RELEASE DETAILS
Release title:
Real Hip Hop (Presented By DJ Emotion)
Main artist name:
Kid Rap,Pleco Nation
Release date:
18th Aug, 2023
https://publme.lnk.to/RealHipHopPresentedByDJEmotion
#newmusic #Release #Music #indepedent #artist #hiphop #trap

Timothy Xu, former Sony Music boss in China, named CEO and Chairman of Universal Music Greater ChinaChina broke into the world's Top 5 recorded music markets in 2022, according to IFPI data
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Digital euro can ward off a host of private payment service ills: ECB officialPrivate payment services can gain a monopoly with no benefit to other market players or economic stability, ECB board member Fabio Panetta said.

Get DirektDSP’s Fuzzboy FREE Until September 6th
DirektDSP offers the Fuzzboy guitar pedal plugin as a free download until September 6th. I think I’ve mentioned already that I love fuzz pedals. It is just a simple fact of life: From the time Sleep drafted their debut album, I was destined to enjoy the sound of fuzzed-out Marshall amps running in C standard [...]
View post: Get DirektDSP’s Fuzzboy FREE Until September 6th

Witch Pig AXA All of these samples in this Kontakt instrument were recorded with a 7 string guitar, and then designed to sound nothing like a guitar. Click on the outer spheres to select the FX chains,... Read More

Level up on the Builders Stage at TechCrunch DisruptTechCrunch Disrupt, our flagship startup event, returns to San Francisco on September 19–21, and you can bet TechCrunch+ will be in the house. With excitement and pride, here’s what we have in store for you on the Builders Stage at Disrupt on what I predict will be the most whip-ass stage at the event. See […]

Image Line update FL Studio The latest version 21 of Image Line's FL Studio introduces a range of the community's most requested features alongside a selection of new plug-ins.

Vicious Antelope Harmonia Keys - Harmonia Harmonia Keys contains 51 Avant Garde keys for Cherry Audio Harmonia Synth. Main characteristic of the soundbank is the experimental dimension that results to some unique sounds. As most... Read More

The UK’s One Media IP renews distribution deal with The Orchard, securing $1m advanceAIM-traded One Media IP raised £6.04 million (approx. USD $8m) in 2020
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Producer “speedruns” Soulja Boy’s ‘Crank That’, recreating in 19 secondsProducer and content creator Simon Servida has recreated Soulja Boy’s iconic 2007 hip-hop track Crank That in a speedrun lasting just 19.91 seconds, the world’s fastest attempt to date
READ MORE: “‘Bad’ is not a thing in mixing”: Disclosure justify imperfect mixing in music
In a video posted to his YouTube channel, the producer uses FL studio, the same DAW as Soulja Boy reportedly used to produce the original track, to recreate the song’s iconic elements including piano bass, hip-hop percussion and catchy steelpan riff.
Speedrunning, more commonly found in the video gaming community but gaining popularity in music production, is the process by which a task is completed as quickly as possible, often in a competitive setting.
In music speedrunning, producers are documenting themselves recreating popular tracks or completely new beats in the fastest time possible, often inciting comments and challenges from others.
Starting off the video with an original speedrun of 37.39 seconds, Servida receives multiple challenges from producers online attempting to break his attempt. The fastest record is from producer Eliminate, who completes the speedrun in 22.74 seconds, setting a new world record in the process.
Sevida then challenges himself to beat this record over the course of a week, eventually managing it within five days. However, the producer is underwhelmed at his achievement, saying, ‘‘I think I can go way faster,” before attempting a sub-20-second speedrun, filming each attempt as it happens and sharing helpful tips along the way.

Crank That, the breakout single from Soulja Boy Tell’em, was an international success; spending 7 weeks at #1 on the US Billboard Hot 100 and becoming the most downloaded song in the USA in 2007.
Instantly recognizable by its iconic steelpan hook, the track reportedly took Soulja Boy very little time to make: “It took me an hour to produce the Crank That song– at the most,” he famously admitted in an interview with HipHopDX.
Find out more about Simon Servida at simonservida.com
 
The post Producer “speedruns” Soulja Boy’s ‘Crank That’, recreating in 19 seconds appeared first on MusicTech.

