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EigenLayer to begin 'slashing' restakers in AprilEigenLayer plans to start “slashing” restakers on April 17, resulting in the Ethereum restaking protocol’s “first feature-complete iteration,” it said in an April 2 announcement. Implementing slashing will mark EigenLayer’s final step toward establishing the protocol as “infrastructure for a new generation of verifiable apps and services built on the Verifiable Cloud,” it said in a post on the X platform.In 2024, EigenLayer started distributing rewards — including emissions of its native EIGEN token — to incentivize restakers. However, slashing has so far been limited to EigenLayer’s testnets.Once slashing is live, node operators and restakers will be able to voluntarily “opt-in,” resulting in a gradual transition for users, EigenLayer said in a blog post.Slashing starts on EigenLayer’s mainnet soon. Source: EigenLayerRelated: EigenLayer eyes consumer adoption post EIGEN unlock, founder saysGradual roll-outLaunched in 2023, EigenLayer secures third-party protocols — dubbed actively validated services (AVSs) — against a pool of “restaked” cryptocurrencies used as collateral. Restaking involves taking a token that has already been staked — posted as collateral with a validator in exchange for rewards — and using it to secure other protocols simultaneously. Slashing is the primary method for securing proof-of-stake protocols — including Ethereum as well as “restaking” protocols such as EigenLayer — and involves penalizing a network’s node operators for poor performance or misbehavior.“If Operators do not meet the conditions set, the AVS may penalize them. But, if the Operator runs the service successfully, AVSs can reward the Operator’s performance and incentivize specific activity,” EigenLayer said in an April 3 blog post. This “allows for a free marketplace where Operators can earn rewards for their work and AVSs can launch verifiable services,” the post said. EigenLayer’s total value locked (TVL) over time. Source: DeFILlamaGrowing ecosystemUpward of 30 AVSs are already live on EigenLayer’s mainnet, and dozens more are being developed.They include EigenDA — run by EigenLayer developer Eigen Labs — and ARPA Network, a protocol specializing in trustless randomization.In October, EigenLayer unlocked its native token, EIGEN. It is designed as a more flexible option for securing consensus-based protocols than other proof-of-stake tokens, such as Ether, according to EigenLayer.EigenLayer is prioritizing onboarding crypto-native apps in segments such as decentralized finance (DeFi) and gaming before expanding beyond Web3, founder Sreeram Kannan told Cointelegraph in October. “We’re starting with the inside-out approach, focusing on high-throughput consumer apps like DeFi and gaming, but once we grow a little bigger and have critical mass, we’ll go outside and start targeting broader consumer markets,” Kannan said.Magazine: XRP win leaves Ripple a ‘bad actor’ with no crypto legal precedent set
Amazon Kindle’s new feature uses AI to generate recaps for books in a seriesAmazon is introducing a new “Recaps” feature for Kindle users to help them recall plot points and character arcs before picking up the latest book in a series. While the company’s press release for the new feature doesn’t mention AI, Amazon confirmed to TechCrunch that recaps are AI-generated. “We use technology, including GenAI and Amazon […]
Live Music stocks dropped more than overall markets ThursdayOn a very bad day on Wall Street, most publicly traded major live music stocks dropped more than overall markets Thursday. Live Music stocks dropped more than overall markets On. Continue reading
The post Live Music stocks dropped more than overall markets Thursday appeared first on Hypebot.Teardown of a Scam Ultrasonic CleanerEveryone knows that ultrasonic cleaners are great, but not every device that’s marketed as an ultrasonic cleaner is necessarily such a device. In a recent video on the Cheap & Cheerful YouTube channel the difference is explored, starting with a teardown of a fake one. The first hint comes with the use of the description ‘Multifunction cleaner’ on the packaging, and the second in the form of it being powered by two AAA batteries.
Unsurprisingly, inside you find not the ultrasonic transducer that you’d expect to find in an actual ultrasonic cleaner, but rather a vibration motor. In the demonstration prior to the teardown you can see that although the device makes a similar annoying buzzing noise, it’s very different. Subsequently the video looks at a small ultrasonic cleaner and compares the two.
Among the obvious differences are that the ultrasonic cleaner is made out of metal and AC-powered, and does a much better job at cleaning things like rusty parts. The annoying thing is that although the cleaners with a vibration motor will also clean things, they rely on agitating the water in a far less aggressive way than the ultrasonic cleaner, so marketing them as something which they’re not is very unpleasant.
