someone happens to be doing that particular day. Showcase formats show artists at both their most creative and most vulnerable. It is that vulnerability that allows audiences in, building the foundations for a relationship where fans feel like they are part of the story. Something that is near impossible to build at scale anywhere else.

Streaming is an amazing consumer proposition, and it will continue to evolve and get better at doing what it does, but its reason for existence is consumption. TikTok and Instagram do a good job of driving virality, but they exist for engagement. Streaming builds audiences and social builds followings. Sustainability has never been a bigger issue for artists and their labels. There is no single-shot cure for the mass of inter-connected challenges, but creating more places where artists can tell their stories at their pace is a central part of what must come next. Until social and streaming get better at it, TV and video streaming are the fandom opportunity waiting to be tapped.

MiMU Gliss Gliss turns your iOS device into an expressive, motion-based controller for music, designed to be connected to MiMU's desktop application Glover. Gliss wirelessly sends your... Read More

Analog Obsession Introduces FREE GrapHack Equalizer Plugin
Analog Obsession releases GrapHack, a freeware equalizer plugin for Windows and macOS. Clean EQs are a dime a dozen in the plugin market. Finding one that can impart a little mojo or saturation to a signal always is a bit of a treat. Analog Obsession hopes to rectify that somewhat with the introduction of GrapHack, [...]
View post: Analog Obsession Introduces FREE GrapHack Equalizer Plugin

MiMU The Jellyfish The Jellyfish is a live-input granular synthesis engine. The Jellyfish allows musicians to live-record their voice or instruments and to re-purpose that audio using to create drones, soundscapes... Read More

Email Marketing 101: 15 common mistakes most musicians are makingEmail marketing is still proving to be a crucial part of promoting music, so it’s important that you get it right. If it hasn’t worked out for you, here are. Continue reading
The post Email Marketing 101: 15 common mistakes most musicians are making appeared first on Hypebot.

T-RackS Vintage Compressor Model 670 Is FREE With A Survey
IK Multimedia offers the T-RackS Vintage Compressor Model 670 plugin as a FREE download for a limited time. Complete the survey to get the plugin for free. T-RackS Vintage Compressor Model 670 emulates the Fairchild 670 broadcast hardware compressor. The hardware 670 is a legendary tube stereo compressor, used in countless classic records, including Pink [...]
View post: T-RackS Vintage Compressor Model 670 Is FREE With A Survey

‘Yes, AI is the future of music – but not in the way you’d think.’The following op-ed comes from Oleg Stavitsky, CEO of AI-powered sound app Endel
Source

Telegram launches payments in USDT using the TRON network along with BTC and Toncoin.
#Telegram #crypto #Blockchain

