“There’s never been a more rehearsed or fine-tuned Grimes set”: Grimes pokes fun at herself during Coachella Weekend 2Grimes saw the lighter side of her less-than-successful Coachella DJ set ahead of her performance during the festival’s second weekend.

READ MORE: Michael Bibi on playing Coachella with “mixed emotions” following cancer treatment: “It actually gives you a sense of purpose again”

For those who aren’t aware, Grimes’ set on weekend 1 of the festival was plagued by “major technical difficulties” that left her screaming in frustration. The DJ apologised to fans at the time, saying: “All my tracks are double tempo and I can’t do the math. They’re borderline un-mixable, so the rest of my set won’t be mixes but it’ll still be fun.”
Grimes later issued a statement on X explaining that the mistake occurred because she’d outsourced the bpm on her tracks, and that she’ll “personally organise all the files next week”.
Before her show on Sunday, the musician assured fans that she’ll “cap the disarray at a maximum ten seconds per song,” adding, “I don’t know if there’s ever been a more rehearsed or fine-tuned Grimes set.”

Whose ready for Coachella weekend 2?
I will cap the disarray at a maximum ten seconds per song – idk if there's ever been a more rehearsed or fine tuned grimes set
And I made another blackpink remix for good measure pic.twitter.com/SKG4dqU0Ex
— 𝖦𝗋𝗂𝗆𝖾𝗌 (@Grimezsz) April 19, 2024

True to her words, the DJ’s performance last weekend went without a hitch, and was even accompanied by some good old fashioned self-deprecation that poked fun at her Weekend 1 set.
A ‘Breaking News’ style video was played, featuring a bunch of masked characters mocking her screwup the week before with comments like “she can’t DJ.”
Watch the video below.

#Grimes makes fun of her own Weekend 1 set in her Weekend 2 set intro.
Coachella coverage: https://t.co/QsapCPtBjF pic.twitter.com/wC9uvPBlg5
— Dorothy Elder (@dorthelder) April 21, 2024

In related news, DJ Michael Bibi has spoken about playing his first show at Coachella since undergoing cancer treatment and the “mixed emotions” the experience brought on.
“It was emotional, it was intense — there was happiness, there was some sadness. And there was just a huge range of emotions coming through,” said Bibi, who was diagnosed with a rare form of brain cancer last Summer.
“It actually gives you a sense of purpose again, moving and coming back out into reality and seeing people,” he said. “Because I’ve been kind of sheltering a lot, because of the treatments, I’ve had to kind of isolate myself.”
“So getting back out into the world and connecting with human beings is a good feeling.”
The post “There’s never been a more rehearsed or fine-tuned Grimes set”: Grimes pokes fun at herself during Coachella Weekend 2 appeared first on MusicTech.

Ami Sampler Is A Free 8-bit Sampler Inspired By The Commodore Amiga
Astriid released the Ami Sampler, a free 8-bit sampler inspired by the sound of the Commodore Amiga personal computer from 1985. The sampler is available on the Astriiddev GitHub, and it’s a Windows, macOS, and Linux release for VST3, AU, and LV2.                 The retro interface for the Ami [...]
View post: Ami Sampler Is A Free 8-bit Sampler Inspired By The Commodore Amiga

beyerdynamic launch DT 770 PRO X Limited Edition In celebration of their 100th anniversary, beyerdynamic have updated one of their most popular headphone designs. 

Michael Bibi on playing Coachella with “mixed emotions” following cancer treatment: “It actually gives you a sense of purpose again”Michael Bibi has opened up about playing his first show at Coachella since undergoing cancer treatment and the “mixed emotions” the experience evoked.
Bibi’s set at the Indio, California event last weekend (13 April) marks his first performance of the year. The London DJ was diagnosed with CNS Lymphoma, a rare form of brain cancer last Summer, and was forced to cancel all of his gigs while receiving treatment.

READ MORE: Michael Bibi surprises Ibiza partygoers with DJ set amid cancer treatment

Prior to the show, Bibi posted on X: “One year ago I was given a 30% chance of survival, today I’m packing to perform at Coachella… Never give up on your hopes or dreams.”