“‘Bad’ is not a thing in mixing”: Disclosure justify imperfect mixing in musicBritish electronic duo Disclosure have justified the imperfections of mixdowns in music, arguing that a song can still be “absolutely correct” even if it’s lacking in the mixing department.

READ MORE: Mixing elements of a project is like “playing Tetris”, says Breauski

Speaking on the Tape Notes podcast, the Settle creators discuss production techniques used on their latest album, Alchemy, while revealing insights into how the two brothers work together.

On priorities, the singer-songwriter of the pair, Howard Lawrence, says, “For me, the harmony and the melody – if I don’t love that, I’ll never love the song, ever. It doesn’t matter how good the production is. It’s the same with [my brother] Guy. Even if the harmony and melody are sick, if the production’s not very good, he’s not going to be happy with it.”
Guy adds: “The song’s got to be unbelievably good if the mix is bad. Some of my favourite songs ever, the mixing is a ‘bad’. ‘Bad’ is not a thing in mixing, it’s just ‘this way’ or ‘that way’.
“One of my favourite songs is Let’s Stay Together by Al Green,” Guy continues, “It’s just one mic over the whole drumkit and you could argue its small by today’s standards, but it’s absolutely correct.”

Also in the podcast episode, Guy talks about “glueing the meaning of the song to the production” by adjusting the pitch formant on Howard’s vocals in correspondence to the emotions in the lyrics: “The driving force is Soundtoys’ Little Alterboy,” he explains, “I’m automating the formant to go up and down. I’m raising it when there’s more hope in the lyrics and making it fall when it’s more depressing and sad.”
Guy pinpoints where he uses this technique, highlighting the rise in pitch on lyrics such as ‘looking for love from everybody’ and the fall on ‘I’ve got this hole in my heart’, heard in the song Looking For Love.
“If it makes sense with the lyrics,” Guy adds, “it’s the right move to make. That’s an ethos for the whole record with Howard’s lyrics and the sound choices that are made.”
Also in the episode, Disclosure say how having no samples or collaborations on the Alchemy album made the whole process of finishing tracks much simpler and easier.
Want to see Disclosure live? Head to their website, disclosureofficial.com.
The post “‘Bad’ is not a thing in mixing”: Disclosure justify imperfect mixing in music appeared first on MusicTech.