In the video the argument is also made that you do not want to clean PCBs with an ultrasonic cleaner, but we think that people here may have different views on that aspect.DPA MICS DELIVER PRISTINE SOUND FOR BAD BUNNYCarlitos Lopez conducting the Philharmonic Orchestra Project during Bad Bunny’s tour, which deployed DPA microphones on stage.Fans of Puerto Rican rapper and singer Bad Bunny can't fail to have noticed the impeccable work of producer Carlitos Lopez. The man born Carlos Fernando Lopez is a GRAMMY®- and Latin GRAMMY-winning producer, composer and conductor, who specializes in bridging the worlds of classical and popular music. Lopez co-produced Bad Bunny’s 2023 hit single “Nadie Sabe,” bringing a full orchestral accompaniment to the artist’s already-electrifying music. That symbiosis, the lush arrangements sitting comfortably alongside the contemporary edge, has been revelatory. Lopez recently toured with Bad Bunny across the U.S., Canada and Puerto Rico, conducting the Philharmonic Orchestra Project (POP), as it performed Bad Bunny’s songs. As a welcome bonus feature, POP also showcased a collection of Lopez’s original music compositions at the start of the shows.“Benito (Bad Bunny) loves all styles of music and decided to open his album with a classical sound,” says Lopez. “So, I wrote orchestral music for him to use with ‘Nadie Sabe’ and recorded with a full orchestra in Prague. Then, from that collaboration and while producing that song, Benito decided he wanted to take a full orchestra on tour and asked me to conduct. He also requested new orchestral pieces to open the show, which I turned around in just a few days.”A statement reveals that Lopez is, "a native of Colombia [who] has been inspired by music his entire life, following in the footsteps of his opera singer grandfather, who ignited the passion. Whether in the studio or on the stage, Lopez continually strives to ensure his productions are top-of-class and insists on utilizing only the best gear to support his work. Included among Lopez’s preferred solutions is DPA Microphones, which he deployed for both his studio and live orchestral projects with Bad Bunny."“We had a team of 12 engineers working on the tour, and from the very start I asked to have input on the microphones we would use,” says Lopez. “I had used a selection of DPA mics in the studio, when we recorded the orchestra, and I knew that I wanted to deliver the same sound to live audiences. The orchestra we recorded in the studio was much larger than the one we used on tour because the stage was smaller, so the mics played an important role in ensuring we didn’t lose the perception of a big ensemble.”For more about DPA Microphones, visit dpamicrophones.com.For more about Carlitos Lopez, visit carlitosmusic.com.The post DPA MICS DELIVER PRISTINE SOUND FOR BAD BUNNY first appeared on Music Connection Magazine.
Virharmonic Instant ViolinThe Instant Violin is a light version of our Bohemian Violin. It contains our renowned Virtual Performer technology including our vast array of multi Dynamic Legatos at a much lower price point. So what's the difference?: The instant is designed for playing melodic legato with no fuss. 3 Moods which change the play style and Virtual performer controlled performances. In the Instant Edition, articulations can only be selected by the Virtual Performer based on your play Style. Read More
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View post: Join the Softube Subscriber Club and get two FREE pluginsVictoria Canal Attracts Her Fans for The Right ReasonsThis week, Ari is joined by Victoria Canal to discuss the distinct pressures faced by indie vs. label-repped artists.
Spotify introduces new changes to its advertising model – could they impact artist payouts?Spotify has announced new changes for its advertising model, with new tools for creating ads and measuring their reach.
The changes arrive hot on the heels of its Loud & Clear annual royalty report, which revealed that from 2014 to 2024, Spotify’s yearly payouts to the music industry have increased 10x from $1 billion to over $10 billion. It also recorded its first full year of profitability at the end of Q4 last year.READ MORE: Qobuz is the first streaming platform to have its average payout per stream officially validated – this is its rate and how it achieves it
Spotify refers to its new changes as the “next stage of Spotify Advertising”. As part of these new advancements, it has introduced the Spotify Ad Exchange (SAX) – this means that for the first time, advertisers can access Spotify’s engaged and logged-in users via real-time auction, with full addressability and measurement capabilities.
Furthermore, the streaming platform has also upgraded its “self-serve” Spotify Ads Manager with new tools including enhanced targeting and measurement capabilities, and there are now new ways for advertisers to create with Spotify using its Creative Lab and AUX (its music consultancy agency), plus its brand new Spotify Generative AI Ads tool – this can produce scripts and voiceovers, for example.
What does this mean for artists?
Spotify’s Global Head of Advertising, Lee Brown, says that Spotify Free users tune in to the platform for two hours each day. These are the listeners who hear these adverts. Although its new report doesn’t clearly outline how exactly these new advertising changes might affect artist payouts, it does report that its ad revenue has more than doubled since 2020.
As part of Spotify’s annual royalty report, it shared a video revealing how the money flows from its platform to artists and publishers, in which it said it pays rights holders roughly two thirds of every dollar it makes; this is from both users who pay for its premium tiers, and from advertisers on its free tier.Spotify has faced criticism of its payout model over the years, but it addresses this through what it called the “paradox” of the modern music industry. “Streaming has allowed millions to easily share their music globally – that’s an amazing thing. But the sheer volume of uploaders means the fraction who find success appears smaller over time,” it says.
