DAVE KOZ AND FRIENDS CHRISTMAS TOUR 2023 At Cerritos Center for the Performing Arts, Cerritos CAOne of the great joys of being a longtime smooth jazz enthusiast is the opportunity every so oftento share the festive, ever-grooving magic of my favorite artists in a live setting with friends whohaven’t yet had the pleasure. Early in his Dave Koz and Friends Christmas Tour 2023 Saturdayshow at the Cerritos Performing Arts Center, the saxophonist and always engaging hostmentioned it’s been an annual tradition since 1997 – over 25 years! I’ve lost count of how manyI’ve attended – 10, 12, maybe – but one thing’s for sure. It’s always the musical highlight of theseason. Still after attending so many great performances, there’s always the possibility of takingthem for granted, like comfortable annual rituals rather than the fresh, marvelous evergreenevents they truly are.So it was a unique pleasure for me to share the evening with a wonderful friend new to the KozChristmas experience and to experience through her eyes the wonder and nuance of everyexciting performance, each fresh arrangement of a holiday classic, the mix of R&B/funk,intimacy and uplifting gospel energy. A fusion of exquisite beauty and ongoing party, the Kozversion of Santa’s workshop, drew my friend into the holiday spirit - and made me appreciateevery detail of just how special and essential the show is to, to borrow a familiar lyric, makingthe season bright.

While the “and friends” Koz usually invites to join the fun of his cross-country December toursare usually other genre A-lister stars, he switched things up delightfully this year, complementingthe core of him and “my brother” Jonathan Butler with equally brilliant but slightly lesser knownperformers like saxophonist Marcus Anderson, vocalist Rebecca Jade and 16-year old SouthAfrican born multi-instrumentalist phenom Justin Lee Schultz, whose 2023 debut album Just InThe Moment is one of the genre’s best of the year.Koz and Butler kicked off the nearly two-hour show showcasing their dynamic sax-guitar-vocalchemistry on an engaging medley of freshly arranged classics, seamlessly flowing through“Have Yourself a Merry Little Christmas,” “White Christmas,” “We Need a Little Christmas,”“Joy to the World and “It’s Beginning to Look a Lot Like Christmas.” Everything seemed like a“normal” but of course wonderful Koz Christmas show until Schultz popped in with a soulfulversion of “This Christmas” that featured him, in rapid succession on vocals, fiery electric guitarand acoustic piano. Then came the blazing sax and stage commanding charisma of Anderson,followed by Jade performing (with Anderson and Schultz on harmonies) a fascinating, funkedout twist on “It’s The Most Wonderful Time of the Year” with a completely new melody.Likewise, Anderson played one of the peppiest spins through the usually staid and sacred “SilentNight” that I’ve ever heard.After Koz and Butler joined them for a full cast romp through a playfully choreographed “SantaClaus is Coming to Town,” Koz took center stage (with Schultz on piano) to share his newsingle, “When You Wish Upon A Star” (part of an upcoming Disney themed EP), easing fromlush balladry to a whimsical, percussive samba arrangement. The one aspect of the show that setit apart from previous Koz extravaganzas was when the five principals gathered around the piano

for intimate talk (and of course, brief performances) of their very favorite holiday songs. Theseranged from Anderson’s perky “I Saw Mommy Kissing Santa Claus” and Jade’s sweet “MerryChristmas Darling” to Koz’s hilarious “You’re a Mean One, Mr. Grinch!”The cultural-religious balance of a Koz holiday show is always a treat as well, this timemanifested with Koz complementing his folksy dance “Eight Candles” with snippets traditionalHanukah songs; Jade and Butler offering a shimmering, goose-bump inducing duet on “MaryDid You Know?”; Jade making a joyful noise to the Lord on “O Come All Ye Faithful” with afaux stained glass church window on the screen behind her; and Butler’s showstopping “O HolyNight,” performed with a meditational grace that invited everyone in the audience to feel eachword on a soul-deep level.Energy-wise, the flip side of that was when the whole cast joined forces as Butler took thecongregation to church on his fiery gospel jam “Brand New Day.” Koz and Friends closed theevening on a thoughtful note, with some Beatlesque messaging for a world in need, starting witha thoughtful rendition of “Imagine” topped with a swelling chorus of “All You Need is Love.”

