Voltage Lab 2 from Pittsburgh Modular Pittsburgh Modular have announced the upcoming launch of the long-awaited follow-up to their popular Voltage Research Laboratory instrument.

Inverted Minilogue XD heads up a trio of product announcements from Korg at Superbooth 2024Superbooth 2024: Korg has revealed three new products, including a limited-edition Minilogue XD synthesiser, now available in a dark and sophisticated version with inverted keyboard colours.
Also landing just in time for Superbooth is the ST1K Synthesiser Tuner plus a new Acoustic Synthesis Prototype from Korg Berlin – the Acoustic Synthesis_phase8 – which despite not being ready to launch just yet, is being shown at this year’s event.

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We’ll take a look at each one here, but let’s start with the well-loved Korg favourite and its exciting new makeover.
Korg Minilogue XD Inverted
Credit: Korg
All the same specifications of the usual Minilogue XD are on board here – a digital multi-engine, on-board effects, a powered-up sequencer, and micro tuning functionality – it’s just suited and booted in a new look. The inverted version is predominantly black with its flat and sharp keys now in a striking white colour. It’s not clear just how limited this new product is, but it’s set to retail for £599, a slightly higher price than its £549 Minilogue XD Standard sibling.
Take a closer look below:

ST1K Synth Tuner
Image: Korg
Korg says this new tool has been “designed with the unique needs of synth players in mind”, and describes it as compact and precise, offering high visibility so you can make sure your synth is “accurately tuned the way you want every time”.
The ST1K is a handheld, small device weighing just 83 grams. It has the capability of ultra-precise tuning to ±0.1 cents, and features a large CMD LCD display for a clear readout of your tuning status. It also includes a built-in high-sensitivity microphone, so you can also use it with a broader range of instruments.
It utilises three types of metre display mode, which can be selected to suit your preference. The metre has a 3D appearance, and in addition to the standard ‘Regular Mode’, there’s also a ‘Strobe Mode’ and ‘Half Strobe Mode’ to indicate pitch changes by the direction and speed of metre flow, “making it easy to see even the smallest errors”.
Acoustic Synthesis_phase8
Credit: Korg
This work-in-progress is an acoustic instrument that is part melodic synthesiser, and part drum machine. It has eight independent electromechanical voices, a sequencer with polyrhythmic shifting, plus waveshaping, tremolo and EG control.
It has replaceable and tunable resonators, and users can mute, pluck or interfere with these to sculpt the sound. At last year’s Superbooth, Korg showcased the Acoustic Synthesis_phase5 – this was a technical demonstration of Acoustic Synthesis as a technology, whereas this prototype sees the brand introducing that technology as a product.
At Superbooth 2024, the prototypes of Acoustic Synthesis_phase8 will all look different. Korg says this is because it wants to “celebrate the individuality and creativity in customising an instrument to make it yours”. It explains, “We encouraged all five developers to soup-up their prototypes as they please. Instruments are more cared for, last longer and more lovable when a part of you is imparted to them.”
If you fancy checking it out in person, you can do so at stand Z440 from 16-18 of May. Members of the Korg Berlin team will also be talking all things Acoustic Synthesis at a special Gesprächskonzert on 17 May at 5:50pm in the Auditorium.

For more information on any of the new releases, visit Korg.
The post Inverted Minilogue XD heads up a trio of product announcements from Korg at Superbooth 2024 appeared first on MusicTech.

7 music production techniques you can learn from Four Tet’s ‘Three’Kieran Hebden has been pushing the boundaries of electronic music production for more than two decades. In that time, he’s developed a unique style of drum production, among other distinct musical traits. Although clearly inspired by the big-room beats of genres like house, breaks and UK garage, his rhythms are less in-your-face and softer, designed to support the track’s main melody rather than carry the whole show on their own.

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This is particularly true on Hebden’s latest album as Four Tet, Three. Pared down to the essentials, the record mainly uses dance floor-inspired rhythms to buoy the harmonic content of the songs. Hebden employs some clever production tricks, from judicious sample selection to lo-fi processing to mix down techniques like EQ and volume.
Curious how he does it? Read on.
Here’s a finished beat in the style of Four Tet with added melodic content:

Sound selection
When putting together a Four Tet-style beat, start with a selection of drum sounds that complement the melodic elements of the track — or at least don’t distract from them. Four Tet favours sounds that trend towards the small. Think short kicks, snares, claps and hats without much low-end weight. He also avoids over-used samples from trendy machines like the TR-808 that clutter up big-room tracks. Whether taken from an analogue or digital source, go for something characterful instead of the same old sounds that even your Gran canes.
Feel free to adjust the start point of sounds to change their character and make them more unique. Your kick may not need such a pronounced transient, for example. You can also further fine-tune with parameters like cutoff and resonance in the sample player.