“The fact remains: Thanks to streaming, more artists than ever before are generating royalties at every career stage. More than at any time in music history. And we think that’s what really matters.”
To find out more about Spotify’s advertising changes, you can read more via its Newsroom.
The post Spotify introduces new changes to its advertising model – could they impact artist payouts? appeared first on MusicTech.HYBE’s Joon Choi: ‘90% of Weverse traffic comes from regions outside of Korea. Most of our users are global superfans.’MBW speaks with Weverse President Joon Choi following the launch of its Spotify-powered 'Listening Party' streaming service
SourceOutput’s Co-Producer: the Future of Sample-Based Music Production?Ad feature with Output
Have you ever found yourself spending way too much time searching through sample libraries for the right sample? This could save you a lot of time.
Producers have an infinite number of inspiring sounds available and accessible to them at all times. The problem is finding what you need — and quickly. But what if someone had come up with a way to make this a thing of the past? And even better, with unlimited access to an ever-expanding library of royalty-free samples?
Built on Output’s legacy of software innovation and high-end sound design, Co-Producer is a simple yet incredibly powerful way to find and incorporate premium, musician-made samples that fit your track with just a couple of clicks.
Output Co-Producer. Image: Output
Running as a plug-in across the master bus of your DAW project, it analyses the harmony, rhythm and complexity of a section of your track and — with the help of your prompts — intelligently suggests compatible samples which you can then audition and drop directly into a song. Co-Producer was designed from the ground up to work in any DAW. Whether you’re deep in Ableton, Logic, FL Studio, or anything else, it adapts to your workflow, not the other way around.
“We built Co-Producer to address the real frustrations of music makers,” says Gregg Lehrman, founder and CEO of Output. “After talking with thousands of writers and producers, it was clear that endlessly scrolling for samples held back creativity. Artists want sounds that fit their track from the start, with the ability to preview them in context and drag-and-drop directly from within their DAW.”
To do this, Co-Producer uses a combination of state-of-the-art AI algorithms, but the developer is keen to point out that this plugin does not generate music for you. Instead, it simply helps you discover a vast range of samples that fit rhythmically and harmonically with your track, giving you creative choices to dial in your sound.
“We’re not using AI to generate audio — we’re using it to improve how music makers work. By combining language models, audio analysis and a scalable engine, we deliver high-quality, musician-made results that are 100% free and clear to use,” says Spencer Salazar, Output’s Head of R&D.
Output Co-Producer. Image: Output
And improve producers’ lives it does, with over 73% of searches returning results that people love – a number that will surely only increase as more people interact with the system. The workflow is incredibly simple. Just open the plugin, enter your song’s key and sample a few bars into Co-Producer with a click.
Then, tell the plugin what kind and style of sound you want – like chilled vocals or funky guitar, for example – and it will return a plethora of compatible results you can audition in context by clicking on them and listening as they play along with your track. When you find a sound you like, drag and drop it from Co-Producer into your DAW to have it added, all fully in sync. You can refine your search with more text input or search for similar sounds, again with just a couple of clicks.So, what about the sample library? Co-Producer gives you unlimited access to its entire royalty-free sample collection for just $9.99/month — no credit system, no hidden limits. Output called out that they are actively expanding the library across every genre and style, with new royalty-free samples every day and significant updates planned to be announced soon. This includes new samples created by Output’s renowned sound design team as well as incorporating samples from a small set of highly vetted partners from the world’s best libraries and sound designers that meet Output’s exceptional standards in sound quality.
And it doesn’t stop at sounds. Co-Producer has a series of planned feature updates in the coming months to bring new, smarter capabilities and an even tighter integration into your workflow. As music production evolves, Co-Producer promises to evolve with it.
In an age where musicians have almost too much choice when looking for sounds, Co-Producer solves a very real problem that can slow you down and stifle your creativity – that of cutting through thousands of samples to find exactly what will work for you, quickly and with no fuss. Best of all, since the library is stored online, it doesn’t require you to install huge files on your computer, and it’s constantly updated with new content — there will always be something new to find whenever you sit down to make music. Inspirational, efficient and easy to use, Co-Producer might just be the future of sample-based music production.
Try Output Co-Producer for free
The post Output’s Co-Producer: the Future of Sample-Based Music Production? appeared first on MusicTech.Here’s how to create your next track before you get homeAd feature with Splice.
Not everyone has access to a piano or guitar when inspiration strikes. And, while singing or humming fleeting melodic ideas into your phone while walking down the street is helpful, it’ll only get you so far.
What if you could record your ideas into an instrumental-builder app instead? Using Splice Mic, you can capture and expand your musical sparks wherever you are.