The number of Latin music listeners on Spotify worldwide soared 986% from 2014 to 2023Spotify reports steady double-digit growth in demand for Latin music over the past decade
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Japan’s NexTone expands distribution network globally in partnership with SESAC Music Group’s AudioSaladDeal marks the first Japanese partnership for AudioSalad
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Two notes announce TriTone Collective for OPUS Users of Two notes' OPUS amp and cabinet modelling system can now add another three preamp models to their device free of charge.

Las Vegas Sphere owner reportedly “in talks” to open a second venue in Abu DhabiJames Dolan, CEO of Madison Square Garden Entertainment, is reportedly “in talks” regarding the potential opening of a second Sphere venue which could be situated in Abu Dhabi.
The Sphere, which is owned by Dolan’s company, currently resides in Las Vegas. It was opened in September 2023, and hosts the world’s largest LED screen.

READ MORE: How Las Vegas’ Sphere is inspiring fulldome performances around the globe

As reported by The New York Post, Dolan is allegedly pitching investors in Abu Dhabi to build a second Sphere arena in the city. “These are serious talks with Abu Dhabi. They keep going back and forth,” a source has told the outlet.
A spokesperson for Sphere has also said, “We are in substantive discussions with multiple international markets”, but they did not specifically name Abu Dhabi.

The report follows a rejection for a potential Sphere in London, which was turned down by the city Mayor, Sadiq Khan, due to concerns regarding light pollution and strains on local areas from residents near the proposed site.
Last month (November) it was also revealed that the Las Vegas Sphere had made a financial loss of $98.4 million since its opening in September. A financial loss is not rare for new businesses, however, Dolan is also allegedly facing a $225 million tab due to a feud over construction costs, which has resulted in a lawsuit (as reported by Fox 5 Vegas).
Since its opening, the Las Vegas Sphere has most notably hosted a residency from rock band U2. The shows focused on their 1991 album, Achtung Baby. At the launch of The Sphere, it was said that the venue would also host sporting events and cinema.
The structure measures at 366 feet tall and 516 feet wide, making it the world’s biggest spherical structure. It cost $2.3 billion to bring to life, and is capable of hosting 20,000 people.
Find out more about the venue and view the full list of its upcoming events via The Sphere Vegas.
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Rhodes Music V-Pan Plugin Is FREE Until January 31st
Rhodes Music offers the V-Pan ($39.95 value) modulation plugin for FREE until January 31st, 2024. V-Pan is a plugin that adds instant depth and dimension, and it’s modeled straight from the Rhodes MK8 Vari-Pan circuit. The Rhodes MK8 is still relatively new, but the classic Rhodes vibrato stereo panning effect was introduced on the suitcase [...]
View post: Rhodes Music V-Pan Plugin Is FREE Until January 31st

Scientific research uncovers why Seeb’s I Took A Pill In Ibiza remix is hugely popularA university has conducted research into how Seeb’s I Took A Pill In Ibiza remix became such a hit by examining the relationship between rhythm and sound in their music production.
As part of the study, researchers at the University Of Oslo interviewed four of the most successful EDM acts on Spotify. One of these acts was the electronic music duo, who have earned over 1.7 billion streams on the platform from the Mike Posner remix alone.

READ MORE: “It’s the basic stuff but it’s going to make you unstoppable”: Kaytranada offers advice for budding producers

As reported by MusicRadar, the findings from the study were published by Partner Science Norway, which revealed that the most successful EDM artists had used a combination of on and off grid quantisation on their biggest hits. This one finding in particular was noted as key to making a track interesting by creating the impression of a difference in sound.
According to the study, Seeb had analysed the swing quantisation in popular EDM songs when making their remix and discovered that “between 22 percent and 40 percent swing gets you the grooviest beats”.
The university researchers studied Seeb’s project files for the track and found that the main chord arrangement used this percentage of swing throughout. They also noted that “the onset of the notes on the second and fourth beats was 23 milliseconds behind”.