OpenAI unleashes GPT-4, SVB files for bankruptcy, and a PE firm acquires PornhubWelcome to Week in Review, folks, TechCrunch’s regular recap of the week in tech. GPT-4, OpenAI’s text- and image-understanding AI, might’ve dominated the headlines over the past few days. But fresh drama around Silicon Valley Bank’s collapse emerged as well.
We cover all that and more in this edition, so grab a coffee and settle in.
Quick note, TechCrunch Early Stage 2023 is fast approaching. It’ll be in Boston on April 20 and will feature three concurrent tracks of founder-forward workshops, case studies and deep dives with experts in tech entrepreneurship. Further down the line, mark your calendar for TechCrunch Disrupt 2023, which will take place in San Francisco on September 19– 21. As always, it’ll be jampacked with roundtables, firesides, Q&As and showcases from luminaries in their fields. You won’t want to miss it.
Now, on to the news.
most read
OpenAI debuts GPT-4: After much anticipation, OpenAI, the AI startup with major backing from Microsoft, has released a powerful new AI model called GPT-4. GPT-4 can generate text and accept image and text inputs — an improvement over its predecessor, which only accepted text — and performs at “human level” on various benchmarks. But GPT-4 isn’t perfect. Like most other generative text AI, the model “hallucinates” facts and makes reasoning errors — sometimes with great confidence.
Microsoft goes all-in on AI: Leveraging the latest tech from OpenAI, including GPT-4, Microsoft launched new AI-powered features across its suite of productivity tools under the brand Copilot. Copilot handles different tasks depending on the app in which it’s used. For example, in Word, Copilot writes, edits, summarizes and generates text; in PowerPoint and Excel, Copilot turns natural language commands into designed presentations and data visualizations; and in Power Apps, Copilot helps refine ideas for low-code software.
SVB files for bankruptcy: One week after trading was halted for SVB Financial and after regulators took control of the holding company for Silicon Valley Bank and other subsidiaries, SVB Financial has taken the next inevitable step. On Friday, the bank announced that it has formally filed for Chapter 11 bankruptcy protection in the U.S. Bankruptcy Court for the Southern District of New York. This will mean that SVB Financial can apply — and plans to apply — to the courts to resume activities while finding buyers for its assets, which include going ahead with its plan to sell off SVB Securities and SVB Capital.
Google Glass bids farewell: Google Glass, Google’s misunderstood bit of AR tech, is no more. Google announced this week that it would stop selling the last incarnation of Glass, Glass Enterprise Edition, on March 15 (but continue to support existing customers until September 15). Readers will recall that Glass, which celebrated its tenth anniversary last month, never quite managed to gain traction, becoming the subject of ridicule and parodies even after a pivot in focus from consumer to enterprise.
YouTube TV gets pricey: In a move sure to irk cord cutters, YouTube has announced that it’s raising the price of its YouTube TV subscription to $72.99 per month — an $8 increase from the current $64.99 monthly fee. The Google-owned company blames a rise in “content costs” for the change. (Perhaps not coincidentally, YouTube TV recently announced a streaming deal with NFL Sunday Ticket, which is reportedly worth $2 billion per season.)
Via acquires Citymapper: Transportation startup Via, which recently raised $110 million at a $3.5 billion valuation, has snatched up Citymapper, the London startup that produces the popular urban mapping app of the same name. Originally making a name for itself as an alternative to apps like Google Maps for consumers planning journeys in metropolitan areas using public transportation, Citymapper arguably never really managed to capitalize on its momentum and early promise.
Baidu’s ChatGPT rival flails: In other AI news this week, Ernie Bot, Chinese search giant Baidu’s answer to ChatGPT, underwhelmed. TechCrunch wasn’t able to try it, but industry observers inside and outside China pointed to the fact that rather than showcasing Ernie through a live demo, Baidu opted for a lengthy presentation with pre-recordings of Ernie’s answers. The company’s shares slumped as much as 10% in Hong Kong following Li’s presentation.
Pornhub meets private equity: MindGeek — owner of several adult entertainment sites, including Pornhub, Brazzers and Redtube — was acquired by a Canadian private equity firm, Ethical Capital Partners (ECP). The acquisition follows a rocky few years for the porn giant. MindGeek’s CEO Feras Antoon and COO David Tassillo both departed from the company in June 2022. MindGeek also is currently in the midst of multiple lawsuits that allege it has knowingly profited off of child sexual abuse material.
Dish customers in the dark: Dish customers are still looking for answers two weeks after the U.S. satellite television giant was hit by a ransomware attack. In a public filing published on February 28, Dish confirmed that ransomware was to blame for an ongoing outage and warned that hackers exfiltrated data, which “may” include customers’ personal information, from its systems. But Dish hasn’t provided a substantive update since, despite customers continuing to experience issues — and not knowing if their personal data is at risk.
audio
TechCrunch’s stable of quality podcasts grows by the hour. (Rejoice, those with long commutes.) This week on Equity, Alex and Natasha discussed the M&A spree that captured Qualtrics, Cvent, and Mint Mobile, as well as what’s followed the SVB collapse, GPT-4 and why Y Combinator is scaling back from late stage. Over at Found, meanwhile, Amanda and Darrell spoke with Teddy Solomon, the co-founder of Fizz, a social media app aimed at college students focusing on building community on campus. The interview touched on what Gen Z is looking for in their social media, how to thoroughly moderate a platform like Fizz and how this kind of community building could go far beyond colleges.
TechCrunch+

TC+ subscribers get access to in-depth commentary, analysis and surveys — which you know if you’re already a subscriber. If you’re not, consider signing up. Here are a few highlights from this week:

Rethinking points of failure: Natasha M writes about how, in light of the SVB collapse, perhaps founders should rethink entrusting a single person to lead their business to success. She polled a number of early-stage founders who are building companies that have raised a Series A or less to understand how they think about succession. The consensus is that it’s not top of mind, or even top of the list, in a world where founders are more focused on runway, product-market fit and growth.
Strange things afoot at Unearthly Materials: Tim reports on Unearthly Materials, a startup that claimed to have big-name investors behind its tech that could lead to a superconductor breakthrough. But as it turns out, those investors weren’t all on board, especially given Unearthly Materials’ questionable record.
Good news for software companies: Depressed from this week in news? Alex writes that it isn’t all doom and gloom. Some software companies are performing quite well during the wider tech industry crash — at least, if their earnings reports are anything to go by.
OpenAI unleashes GPT-4, SVB files for bankruptcy, and a PE firm acquires Pornhub by Kyle Wiggers originally published on TechCrunch

Dolby Atmos Renderer application released Dolby's latest software release combines the features of their Dolby Atmos Production Suite and Dolby Atmos Mastering Suite tools into a single all-in-one solution.