One year ago I was given a 30% chance of survival, today I’m packing to perform at @coachella ….never give up on your hopes or dreams
— Michael Bibi (@MichaelBibi1) April 8, 2024

Speaking to BBC Newsbeat after the event, Bibi said: “It was emotional, it was intense – there was happiness, there was some sadness. And there was just a huge range of emotions coming through.”
The musician added that the Coachella gig marked the longest distance he’s travelled since treatment, stating: “That was a big step in itself, just getting on a plane and coming to the US. And then adding on top of that, doing my first show and coming to a festival, it was a lot.”
“But it actually gives you a sense of purpose again, moving and coming back out into reality and seeing people. Because I’ve been kind of sheltering a lot, because of the treatments, I’ve had to kind of isolate myself. So getting back out into the world and connecting with human beings is a good feeling.”
Bibi also shared that while he’s currently “physically well”, he’s still dealing with what he’s been through “day by day”.
“It’s just a kind of a mental processing,” he said. “Just kind of mentally catching up on everything that I’ve been through. Because I think when you get into a really intense situation, you kind of go into fight or flight mode.
“And you just have to get through that moment and period of time and you’re not really processing everything that’s happening to you.”
Elsewhere, Bibi also commented on Grimes’ DJing fluke at Coachella, saying: “Everyone’s been in bad situations when they’re DJing. I’ve been in situations where everything stops working or the left deck doesn’t work and the right deck just doesn’t do what you want to do.”
“You just have to try and adapt and do the best you can with a bad situation, which is horrible when it does happen.”
The post Michael Bibi on playing Coachella with “mixed emotions” following cancer treatment: “It actually gives you a sense of purpose again” appeared first on MusicTech.

New earbuds by Teenage Engineering-founded firm Nothing feature ChatGPT integrationNothing has officially announced the Nothing Ear and Nothing Ear (a), the brand’s latest flagship earbuds featuring a cool new feature: ChatGPT integration.
Users can choose between the $149 Nothing Ear, which is “built for audiophiles seeking the best sound quality” and the $99 Nothing Ear (a), that’s catered to those looking for the “ultimate daily audio companion.”

READ MORE: Imogen Heap uses her AI voice model, ai.mogen, to create a remix for the first time

As explained by the Teenage Engineering-founded firm at launch, Nothing will “enhance its overall user experience with industry-first ChatGPT integrations in its audio and smartphone products.”
Through the new integration, users with the latest Nothing OS and ChatGPT installed on their Nothing phones will be able to pinch their Nothing earbuds to speak and ask questions to the world’s hottest AI tool. For now, the feature only works with the higher-end Nothing Phone (2); Full integration will be available for all Nothing and CMF products in June.
“By integrating ChatGPT with Nothing earbuds, including the new Nothing Ear and Ear (a), and with Nothing OS, we’ve taken our first steps towards change, and there’s more to come,” says Carl Pei, CEO and Co-Founder of Nothing.
Image: Nothing
Besides ChatGPT integrations, the Nothing Ear and Ear (a) also feature a bunch of hardware and software upgrades from their predecessors.
The Ear, for one, boasts Nothing’s “most advanced driver system to date” with a custom 11mm ceramic dynamic driver for extra richness and crispier highs. Nothing has also improved the dual chamber design from that of Ear (2) with two additional vents to improve airflow, delivering a clearer sound.
New personalisation options are offered as well — including a feature that lets you create a personal sound profile for each genre of music, as well as a bass enhancing feature. In terms of battery life, the Ear is said to last a cool 25 percent longer than Ear (2), offering up to 40.5 hours of playback (without ANC) after a full charge with the charging case or 8.5 hours of non-stop playback.
The Nothing Ear (a), meanwhile, is billed as a more compact and cheaper sibling to the Nothing Ear. Both earbuds do however share the same Active Noise Cancellation feature — Nothing’s most effective and intelligent yet, muffling up to 45dB of noise, twice that of the Ear 2. Both models are IP54 dust and water-resistant as well, though the Ear’s case edges out the Ear (a) a little with an IP55 rating compared to the latter’s IPX2 rating.
The cheaper Ear (a) also comes without the wireless charging feature found on the Nothing Ear, though fast charging is still available.
And for those looking to add a splash of colour to their Nothing setup, the Ear (a) arrives in an eye-catching yellow finish (remember a certain Playdate video game console?), in addition to the usual black and white finishes.
Learn more at Nothing.
The post New earbuds by Teenage Engineering-founded firm Nothing feature ChatGPT integration appeared first on MusicTech.