“All the producers were aware of how they worked with sound, rhythm, and micro rhythms,” says Jon Marius Aareskjold-Drecker, a senior lecturer in Music Production of the study. “They had different strategies, but they also did some of the same things.”
Professor Ragnhild Brøvig also adds, “If you change the rhythm just slightly, it can be so minimal that we don’t perceive it as a difference in timing, but we experience it as a change in sound.”
As part of the university’s overall conclusion, Professor Brøvig later states, “We saw that very small micro-rhythmic nuances, such as a few milliseconds of deviation of a note from the grid, had a big impact on the listening experience.”
Find out more about Seeb via their official website.
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Which AI tools are most popular with musicians and producers?AI for music was one of the year’s hottest topics. But which AI tools are musicians and music producers using the most? The team at the recording studio and rehearsal. Continue reading
The post Which AI tools are most popular with musicians and producers? appeared first on Hypebot.

GForce introduce AXXESS soft synth GForce's latest soft synth delivers the sound of an ARP Axxe, a six-voice polysynth originally released in 1975.

Why Independent Spotify Playlist Curators are so importantIn an age where listeners are overwhelmed by the endless choices of streaming, independent Spotify curators add a personal touch to the music landscape through hand-curated non-algorithmic playlists. by Sonia. Continue reading
The post Why Independent Spotify Playlist Curators are so important appeared first on Hypebot.

Berklee offers free course in Touring For Musicians on CourseraLearn the basics of successful touring with a free course created by Hypebot Founder, Editor, and longtime booking agent Bruce Houghton for Berklee and Coursera. This short four-lesson Berklee Coursera. Continue reading
The post Berklee offers free course in Touring For Musicians on Coursera appeared first on Hypebot.

Chaos Audio Releases FREE Starlight Shimmer Reverb Plugin
Chaos Audio has made their Starlight Night Sky Reverb guitar effect available for free as a native plugin for Windows and Mac. You can get a download link for the plugin by entering an email address on the product page linked below.  The Starlight’s interface is set up like a guitar pedal, and the shimmer [...]
View post: Chaos Audio Releases FREE Starlight Shimmer Reverb Plugin

AI and casual music creation to lead “unprecedented expansion” of music creator economy, per new reportAI and casual music creation are poised to become the key drivers of the music creator economy, according to a new report by global market intelligence firm MIDiA Research.

READ MORE: “It’s the basic stuff but it’s going to make you unstoppable”: Kaytranada offers advice for budding producers

The latest findings reveal that in 2022, the music creator landscape experienced a temporary slowdown, clocking in at 75.9 million music creators, a modest 12 percent increase from the previous year. However, MIDiA’s projections point towards a robust comeback, forecasting accelerated growth in 2024 and 2025, with numbers soaring to 198.2 million by 2030.
Meanwhile, the software and services market for music creators saw a 12 percent surge from $4.2 billion to $4.7 billion in 2022. Music creation hardware revenues are also set to climb to $5.3 billion by 2030, led by production hardware.
Image: MIDiA Research
Notably, the report highlights two key trends that are steering the course of the music creator economy: AI and the rise of the consumer-creator.
Given the consumerisation of photography (Instagram) and videography (TikTok), the music industry is poised to undergo a similar transformation. As casual music creation becomes mainstream, it is also set to trigger an “unprecedented expansion” of the music creator economy funnel. According to MIDiA, the industry’s future will be defined by simplification and consumerisation.
The report also envisions a substantial role for AI in the industry’s future growth, categorised into assistive tools, generative creator tools, and generative consumer tools.
For Mark Mulligan, Managing Director and Senior Music Analyst at MIDiA Research, “The days of discrete sectors for audience, creation, rights, and distribution are numbered.”
“The streaming-centred music business and creator tools, once distinct, are merging into one extended value chain. Projected to hit a combined $10 billion by 2030, the creator tools sector is poised for both commercial and cultural transformation.”
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Detroit funk legend Amp Fiddler dies at 65Detroit funk legend Joseph Anthony “Amp” Fiddler has died at the age of 65. A statement on Fiddler’s Instagram reveals that the musician passed away after “an extensive and noble battle with cancer”.
“We face the insurmountable responsibility of sharing the passing of Joseph ‘Amp’ Fiddler,” reads the post. “Our beloved ‘Amp’ Fiddler, Detroit’s own world-renowned ambassador of funk, soul, and electronic music, keyboardist, producer, Afro-futurist, and guiding force of light for so many, has transitioned at the age of 65.”