Apply to AES Educational Foundation 2023 Scholarships and GrantsThe Audio Engineering Society, celebrating “75 Years of Audio Innovation” in 2023, has announced details on this year’s AES Educational Foundation scholarships and grants. Applications for the annual AESEF Graduate Studies Grants and Mary Lea Simpson Memorial Scholarship for undergraduate studies are open to AES Student Members through May 15, 2023.

Since its establishment in 1984, the Foundation has awarded grants for graduate studies to hundreds of exceptional applicants, many of whom have gone on to prominent and successful careers in the audio engineering industry.

Graduate Studies Scholarships:Grants, including the named Scholarships, are awarded annually for exemplary students dedicated to the art and science of audio engineering. The AESEF Scholarship Committee selects the recipients of the memorial scholarships based on which student best meets the criteria for each named scholarship. Genelec Mike Chafee Audio Pioneering ScholarshipThis scholarship encourages passionate and outstanding women to continue their audio education while paying tribute to noted long-time Genelec manufacturer’s representative, audiophile, sound designer, acoustician, audio evangelist and supporter of women in audio, Michael Chafee. Chafee had been involved with Genelec since 1996 and is credited with being an early pioneer and key influencer in promoting the concept of Active Monitoring technology to the market.Dolby Institute ScholarshipThe Dolby Institute has partnered with AES to award the Dolby Institute Scholarship, open to international graduate students with an interest in content creation and the study of the science of sight and sound.

The John Eargle AwardThis award honors AES Past-President and Fellow, John Eargle, who authored several seminal textbooks on audio, as well as engineering more than 250 albums, and was posthumously awarded a Technical GRAMMY® Award in 2008. The scholarship is given annually to a student who excels in both technology and music.

L-Acoustics Dr. Christian Heil Future of Sound Scholarship This scholarship awards recipients who demonstrate curiosity and dedication to shaping the future of sound, including approaches that may question conventions or call upon bodies of scientific knowledge outside of the realm of audio. Students having pursued an undergraduate course of study in an area other than audio are encouraged to apply in the interest of enriching cross-disciplinary thinking and exchanges to further the state of the art.

Advancing Audio – The Tom Kite ScholarshipThis scholarship honors Kite’s legacy of dedication to engineering excellence in audio and audio measurement, as well as his achievements within the AES and as Vice President of Engineering of Audio Precision, the scholarship’s sponsor. It is offered to students who demonstrate creativity and imagination.

Genelec Dr. Ilpo Martikainen Audio Visionary ScholarshipCoinciding with its 40th anniversary in 2018, Genelec announced the creation of a scholarship honoring its innovative and entrepreneurial founder. The Genelec Dr. Ilpo Martikainen Audio Visionary Scholarship is offered annually to U.S. graduate students in the field of audio engineering who are members of the Audio Engineering Society and have a passion for advancing audio through innovation and technology development.

Garry Margolis ScholarshipAESEF’s latest scholarship has been established in honor of Garry Margolis, who passed in December 2022. Garry was a Life Fellow of the Audio Engineering Society, served as AES President and Treasurer, and was a member of the AES Board of Governors for many years. He was awarded the AES Distinguished Service Medal Award in 2019. Professionally, Garry worked for several leading audio companies in marketing, sales and as a technologist and consultant in the areas of audio, video and digital cinema. 

The Emil Torick Award This scholarship, awarded annually to an outstanding student with exceptional career goals, honors the former long-term AES Foundation President and founding member, Emil Torick. Torick held 16 patents and authored more than 60 technical publications. He served on the National Radio Systems Committee and was a member of the U.S. delegation to the International Radio Consultative Committee in Geneva.

Undergraduate Studies Scholarship:The Mary Lea Simpson Memorial ScholarshipThis scholarship covering full tuition for final year of studies is being offered to an undergraduate student entering senior year at a North American college or university Audio Engineering/Recording Arts Program. The scholarship honors Mary Lea Simpson, who was a graduate of the Audio Production Program at New England Institute of Art.

Historically, grants have been made possible by contributions from AES, Audio Precision, Dolby, Genelec, Harman International, JBL, L-Acoustics, the estate of John K. Hilliard, and the Mix Foundation for Excellence in Audio; the families of John Eargle, Mary Lea Simpson, David Smith, Emil Torick; and the family and friends of Larry Estrin, Don and Fran Pearson, and Bruce Swedien. The AES Educational Foundation also receives support from other benefactors such as in-memoriam donors and individuals and companies that support education in audio. 

Application forms and additional information online in the AES Educational Foundation web pages.