Pitch up drums
If you like the character of a sample but feel like it’s not quite working, instead of throwing it out and wasting hours trawling through sample folders, try pitching the sound up a few semitones. Sometimes just moving it up the piano roll a note or two will be enough fit it into the mix better, as with the clap in this example.

Swing and groove
Although clearly inspired by the rhythms of dance floor bangers, Four Tet has always taken a more organic approach to rhythm programming. One big part of that is swing. You can hear it especially in his UK garage-styled beats like in Daydream Repeat, the chief inspiration for the rhythm in this tutorial.
Swing in DAWs and drum machines, as invented by Roger Linn, nudges drum sounds out of time by a chosen amount. While applying swing to kicks and snares sitting directly on the downbeats won’t have any effect, it will definitely be heard on 16th-note elements like closed hi-hats. There are many ways to apply swing. In Ableton Live, go into the Grooves category and drag and drop an appropriate amount onto the piano roll. Swing 8ths 54 works well in this beat.

For additional variation, try nudging the placement of certain drum sounds forward or back on the timeline. Humans don’t play perfectly, after all. Moving a sound forward is called rushing, while going in the opposite is dragging. Mix them up for an unusual feel. Be careful not to overdo it though (unless you want a specifically wonky J Dilla feel).

Humanisation with automation
Kieran made several experimental albums with legendary jazz drummer Steve Reid. You can’t spend that much time with someone like Reid and not pick up a few things.
Accordingly, Four Tet’s beats tend to move around in subtle ways. To mimic the playing of a human while still keeping an electronic feel, try using automation to lengthen the decay of an open hat in the middle of a bar.

For a more subtle feel, use variation to affect the attack of a sample. This will move the sample playhead start point around, mimicking how a human drummer will hit different places on the drum — and at different velocities — every time.

Layer in texture
Texture is important in Four Tet’s rhythm tracks. You can create textures with processing (as in the next step) or by layering in some rhythmic noise. Anything can work, as long as it adds to the rhythm, such as vinyl crackle as he’s here.
Import a sample, find a section that is rhythmically interesting, and loop it under the beat.

Soft and smudgy processing
A big part of Four Tet’s drums is the processing. Compression is important, of course, as are things like reverb but this is the time to get creative. Break out your lo-fi plugins like XLN Audio’s RC-20, use saturators and mild distortion, and give everything a nice patina of grit.
You can also be more adventurous — try running percussion through heavier effects like ring modulators. Here, the open hat is processed by Kilohearts’ kHs Ring Mod to add an electronic element to the acoustic sound. Chorus and phaser effects further smear it out.

Push the drums back with EQ and volume
Lastly, use EQ and gain to help set the whole rhythm track back in the mix. Cut a lot of the bass and the highs from the sounds to give it a warm (and slightly thin) vibe, reducing presence.
You can also place all of the drum tracks onto a single bus and lower the volume more than you would normally on an electronic track. This may feel counterintuitive if you’ve been making dance music for a while, but Four Te tends to mix his songs like 60s pop records, with the drums taking a backseat to the melodic elements.

The post 7 music production techniques you can learn from Four Tet’s ‘Three’ appeared first on MusicTech.

AlphaTheta’s OMNIS-DUO all-in-one DJ controller makes a big statement£1,369, alphatheta.com
When AlphaTheta Corporation, the parent company of Pioneer DJ, announced it had created a new brand to sit alongside Pioneer DJ, also called AlphaTheta, it raised a few eyebrows and a ton of confusion. Through the haze of that confusion came AlphaTheta’s first two products — the WAVE-EIGHT wireless speaker and the subject of this review, the OMNIS-DUO. Both units are designed for portability and DJing-on-the-go, complementing each other and attempting to pave enough of a differentiating path that justified such a turbulent brand switch-up.