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A post shared by Amp Fiddler (@amp_fiddler)

Born and raised in Detroit, Fiddler began his musical journey as a member of the soul/R&B group Enchantment in the 70s, before joining as a keyboardist for George Clinton’s Parliament-Funkadelic music collective. Fiddler toured with the band for over a decade, appearing on songs such as Prince’s We Can Funk.
Throughout the 1980s, the artist also lent his keyboard skills to sessions with Warren Zevon and American band Was (Not Was).
Working with his brother Bubz, Fiddler released the album With Respect in 1990, recording under the name Mr. Fiddler. His debut album as Amp Fiddler, Waltz of a Ghetto Fly arrived more than a decade later in 2004 – and would go on to become his most commercially successful solo album.
Over the years, Fiddler has collaborated with a diverse range of artists, including Prince, Jamiroquai, Moodymann, Theo Parrish, and J Dilla, whom he taught how to use the Akai MPC drum machine. His works were also featured on labels like Mahogani Music and Sound Signature, with his last release being the June single titled Come On Over, a collaborative effort with Luke Solomon.
Tributes have poured from around the globe following news of Fiddler’s passing.
Questlove wrote: “Rest easy brother Amp. For all those talks during the Pfunk tour. For all the music. Especially of course mentoring the one who mentored us (Dilla) – thank you brother.”
Meanwhile, broadcaster and label head Gilles Peterson remembered the late musician as “Detroit royalty” and a “huge influence on musicians from all sides of the globe – he connected generations and scenes… a mentor to so many”.

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A post shared by Gilles Peterson (@gillespeterson)

Read more tributes below:

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A post shared by WAAJEED (@waajeed)

RIP amp fiddler, incredibly sad news. A huge talent who was always a joy to see live, and the man who lent j dilla his first sampler.
— Mr B (@MrBeatnick) December 18, 2023

Devastated to hear that Amp Fiddler has passed away.
His impact on music is impossible to summarise in a post, but we wanted to say that we are honoured & privileged to get to know Amp through his work with Dames Brown. He was a positive force to everyone around him.
pic.twitter.com/Np56aReNbh
— Defected Records (@DefectedRecords) December 18, 2023

Amp Fiddler was a great human.
The impact he had on everyone around him was profound. He treated everyone with nothing but love and respect.
He was also a huge influence on all of the music that I love, not least J Dilla.
An unsung hero in many ways.
Rest in peace, Amp. pic.twitter.com/HNVTMvFjzV
— Thomas Coxhead (@iamcoxhead) December 18, 2023

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Native Instruments Kontrol S-Series MK3 controller lets you focus on your music, not your computerKontrol S49 £649
Kontrol S61 £749
Kontrol S88 £1129
native-instruments.com

Native Instruments’ position as the developer of a huge library of software instruments and effects – as well as the gatekeeper of the Kontakt software through which many third-party instruments operate – means that it is uniquely placed to create a hardware system that ties into that software at a very deep level.

READ MORE: Surround mixing on headphones just got serious with OLLO Audio’s S5X

The first and second generations of Komplete Kontrol keyboards proved popular with players and producers. But now, alongside a Native Instruments rebrand comes the third iteration. As well as hardware upgrades the software on both sides – keyboard and computer – has been revamped significantly, something you can read more about in our in-depth interview with the developers. So what does it offer to existing Native Instruments (NI) users – and to those who aren’t?
Native Instruments Kontrol S88 MK3. Image: Simon Vinall
Look and feel of the Kontrol S-Series
The controller comes in three sizes – 49 and 61 keys with semi-weighted keybeds (our review model is a 61), and an 88-key model with fully-weighted hammer action, all from Italian keybed maker Fatar. The build quality is superb, with a new unibody aluminium construction plus capacitive metal knobs boasting a premium feel.
Also new is the large colour screen – the MK2 had dual screens like Maschine – offering excellent clarity. Where previous models required your computer to process the screen graphics, now it’s all done on the controller’s onboard CPU, as are the play assist modes. Sound is still generated on your computer, of course, but the new system allows lightning-fast reaction to your input on the controller itself.
How to connect the Kontrol Mk3
Having more brain power of its own is handy when working in standalone mode without a computer. Normally, you’d connect to your Mac or PC over the supplied USB-C cable – which also provides power – but it also works as a standalone MIDI device thanks to its full-size MIDI sockets.

