Jin of BTS is the latest artist to launch an interactive hub on TikTok to promote new solo album, ‘Happy’TikTok has partnered with K-Pop superstar Jin on a new multimedia campaign in support of his first solo album, Happy,
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Iblis Alexander - El Día En Que Te Vi (Remastered 2024) 😈
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“DJs need to play for free every now and again”: Laurence Guy on how the live music sector could “bounce back quicker”Laurence Guy has discussed the nightlife industry’s current decline, and says that DJs taking on smaller gigs for a smaller fee, perhaps even free, could help the industry “bounce back”.
It’s no secret live music is struggling. Massive events like Coachella are having trouble selling tickets, and just last week, the government’s Autumn Budget is putting 350 grassroots music venues in danger of closing.
READ MORE: “It always starts with the sample”: Laurence Guy is connecting listeners to loops in more meaningful ways than ever
“We’re not in a boom time,” Guy says. “A lot of small venues are still closing. Really, [DJs] just need to play smaller venues for lower fees, and play big festivals for big fees, and yes, for free every now and again,” Guy says in MusicTech’s digital cover feature.
Guy is currently in the midst of a North American tour, and as he DJs impressive venues like The Midway in San Francisco and The Hollywood Theater in Vancouver, he is also finding time for smaller sets. For his stop in San Diego, he even DJ’d at a fan’s house.
According to Guy, playing in these non-traditional spaces without an expectation of a fee leads to new fans who will come out and buy a ticket next time.
“In my opinion,” Guy says. “It’s quite easy for DJs to do that. You can go and play a small club the day after playing a big club. Little things like that keep stuff going, and I think if more people were doing it then we could bounce back quicker.”
He adds that smaller venue performances can also establish a deeper connection with fans: “Sometimes I’ll go play at a dive bar alongside the main set. You get to meet people that are really interested in the music and make a direct connection… “Someone passed me a note saying one track had helped get them through a certain time in their life.”
Guy was one of the many DJs—along with Disclosure, Nia Archives, and Fred Again..—who helped the UK hospitality sector bounce back after COVID by playing a series of pub sets. His favourite is The White Hart in Stoke Newington, and he assures he will play more sets there in 2025.
“You meet loads of people, you can play new music, and it’s just fun to DJ in a pub, you know? I want to be playing as many nights of the week as possible to as many people, or as few, as want to listen.”
Check out the full MusicTech cover feature to read about Guy’s impending album, his label Accidental Pieces, and more.
The post “DJs need to play for free every now and again”: Laurence Guy on how the live music sector could “bounce back quicker” appeared first on MusicTech.

Steinberg launch Cubase 14 The latest version of Steinberg’s popular music production platform has just arrived, kitting users out with a whole host of new features and enhancements.

Kits.AI removes ad encouraging producers to train custom AI vocal models using Splice samples — here’s why that mattersKits.AI has removed an Instagram ad that caused backlash among producers online. The Steve Aoki– and 3LAU-backed AI music platform that lets you “sing like anyone,” published a tutorial on how to use material from Splice sample packs to train their own vocal models and use the voice however they wish.
It demonstrates how to load the vocal sample into the Kits.AI engine, analyse the voice, and let you sing a completely different melody and lyrics with the original sample’s voice.
The problem? This stretches far beyond Splice’s policy and terms of use. But, more crucially, it could also set a dangerous precedent at a time when AI concerns are rife.
Shortly after we reached out to Kits.AI, the original video, created by producer Jacopo in partnership with Kits.AI, was removed. Why?
Well, in Splice Sounds Licensing FAQ, the company states that the limitations of a licensed sample mean you may not “use the name, image, or likeness of the artist or creator associated with a sound in any way without that artist’s express written permission (which you are solely responsible for obtaining).”

This video tells you just about everything you need to know about the majority of AI in music production right now. @kits_ai literally promoting Instagram ads telling you how to scrape @splice vocal packs without consent while proudly declaring themselves ethical leaders. pic.twitter.com/otjav5qr3w
— Benn Jordan (@bennjordan) October 31, 2024