READ MORE: Why the Euphonia is AlphaTheta and Rupert Neve Designs’ dream collaboration

The OMNIS-DUO definitely does that, on the surface at least. Its striking all-blue design is a departure from Pioneer DJ’s usual black and grey colourway. It’s also much smaller than Pioneer DJ’s recent all-in-ones, such as the XDJ-RR and RX3. In fact, it’s only 18mm wider than their uber-popular DDJ-400 controller, which gives you a sense of how much AlphaTheta has packed into the OMNIS-DUO form factor.
The OMNIS-DUO
OMNIS-DUO setup
On unboxing the unit, you’ll first notice the weight. At 4.6kg, it’s a lot heavier than controllers of the same size. But that’s to be expected, not least because of the added audio I/O and touchscreen, but the six-hour-plus battery that’s been introduced. More on that later.
The OMNIS-DUO feels good. Very good. It’s sturdy and solid – the channel faders glide with a satisfying resistance; its cue buttons respond with an affirming click, and the knobs don’t feel loose under the chassis. This feels like a pro unit — and so it should, with its price tag of €1,369.
Switching the unit on – no plug initially required thanks to the battery – the screen is impressive; bright and with a rich resolution. The screen can also be inverted if you’re DJing outside in the sunlight, which is a nice touch.
Once you select your Source, it’s a familiar story of scrolling through playlists, artists, albums, tracks, and so on. One of our favourite things about the OMNIS is also one of the simplest: it’s powered over USB-C. This means it supports the standard MacBook Pro USB-C plug which may sound inconsequential but being able to hot swap between laptop and controller, or only bringing one plug with you, on a trip is a joy and a lifesaver.
The OMNIS-DUO in use
How do you play music from the OMNIS-DUO?
Media-wise, there’s a USB-A slot and an SD card option, or you can connect to rekordbox via wireless LINK. Oddly, you can’t connect to a laptop and rekordbox library via USB-C, despite there being a USB-C port for using the unit as a controller. You can only connect to rekordbox LINK via wi-fi. This is, again, convenient for home use, though we had several crashes doing this on firmware 1.0.0. When we updated to 1.0.1, we couldn’t re-create the problem. Ultimately, we would have felt more comfortable with a wired cable.
There aren’t yet any streaming services on the OMNIS, which is a major disappointment. Beatport Streaming and TIDAL at the very least would have been welcome, although we’d be shocked if they were on the way in a future update. Its main competitor, the DENON Prime GO, has had these available for years.
The screen is small at seven inches but responds pretty well to poking around and scrolling through cramped playlists. You can browse either by scrolling with your finger or using the dedicated 360 Browse encoder. Pressing down on the encoder enters a category, Shift-clicking it moves backwards out of that category — all very obvious and intuitive. Select the track you want to play, press either the 1 or 2 button to load it to the appropriate deck and you’re up and running.
The OMNIS-DUO
How do you use the OMNIS-DUO?
Once you’re in the mix, the DUO is pretty straightforward. The eight performance buttons on each deck only operate as hot cues so there are no modes to worry about. Each channel has the usual three-band EQ and trim with a Colour FX knob per channel and there’s a global mixer Beat FX section similar to the DJM range. The effects section only has two buttons, but they don’t let you cycle through effects, only the beat delay time and other parameters.
Effects are highly personal so it’s impossible to please everyone, plus the DUO is working within a tight footprint. Still, we wish we could assign effects to each deck, or change the selected effect with a physical button. Having to use the screen every time you want to alternate between what channel the effect is assigned to is frustrating. This is where FX Pads could come in handy – all of this is fixable via firmware updates so maybe AlphaTheta will switch up how effects work in the future. This was our biggest frustration using the OMNIS-DUO.
One of the unique features of the DUO is the ability to ‘stream’ from a Bluetooth device. The implementation is fairly unique in that it caches audio live from a Bluetooth source into a deck in real-time, with the waveform being built before your eyes. Theoretically, you could then ‘DJ’ from any audio source including Spotify or YouTube. The device doesn’t save the recording so you can’t build up a library this way, and you have a max of 10mins of memory per deck when caching. This could have been a very cool feature if you could then assign what you cached to sampler pads and replayed the incoming audio like a sampler. As it stands, it’s still cool but feels like it’s a middle-man solution until streaming sources land on the device.
AlphaTheta suggests using this to take requests by allowing punters to send music to your DUO. We’ll let you decide if you want to open that particular Pandora’s box.
The unit also has Bluetooth output but the usual latency caveats apply.
Input/output on the OMNIS-DUO
Should you buy the OMNIS-DUO?
We’ve talked a lot about what the OMNIS could be, and what it might be in the future, but it also deserves a lot of credit.
It’s sleek and feels intuitive, it sounds excellent and it’s exceptionally fun. The battery might seem like an afterthought to most users, but you’ll find yourself going cable-free more often than not. The ability to record on the device means you can do mixes with no cables at all, on the sofa with the unit on your lap, and music over Wi-Fi. We recorded multiple two-hour sets using only the battery, directly to the device, and everything worked a charm.
Yes, Denon DJ did this first – though the jogwheels are a world apart – but the reality is Denon DJ is not the industry standard, so there’s less incentive to adopt their ecosystem if you intend to play regularly in clubs. The pros and cons of AlphaTheta’s dominance in clubs are beyond the scope of this review but suffice to say this is an excellent option for a home setup for touring, semi-pro and hobbyist DJs.
If you’re already in the rekordbox ecosystem, the OMNIS-DUO is just effortless to use. It’s not cheap, at all, but don’t let the monotone blue fool you – this is a pro unit and AlphaTheta is off to a fantastic start with their new range of products. With a few firmware tweaks, we dare say this could become a classic.
Key Features