Started to post some stuff at my YT channel and here is the first audio visualizer (not at #VEVO).
"FT" is an abbreviature which means to me several words of togetherness now and after #VLCAM #Music #Electronic #Dreaming

Bitcoin is mathematical 💸 #Blockchain #crypto

Cool tips on how to build bulletproof self-confidence 😎

How artists like The Ink Spots gained 300k new listeners after featuring in Amazon’s Fallout TV series. #Music #Synchronization #MusicBusiness #Film #TV #Games

Keeping Alive The Future Of Cars, 1980s StyleHere at Hackaday we’re a varied bunch of writers, some of whom have careers away from this organ, and others whose work also appears on the pages of other publications in different fields. One such is our colleague [Lewin Day], and he’s written a cracking piece for The Autopian about the effort to keep an obscure piece of American automotive electronic history alive. We think of big-screen control panels in cars as a new phenomenon, but General Motors was fitting tiny Sony Trinitron CRTs to some models back in the late 1980s. If you own one of these cars the chances are the CRT is inoperable if you’ve not encountered [Jon Morlan] and his work repairing and restoring them.
Lewin’s piece goes into enough technical detail that we won’t simply rehash it here, but it’s interesting to contrast the approach of painstaking repair with that of replacement or emulation. It would be a relatively straightforward project to replace the CRT with a modern LCD displaying the same video, and even to use a modern single board computer to emulate much of a dead system. But we understand completely that to many motor enthusiasts that’s not the point, indeed it’s the very fact it has a frickin’ CRT in the dash that makes the car.We’ll probably never drive a 1989 Oldsmobile Toronado. But we sure want to if it’s got that particular version of the future fitted.
Lewin’s automotive writing is worth watching out for. He once brought us to a motorcycle chariot.

Bifurcation theory | How today’s music business will become twoOne of things we pride ourselves on at MIDiA is helping the marketplace peer over the horizon with disruptive, forward-looking ideas and vision. We have a long track record of doing this (you can find a list of report links at the bottom of this post). While many of these ideas were difficult to swallow, or a little ‘out there’ at the time of writing, they became (or are still becoming) a good reflection of where markets ended up heading. Well, it is now time for another of those big market shaping ideas: bifurcation theory.

Today, MIDiA publishes its major new report: ‘Bifurcation theory | How today’s music business will become two’. The full report is available to MIDiA clients here and a free synopsis of the report for non-clients is on our bifurcation theory page here. So, check those out to find more, but in the meantime, here is an overview of just what bifurcation theory is, and why it is going to affect everyone in the music business, whatever role you play in it. 

The old maxim that change is the only constant feels tailor-made for the 21st century music business. Piracy, downloads, streaming, and social all triggered music industry paradigm shifts. Now, all the indicators on the disruption dashboard are flashing red once more. AI is, of course, standing centre stage, but it is not the cause of the coming change. It is simply a change enabler.The causal factors this time round are all direct byproducts of today’s music business, unintended consequences of a streaming market that has cantered along its natural path of least resistance. Everyone across the music industry’s value chain has played their role, often unwittingly. Whether that be shortening

songs, increasing social efforts, changing royalty systems or following viral trends, each of these micro actions has contributed to a macro effect.

The fracture points of today’s music business are simultaneously the catalysts for tomorrow’s. For example, the commodification of consumption is resulting in a raft of apps and industry initiatives that try to serve superfans; the rise of the creator economy’s long tail is resulting in both traditional rightsholders raising the streaming drawbridge (long tail royalty thresholds) and a fast-growing body of creators opting to invest less time in streaming.

Streaming was once the future but now it is the establishment, the cornerstone of the traditional music business. It has rocketed from a lean forward, niche proposition for superfans into a lean back, mass market product for the mainstream. Music consumers have always fallen into two buckets:

1.    Fans

2.    Consumers

The former used to buy music, the latter used to listen to radio. Streaming put them both into the same place, pulling up the average spend but pulling down fandom into consumption. Streaming is the modern day music business’ radio, just much better monetised than the analogue predecessor. Now though, everyone across the music industry’s complex mesh of interconnected value chains is realising there needs to be something more, built alongside, not instead of, streaming. This is the dynamic behind bifurcation theory. This report explores how today’s music business challenges are becoming the causal factors of a new business defined by two parallel consumer worlds.