So, a pretty big step is seemingly missing in Kits.AI’s step-by-step tutorial: write to the original vocal performer and ask for explicit permission to use their voice whichever you like. Otherwise, you could use this artist’s voice to spout slurs and profanities, sing opinions they don’t align with, and make money off their voice without giving them a dime.
In response to the ad, Splice told MusicTech: “We explicitly state in our Terms of Use that any training on our content is prohibited. We have previously shared this information with Kits.AI and they confirmed that they understand our guidelines. While AI brings new opportunities to our industry, we must continue to prioritize and protect the rights of creators.”
Okay, but hold on. Kits.AI isn’t the only AI vocal modelling platform out there. Voice-Swap even announced in September that you can create your own AI vocal trained on your material. What’s the difference?
In theory, not much. Voice-Swap, as an example, is partnered with BMAT, which has a database of 180 million ‘audio fingerprints’. This means that, for instance, if you tried to train a vocal model on a Taylor Swift acapella, the software would recognise the audio fingerprint and prevent you from using that voice — you don’t own a license or permission for it, so you can’t use it. But, as many vocalists on Splice samples may not be part of BMAT’s database, you can actually undertake the same vocal training process on Voice-Swap.
But the question is not ‘Can you do it?’, it’s ‘Should you do it?’
Producer, content creator and Voice-Swap creative director Benn Jordan spoke out about the ad on X, formerly Twitter. “This video tells you just about everything you need to know about the majority of AI in music production right now…@kits_ai literally promoting Instagram ads telling you how to scrape @splice vocal packs without consent while proudly declaring themselves ethical leaders.”
Jordan is referencing Kits. AI’s ‘Essential Guide to Ethical AI in the Music Industry’. In it, the brand says: “Unlike the tools Drake used to allegedly steal Tupac’s voice, Kits.ai represents a gold standard in ethical AI within the music industry. The platform ensures all voices are legally cleared and verified. In fact, each voice is uploaded with the express consent and participation of the vocalists, who are compensated for their contributions. This model protects both Kits.ai and its users from potential legal issues and supports artists financially, promoting a sustainable ecosystem where technology enhances human creativity rather than exploits it.”
This Splice-ripping tutorial seems to undermine these principles. But, in fairness, Kits.AI has still taken steps in a positive direction since it started. A 2023 MusicRadar article shows a previous iteration of the platform, which lets users choose from a selection of celebrity voices, including Cristiano Ronaldo, Lionel Messi and even Homer Simpson. You can’t seem to do the same on the current version of Kits.AI — instead, you can choose from a range of presets such as Male UK Rap and Female Pop Disco.
Ultimately, it’s probably best just to let people speak and sing for themselves.
Kits.AI is yet to respond to MusicTech’s request for comment.
 
 
 
 
 
The post Kits.AI removes ad encouraging producers to train custom AI vocal models using Splice samples — here’s why that matters appeared first on MusicTech.

Thank You So Much! New Music Soon!

Studio Bridge: Multitrack recorder from Tascam Tascam's new Studio Bridge supports direct recording to an SDXC card, and also features a built-in 24-in/24-out USB audio interface for integration with a DAW. 

Understanding Music Publishing Rights: A Comprehensive GuideUnlock how to maximize earnings as an artist or songwriter with this guide to understanding music publishing rights. It breaks down everything you need to know to protect your work and profit from your creations.
The post Understanding Music Publishing Rights: A Comprehensive Guide appeared first on Hypebot.

Best FREE Linear-Phase EQ VST Plugins
This article covers the best free linear-phase EQ VST plugins for Windows and macOS. Linear-phase EQs are essential for achieving transparent equalization, especially in mastering. Unlike traditional EQs, a linear-phase equalizer preserves the phase of your audio, making it ideal for mastering and handling complex multi-mic recordings. While free linear-phase EQ plugins are hard to [...]
View post: Best FREE Linear-Phase EQ VST Plugins

Musician’s Guide to LiveStreamingIn this Musician's Guide to LiveStreaming discover how to livestream with proven strategies used by successful musicians. Learn how to grow a fanbase, maximize revenue, increase visibility, and take full control of your virtual success.
The post Musician’s Guide to LiveStreaming appeared first on Hypebot.

Splice is now in Studio One Pro 7
Splice is now integrated into Studio One Pro 7—discover how to search, filter, and audition Splice sounds, all synced to your project’s key and tempo.

“We didn’t get anything good”: Ninajirachi on her disappointing experience with AI music generatorsElectronic producer and artist Ninajirachi has opened up about her disappointing encounter with AI music generators in the studio.

READ MORE: “What’s interesting about this song is there’s actually very little going on”: Watch Jack Antonoff break down Sabrina Carpenter’s Please Please Please

Speaking to MusicTech, Nina says that the value of AI in music production lies in its ability to improve the “brain to page” flow, bridging the gap between abstract musical ideas and concrete expression.
And while AI music generators have become increasingly popular for their ability to create background tracks and assist in music composition, they often fall short in delivering the emotional depth that human musicians bring to their work.
“We were trying to give it the most obscure prompts, just to see what we could get out of it,” says Nina of her experience with the tool. “We didn’t get anything good.”
That said, like many other musicians, Ninajirachi hopes that AI will evolve into a tool that assists rather than replaces human creativity.
“My hope for AI is that it develops in a way that’s assistive for creators and is not replacing the creative work,” she says.
Elsewhere in the chat, Nina also shares her thoughts on the democratisation of music technology, noting the way artists can now make music that sound “fully professional” at a fraction of the cost.
“In the past, someone would have to spend 20 grand on a studio, an engineer and a mix person to create something that people would deem consumable,” she says. “When I was in high school, I was making songs on my laptop that sounded fully professional. With a computer, you can hypothetically make any sound. That’s so awesome.”
The post “We didn’t get anything good”: Ninajirachi on her disappointing experience with AI music generators appeared first on MusicTech.

Laufey: Gen-Z's Gateway to the Realm of JazzYoung artists including Icelandic-Chinese singer songwriter Laufey, English pop group Wasia Project, London-based singer/songwriter Ella Hohnen-Ford, and American Jazz singer Samara Joy, utilize their own personal fusions of contemporary jazz and pop to bridge the genre divide. We explore these musicians who are helping to introduce jazz-adjacent sounds to new audiences.

Acustica's Secret is out now Acustica released Secret, inspired by a rare, hand-built American console that became the iconic centrepiece of Crystal Sound Studios in Hollywood during the 1970s.

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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