Battery and USB-C-powered portable DJ controller
Up to 5 hours play time on battery
Two-deck layout with familiar mixer
Touchscreen operation
Navy blue finish
Eight performance pads per deck, plus Beat Loop and Beat Jump buttons
Six Sound Color FX, eight Beat FX
Native compatibility with rekordbox and Serato DJ
USB-A, SD card, USB-C, wi-fi and Bluetooth connectivity
2x mic inputs, 1x line input

The post AlphaTheta’s OMNIS-DUO all-in-one DJ controller makes a big statement appeared first on MusicTech.

Dub music: A guide to the genre’s history, artists, and sound
We explore the history and lasting impact of dub music and break down how you can use its signature production techniques in your own tracks.

Bitcoin traders expect Fed Chair Powell to ‘pump our bags’ and BTC to target $80K+Historical Bitcoin performance data and investors' expectation that the Fed will “pump our bags” have traders anticipating a strong BTC price rebound.

Apple iPad Pro M4 vs. iPad Air M2: Reviewing which is right for mostApple devoted a full event to iPad last Tuesday, roughly a month out from WWDC. From the invite artwork to the polarizing ad spot, Apple was clear — the event was all about iPads. Most of the rumors proved true: Apple introduced a new iPad Pro (with a new M4 chip), iPad Air, the Pencil […]
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The train has left the station: AI music platform Udio is already spitting out 10 songs a SECONDYou might remember Udio: That’s the US-headquartered company co-created by ex-employees of Google’s DeepMind AI division
Source

GPS at Any Speed[Mellow_Labs] was asked to create a GPS speedometer. It seems simple, but of course, the devil is in the details. You can see the process and the result in the video below.
We have to admit that he does things step-by-step. The first step was to test the GPS module’s interface. Then, he tried computing the speed from it and putting the result on a display. However, testing in the field showed that the display was not suitable for outdoor use.
That prompted another version with an OLED screen. Picking the right components is critical. It struck us that you probably need a fast update rate from the GPS, too, but that doesn’t seem to be a problem.
The other issue is, of course, that you have to have a GPS lock for this to work. Inside the urban canyon, you might be better served with a different method. You might think about an accelerometer, but while that’s easy in theory (velocity is the integration of acceleration), in practice, errors and other issues make that a tough way to do it.
The project wraps up with a nice case and some special display modes. We were sorry that the code and STLs were available “on request,” but you’d probably do it differently anyway. This isn’t the first GPS speedometer we’ve seen. Ever wonder how fast your dog is going?

ZYNC Music Group files lawsuit against Round Hill Music over alleged breaches of JV agreementRound Hill acquired a stake in ZYNC Music in a multi-faceted agreement back in 2017
Source

IDLES at the Paramount Theatre, SeattleAn excited sense of supernatural electricity quivered through Seattle’s historic Paramount Theatre; its energy sparked across the elbow-to-elbow sold-out crowd. The powerful sensation grew stronger in intensity as seconds sped by, enveloping the audience in an anticipatory state as they sensed the brutal musical beauty being held at bay backstage. Thankfully, IDLES, the five-piece Bristol-based band known for creating crushing contemplative chaos alongside dulcet-like seductive tones, were attuned to this surreal sensation. In the space of a breath, Jon Beavis, Mark Bowen, Adam Devonshire, Lee Kiernan, and Joe Talbot appeared and crossed the stage to take their places. Shortly after the delicately dark piano intro of “IDEA 101,” the opening track from IDLES’ 2024 release, TANGK bled into the air. Frontman Joe Talbot paced a few more times, then grabbed the mic, his resilient bon-sang voice cathartically grounding the crowd- albeit only momentarily.