The music business is bifurcating – splitting into two – with streaming emerging as the place for mainstream music and lean back consumption, and social as the spiritual home of fandom and the creator economy. We identify these two segments as:

1.    LISTEN (user-led): streaming services, monetising consumption at scale

2.    PLAY (creator-led): highly social destinations where fans lean in to create, connect and express identity

Of course, this process has already started, but social is still largely seen as a driver for streaming. Many artists who try to get their fans to participate on social do so primarily in the hope of driving streams rather than for the inherent value of fans participating in their creativity. However, many next-generation creators are realising they will simply never reach the scale needed to earn meaningful income from streaming.They are therefore shifting focus to building fan relationships on social media and monetising them elsewhere, be it via merchandise or brand sponsorships. Meanwhile, a new generation of fans are creating as a form of consumption, whether that means using songs in their TikTok videos or modifying the audio of their favourite song. While copyright legislation and remuneration have lagged behind these developments, they will be an important part of the future of PLAY. Over time, PLAY will evolve as a self-contained set of ecosystems, built around the artist-fan relationship. It will not be an easy transition. Mainstream streaming will become even more lean back, and social and new apps will exert what will increasingly look like a stranglehold on fandom and the creator economy.

Social apps are plagued with challenges (royalty payments not the least of them) but they will emerge as a parallel alternative to streaming, rather than simply a feeder for it. To this end, the full bifurcation theory report not only describes the lay of the future land, but also presents bold visions of how we think both sides of the music business equation should evolve. We present detailed frameworks for what PLAY services will look like and how LISTEN services can evolve, focusing on core competences to continue to appeal to the mainstream but also deepen appeal to – and better monetise – superfans.

AI will play a key role in the future of both sides of the bifurcated music business, but rather than being tomorrow’s business, it will act as an accelerant for the underlying dynamics of bifurcation theory.

Bifurcation is such a big concept with so many layers and nuances, we have only been able to skim through some of the highest level trends here. We encourage you to check out the full report and report synopsis to learn more.

We’ve spent a long time gestating this concept, so we’d love to hear your thoughts. We’re not expecting bifurcation theory to be to everyone’s taste, but if nothing else, hopefully it will spark some creative thinking and debate.

Don’t forget to check out our bifurcation page for a video discussion of bifurcation theory and a free pdf report synopsis.

As mentioned above, here are some of MIDiA’s most impactful future vision reports, in (roughly) chronological order:

Agile Music (Free report)

Music Format Bill of Rights (Free report)

Rising Power of UGC (Free report)

Independent Artists (Free report)

Music Rights Disruption

Insurgents and Incumbents

Creator Culture

Rebalancing the Song Economy (Free report)

New Top of Funnel

Slicing the Funnel

Music’s Instagram Moment

Scenes – a New Lens for Music Marketing

Attention Recession

Creator Rights (Free report)

Creator Hubs

Music Product Strategy

Fan Powered Royalties (Free report)

Addressable Creator Markets

Misaligned Incentives

Artist Subscriptions

Field of All Levels

Kill the Campaign

Rise of a Counterculture Industry

Tesla layoffs, Cybertruck recalls and Serve Robotics goes publicWelcome back to TechCrunch Mobility — your central hub for news and insights on the future of transportation. Sign up here — just click TechCrunch Mobility — to receive the newsletter every weekend in your inbox. Subscribe for free. Tesla is back in the news cycle and our crystal ball says it’s one of those long-term affairs. The […]
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Manual Supports for 3D Printing[MakerSpace] wanted to 3D print an RFID card holder. On one side is a slot for a card and on the other side has recesses for the RFID antenna. They used these to control access to machines and were milling them out using a CNC machine. Since there were no flat surfaces, he had to turn on supports in the slicer, right? No. He does use supports, but not in the way you might imagine.
Inspired by creating cast iron using sand casting, he decided to first 3D print a reusable “core” using PETG. This core will support future prints that use PLA. When printing the actual item, the printer lays down the first few layers and pauses. This allows you to stick the core in and resume the print. After the print completes, you can remove the core, and the results look great, as you can see in the video below.

While the PLA doesn’t stick well to the PETG, it can stick a little, but using a glue coating as a release agent solved that problem. This is one of those ideas that once you see it, it seems obvious, but it probably isn’t something you’ve thought about doing until you see it at least once.
There are a few other tricks in the video. For example, the core is a little larger than necessary, so there is a tab that sticks out. This makes it easy to tape down to the bed and also helps when you try to remove it from the PLA print. The results are great, and it makes us want to revisit our abandoned badge holder project from years ago.
Some people never print flat. Others do very specific support structures at key points. It seems there’s always multiple ways to print the seemingly unprintable.

After $1.5bn takeover proposal, Hipgnosis Songs Fund’s board tells Blackstone: We’re listening…Bring on a firm offer, HSF's board tells private investment giant
Source

This camera trades pictures for AI poetryThe Poetry Camera takes the concept of photography to new heights by generating poetry based on the visuals it encounters.
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