Here’s a track I made with Splice Mobile in one session:Building Stacks with Splice Mobile
One of the biggest challenges of writing with an instrument like a guitar or piano is conceptualising the groove and style of each song. You can easily find yourself with an endless string of ballads and sprawling ideas.
Using Splice’s mobile app, you don’t have to wait until a studio session to try and lock in an idea. You can layer drums, synths, guitar loops, and so much more in whichever key or tempo you want for your demos.Image: Splice
Head to the Stacks tab in Splice Mobile and tap on Create a New Stack, and you’re presented with a wide array of genres. This section is especially fun to work with when you don’t have a specific direction in mind.
Splice Stacks is like a roulette — you get a new set of loops each time you hit Refresh, with every combination offering a new style, key and tempo. Whether you keep refreshing until you find an appealing instrumental context, or start layering from scratch, is up to you. You can even flip each loop to hear it in a new genre.
Swipe right on each layer to shuffle, or left to delete it altogether. Tap on the layers you want to mute and unmute to audition other loops and samples from Splice’s vast library.
You can switch up your Stack with a variety of genres.
You can also start a Stack with a loop of your choice by tapping on the Add To Stack icon next to the loop. As you develop your idea, you can continue browsing Splice’s entire catalog and preview sounds alongside your Stack while it plays. Adjust the BPM and key, and Splice Mobile will update the samples you audition accordingly.
Recording with Splice Mic
You can record up to 60 seconds of audio with Splice Mic. Whether it’s vocals or a recorded instrument, the generated Stack will be automatically synced to your recording’s tempo. Once you’ve locked everything in, you have the option to change the BPM and key of your Stack, which will alter all elements — including your original recording.Once you’ve made your recording, you can adjust the start and end points, as well as the length of it. This feature makes harmonising vocals an easy and fun process. You’ll want to record with the built-in mic on your wireless earbuds, AirPods, or a USB microphone, for best results.
As you continue to layer other instruments and your own recordings, Splice’s AI-powered search engine can recommend samples for your Stack.
Since Splice Stacks can host up to 8 layers, you can customise your project based on what you’re in the mood for. For instance, if you choose a keys loop that contains some extra sounds, you’ll have more room for additional vocal layers in your Stack. The key to a productive session is to embrace such constraints to filter out the fillers that deter you from the course.Save and export
As soon as you land on a Stack that you’d like to revisit in the future, hit the Save button to view it on your phone or Splice Desktop App. Sharing your Stacks with your collaborators can be as easy as AirDropping or texting them from your phone. And, if you’re ready to explore your idea further in a DAW, the Splice App offers a ton of easy options. Export your Stack as an Ableton Live project, Studio One project, individual stems, or a single WAV file!For example, when you export your Stack as an Ableton Live project, you’ll find each layer in dedicated tracks in Session View. All the volume levels will be just as you left them in your Splice mobile app. From there, you can continue experimenting with various looping configurations or structure your song in Arrangement View.
If there’s an extra note that clashes with the rest of the arrangement, you can cut it out of the loop. With some audio effects processing, a loop can even become an indistinguishable part of your productions.
Arranging your Stacks into songs
The most practical way of infusing your loop arrangement with ebb and flow is to add or deduct layers in each section.
Maybe you start your song without drums and bass at first, so that you can use them to increase the impact of the chorus section later on.
Simple volume adjustments and effects automations, such as a sweeping low-pass filter, can also become effective tools to ease the listener into the song.
And don’t forget — the entire Splice catalogue is still at your disposal. Couldn’t find a bass loop that you liked? Open up Astra and play your own bass line. Want to spice up your drums? Sprinkle on a few reversed crash and impact samples.
To meld all the layers together, employ a few return channels for reverb and delay effects. That way, you can choose which layers should co-exist in a virtual space, making your mix sound more glued together. With some bus processing at the end, you may just have a solid demo in your hands that you can’t stop listening to.
Here’s how my first songwriting experiment with Splice Mic turned out.Download the Splice Mobile App for free
The post Here’s how to create your next track before you get home appeared first on MusicTech.Merch and Live Music poised to avoid spending slowdownEven before Trump's tariffs sent global markets into a tailspin, recent reports pointed to a slowdown at music streamers, record labels and many corners of the music industry. But a new survey shows music merch and live music poised to avoid the spending slowdown that now appears almost inevitable.
The post Merch and Live Music poised to avoid spending slowdown appeared first on Hypebot.Sala reverb plug-in from Fors The latest creation from independent developers Fors is said to be capable of turning even the smallest of sounds into a “wash of shimmering textures”.
Alan Meyerson Webinar recording now available If you missed the chance to check out the recent Mixing Dune: Part Two OST webinar with Alan Meyerson hosted by Sound Particles and Apogee, then you’re in luck, as it’s now available to watch on the SOS YouTube channel.
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