As force majeures of massive sound matched with poignant, provocative lyrics, IDLES immediately moved into the harsh and heavy “Colossus” from 2018’s Joy as an Act of Resistance., which included Talbot swirling his mic overhead while Kiernan jumped into the throng of fans, body surfing while playing guitar. Their actions served as catalysts and ignited mosh pits that continued to ebb and flow throughout the band’s two-hour-plus show. 

IDLES plunged further into their carefully crafted set with a pantheon of songs highlighting their skills at succinctly exploring complex subjects with subversive slants. The resolutely uplifting thrashers “Gift Horse” (TANGK) and “Mr. Motivator” (2020’s Ultra Mono) suggested the magnificence found in embracing “the self” versus the powers that be, while the droning, dissonant painkillers “1049 Gotho” (2017’s Brutalism) and “The Wheel” (2021’s CRAWLER) tackled the dark, crippling weight felt amidst the throes of depression and sinister cycles of addiction.

Mid-set, the five-piece acerbic songwriters embraced their well-known anti-establishment stances by calling out colonialism’s role in modern-day politics with “f*ck the king” chants and calls for “ceasefire in Gaza” before they blasted into the ear-splintering “War” (2020’s Ultra Mono). IDLES brought the throngs of fans further into their fury, with Bowen and Keirnan bolting over barricades with guitars in arms as they surged into an emotionally fraught performance of “Benzocaine” (Brutalism). Afterward, Talbot gently serenaded the pair to return to the stage with a rendition of Foo Fighters’ “My Hero.”

Ready to venture further into more varied soundscapes, IDLES leaned into several tracks from TANGK - the eerie gray grit of “Gratitude” and the trippy experimental sawtooth buzzes in “POP POP POP – both with tactful yet abstract lyrics that examine how joy often resides in snippets of everyday life instead of momentous grandstanding successes.

IDLES returned to their rebellious roots with material from Joy as an Act of Resistance: the punk chords of positivity in “Television” and the aggressive harmonics in “Samaritans.” The latter included a shout-out to a father who hoisted his daughter on his shoulders for the duration of the performance. The five-piece continued with another round of rallying against conformity with the visceral “Never Fight a Man with a Perm” before Talbot and crew shifted gears back toward the present day by asking concertgoers, “Shall we dance?” After hearing a resounding “Yes!,” IDLES took their cue and broke into “Dancer” (TANGK), the hauntingly evocative single tackling the tricky concept of navigating love and loss. As the song’s hypnotic chords ended and drifted into the atmosphere, Bowen dropped his guitar and once again jumped into the audience. They immediately lifted him on their shoulders as he and his bandmates broke into “Danny Nedelko,” complete with the crowd singing along with the chorus.  As ambassadors of alt-ideology, IDLES ultimately ended their marathon concert with the biting “Rottweiler.” The last selections, both from Joy as an Act of Resistance, underscored why IDLES are pertinent today: they wholeheartedly write music that analyzes ruthless realism while striving to attain perfect altruism - a notion that at its core remains part of human nature.

SETLIST  

IDEA 01

Colossus

Gift Horse

Mr. Motivator

Mother

Car Crash

I'm Scum

1049 Gotho

Roy

The Wheel

Jungle

War

Wizz

Benzocaine

Gratitude

Divide and Conquer

POP POP POP

Television

Samaritans

Crawl!

The Beachland Ballroom

Never Fight a Man with a Perm

Dancer

Danny Nedelko

Rottweiler

Sandwizz Promises to Reinvent the BreadboardThe solderless breadboard is perhaps the electronic hobbyist’s most commonly used tool, but let’s be honest, it isn’t exactly anyone’s favorite piece of gear. Even if you’ve got an infinite supply of jumpers in just the right size, any mildly complex circuit quickly becomes a nightmare to plan out and assemble. To say nothing of the annoyance of trying to track down an intermittent glitch, only to find you’ve got a loose wire someplace…
The Sandwizz Breadboard hopes to address those problems, and more, by turning the classic breadboard into a high-tech electronics prototyping platform. The Sandwizz not only includes an integrated power supply capable of providing between 1.8 and 5 volts DC, but also features an array of integrated digital and analog components. What’s more, the programmable connection system lets you virtually “wire” the internal and external components instead of wresting with jumper wires.
To configure the Sandwizz, you just need to connect to the device’s serial interface with your favorite terminal emulator and work your way through its text-based menus. You can also export a netlist file from your KiCad schematic and upload it into the board to make all the necessary connections automatically. This lets you make the leap from concept to physical prototype in literally seconds.