Focusrite Scarlett Solo 4th Gen makes life easy for singer-songwritersSometimes simple is best. Just ask Lewis Capaldi. No, we aren’t suggesting Lewis is simple, but that the singer-with-a-guitar pathway he follows pares away all of the layers of production complexity to leave nothing but the purest, simplest expression of the original musical idea. There are many would-be Lewises strumming and singing away in home studios across the land, and for years they have been well-served by Focusrite’s Scarlett Solo, an audio interface that perfectly meets the needs of the singer-songwriters, podcasters and streamers.
READ MORE: Focusrite’s Scarlett 4i4 is designed for the new generation of recording artists
With Focusrite recently launching the fourth generation of its Scarlett interfaces, we’ve been in a Rush to give the new Scarlett Solo a Tough test to ensure its improvements aren’t Pointless.
Focusrite Scarlett Solo 4th Gen. Image: Focusrite
Guitar and vocals
What makes the Scarlett Solo such a strong match for singer-songwriters is its arrangement of two input channels, with one 6.35mm jack input for line/instrument signals and one XLR input for mics. Obviously, this is ideal for recording guitar and vocal mic at the same time, but is also useful for recording DI’d guitar and mic’d guitar amp simultaneously, not to mention many other solo recording tasks. The recording of stereo signals is a problem, of course, but you can work around this with a DI box.
The mic input, which has been relocated to the rear panel since the 3rd Gen model, feeds into a new preamp that features a redesigned Air mode. The Air mode on the 3rd Gen units introduced a presence peak in the upper mid and high frequencies, useful as a pre-treatment on vocals and other sources that carry a lot of detail in the higher registers. In the 4th Gen preamps, the presence peak has been modified to be useful across a wider range of sources, although its usefulness will depend on what you are recording.
Focusrite Scarlett Solo 4th Gen. Image: Focusrite
A new second Air mode engages a subtle harmonic overdrive that adds fizz and… well… air to the top end. This can sound brilliant alongside the presence peak, giving a very pro-sounding sheen to sounds. However, we think it would be even more useful if there was a third option consisting of just the harmonic drive.
Airless
The line/instrument input, which remains on the front panel, doesn’t have an Air mode. This is unfortunate because it would be seriously effective on a DI’d acoustic guitar which, let’s face it, is what most people will be connecting to that input. Also, as we found with the new Scarlett 4i4, the harmonic drive can serve as a brilliant front-end when feeding an electric guitar to a plugin amp simulator – again, a DI box would solve this by letting connect a guitar signal via the Air-enabled mic input.
You can configure the inputs directly on the front panel, which keeps things nice and easy to use. Your workflow is made even easier by the improved Gain Halo lighting that surrounds the gain knobs. These act as circular level meters that show the input signal level, giving surprisingly detailed visual feedback despite their small size.
At present, the Focusrite Control 2 software does very little with the Solo – it has a pair of input level meters and duplicates the hardware’s front panel buttons. Notable in its absence is an output mixer for balancing the direct monitoring levels of the two inputs with the internal DAW output bus – direct monitoring is either enabled or disabled. This shortcoming is intentional to a degree, as it suits the interface’s easy-to-use ethos. Nevertheless, Focusrite recognises that some users will want more control over monitoring levels and are exploring possible updates to Focusrite Control 2 that would make this possible.
Focusrite Scarlett Solo 4th Gen. Image: Focusrite
All in one
Accompanying the Scarlett Solo hardware is a suite of music production software that contains everything needed to get a new studio up and running.
On the DAW front, there’s a three-month subscription to Pro Tools Artist and Avid Complete Plugin Bundle, along with a 25 per cent reduction on a subsequent annual license, and of course, there’s the ever-present Ableton Live Lite. On top of this, there’s Focusrite’s Hitmaker Expansion pack that includes big-name instruments and effects such as Native Instruments Massive, Softube Marshall Silver Jubilee 2555, and Focusrite’s own Red 2 & 3 plugin suite.
The 4th Gen makeover of the Scarlett range has had less of an impact on Solo than it has had on its larger siblings, but this is just a reflection of the interface’s elegant simplicity – once Focusrite fitted the new preamp and converters, there wasn’t much left to change. As a result, the price has gone up slightly but it’s excellent value for money. Yes, you may need to add a DI box to get the most out of it, but it allows you to do an awful lot of music-making for very little initial outlay.
Key Features

Price: £139.99 / €130.24 / $139.99 (USD) / $199.09 (AUD)
USB audio interface
1x line/instrument input
1x mic input with Air and phantom power
2x line output
Headphone output
High performance converters taken from flagship Focusrite RedNet interface
Direct monitoring

 
The post Focusrite Scarlett Solo 4th Gen makes life easy for singer-songwriters appeared first on MusicTech.

What does AI mean for music producers?
Music technology journalist Declan McGlynn discusses the potential implications of AI in music, how creators can apply it to their creative processes, and more.

TOP POSTS – Last week’s most-read: ASCAP takes on BMI • Stop chasing streams • Live Nation’s pay gap • moreCatch up on what everybody has been talking about with this week’s most-read posts. We’ve got topics ranging from a powerful song causing controversy, ASCAP throwing shade on BMI, to rich. Continue reading
The post TOP POSTS – Last week’s most-read: ASCAP takes on BMI • Stop chasing streams • Live Nation’s pay gap • more appeared first on Hypebot.

Hollywood Fantasy Voices from EastWest Hollywood Fantasy Voices captures singer Merethe Soltvedt performing with full male and female choirs, and includes sustains, legatos, phrases and words.