Jumperless in all its RGB LED glory.
If all this sounds a bit familiar, it’s probably because the Sandwizz clearly has a lot in common with the Jumperless. Created by [Kevin Santo Cappuccio], Jumperless uses an array of analog crosspoint switches to connect devices on the breadboard without the need for any jumpers (hence the name), and also uses a serial interface to configure the netlist. Jumperless uses RGB LEDs to indicate connections directly on the breadboard, and features some integrated analog and digital diagnostic tools, as well as the ability to take voltage and current measurements.
On paper it does sound like the Sandwizz offers some advantages over the Jumperless. The collection of onboard circuit components sounds very interesting, but the documentation seems pretty vague on what’s included. The expandability that lets you connect multiple Sandwizz boards together to create a larger workspace also looks nice, but depending on how much these things cost, having more than one might be a tall order for the average hobbyist.
But the biggest difference between the two is that the Jumperless is open source hardware and is available for purchase right now, while the Sandwizz is still working its way towards a Kickstarter currently scheduled for early June. The limited documentation and AI-voiced video below the break don’t exactly instill us with confidence, but to be fair, we can’t pass judgement on it until we can see how it works in the real-world. In the meantime, we’re interested to see where this new competition in the world of smart breadboards will take us.

Thanks to [paulvdh] for the tip.

Psycho Circuitry launches new free PCEQ5 five band analog EQ plus paid version
Psycho Circuitry launched the free PCEQ5 five-band analogue-inspired EQ, plus the paid version of the plugin, the PCEQ5+.  The PCEQ5 and PCEQ5+ are available for Windows and macOS, with the latter being available at an introductory deal of $8 (down from $49) until May 19, 2024. Mac users will be pleased as Psycho Circuitry has [...]
View post: Psycho Circuitry launches new free PCEQ5 five band analog EQ plus paid version

 “When I first got introduced to tools like ChatGPT, it unlocked all my creativity”: King Willonius on using AI for his comedic track, BBL DrizzyIf you’ve found yourself caught up in the feud between Drake and Kendrick Lamar, you may have heard Metro Boomin’s BBL Drizzy, but comedian King Willonius is the original creator of the 1970s soul-esque sample heard throughout the track.
Created using AI and shared back in April, King Willonius made the song after Rick Ross accused Drake of getting a Brazilian butt lift (BBL). This has not been confirmed by Drake, and as a music publication we don’t tend to get into matters of butt lifts, but the use of AI in this viral track is rather interesting.

READ MORE: AI lets country star Randy Travis sing again in first song released post-stroke

In an interview with Vulture, King Willonius says, “When I first got introduced to tools like ChatGPT, it unlocked all my creativity. Honestly, it felt like I had an advantage over a lot of my peers, just in the ability to create at warp speed.”
He goes on to add that the process of creating a song with AI involves “a lot of trial and error”: “Just going back and forth with the different prompts. I have a really great ear, so it’s just listening to the music once it’s done and being like, ‘I don’t like this,’ then just keep reiterating the track until it’s something that I feel that people would enjoy.
“Then just keep tweaking it until you find what actually works. That particular track, I’ve done it in multiple different styles, country, Afrobeats, yacht rock, and it works in each one,” he states.

On Metro Boomin using the track as a sample, he says, “Any time somebody posts the song, there’ll be people in the comments like, ‘Hey, that’s King Willonius who made that and wrote it.’ That’s probably the biggest misconception with AI. People think that you can just throw a prompt in there and it’ll make a track like that, but like, AI doesn’t know about ‘thicker than a Snicker.’ You’re not going to get lines like that from AI.”
The post  “When I first got introduced to tools like ChatGPT, it unlocked all my creativity”: King Willonius on using AI for his comedic track, BBL Drizzy appeared first on MusicTech.

Kendrick vs. Drake is a rare ‘mainstream’ moment… and streaming is on the sidelinesDive into the ripples that rap battles can create in mainstream media. Does it help the artist's music career? Is it just for clout.....
The post Kendrick vs. Drake is a rare ‘mainstream’ moment… and streaming is on the sidelines appeared first on Hypebot.