In this instance, you need to power using your own USB-C PSU, but since the units only require 7.5w – a remarkably low wattage – it’s easy to achieve. Separate USB ports are available for data and power, and there are four TRS pedal inputs on the rear for sustain, expression and two assignable ports.
Taking Kontrol
NI has updated its NKS (Native Kontrol Standard) format to version 2, allowing much deeper integration with instruments that have been updated to work with it, including a plethora of NI’s own, plus an ever-growing list from developers such as Arturia and U-he. Essentially the new system makes more parameters map directly to the keyboard’s screen and controls as well as integrating more deeply with the browsing system.
The idea is that you spend less time looking at your computer when playing or producing. While that has always been the goal of pretty much any controller, the implementation here feels a real step forward. This is partly thanks to the excellent graphical feedback on the screens, with NKS 2 instruments displaying custom graphics and colour schemes on the controller as well as properly-formatted parameter labels.
Native Instruments Kontrol S88 MK3 encoder. Image: Simon Vinall
The result is precisely what NI has set out to achieve – that you feel like you are really playing the instrument as if it’s on board the keyboard, rather than running on your computer. Workflow is facilitated by navigation buttons on the controller, though thanks to the advanced screen and four-way knob controller, fewer of these are required for deep-dive interaction. So many of an instrument’s controls are available directly, with multiple pages available where required.
Direct Konnection
The MK3 now has a direct connection into Kontakt 7, which means all its browsing and tweaking features can work with Kontakt running standalone or in a DAW. You can stack instruments, browse and edit them all from the hardware, making it an excellent solution for building ensembles and live performance. Registering your hardware also unlocks the new Komplete Kontrol software, a wrapper that again can run standalone or in a DAW and into which you can load any plugins including third-party instruments and effects. This basically makes them available to the keyboard’s browser and controls. The software also allows you to load individual loops and samples and includes a sample player and editor – a welcome bonus.
It’s backwards compatible with NKS 1 instruments of course, and where a plugin isn’t NKS compatible you can create custom MIDI mappings and labels in the software, then save and load these as user presets. DAW transport controls are available on the keyboards too, with Logic, Cubase, Live, Bitwig, Digital Performer and Studio One supported, with FL Studio and Pro Tools coming soon. Here again the large screen makes feedback very helpful, showing mixer levels and the like.

Multi touch
A big new feature is polyphonic aftertouch, which can be switched on or off as you prefer. Previously only available in a small number of specialised or higher-end synths, it’s a way to play more expressively on the keys. The way it works is this; usually, if you assign aftertouch to control something like vibrato or filter and you press and hold a chord, pressing more notes at the same time will play those notes in the same state as the held chord – i.e. with the filter closed, or whatever the parameter is. With polyphonic aftertouch, extra notes that you play behave independently, letting you play them with their own expression. It’s a really nice addition and one that will be very useful for composers or anyone looking to go beyond regular keyboard playing. This parameter can be read by software with MIDI Polyphonic Expression (MPE) and the MK3 also supports MIDI 2.0, making it ready for future developments in the field.
Speaking of playing, the MK3 has had its Light Guide system refined, with a more elegant set of colour-customisable lights showing you what notes you are able to play when scale and chord modes are active. There’s also an extensive arpeggiator system and thanks to the onboard CPU these all work in MIDI mode too, making the controller more useful than ever for working with external MIDI-triggered hardware. Other minor (but welcome) changes include moving the touch strip above the pitch and modulation wheels – which also share colour backlighting – making it more comfortable to perform control gestures with your hand. These can now be remapped directly from the hardware too.
Native Instruments Kontrol S88 MK3. Image: Simon Vinall
Conclusion
The Kontrol S-Series MK3 is a wonderfully playable and tactile controller, its keybed responsive and nuanced and its hardware providing unparalleled direct control of instruments. Yes, it’s NI’s own or those updated to support NKS 2 that will offer the most detailed level of control, but it does come with a very impressive software bundle in the form of Komplete 14 Select, with over 15,000 sounds. If you’re considering an NI controller there’s a good chance you are already at least partly invested in this world anyway, even if that simply means you use Kontakt instruments.
If you aren’t planning to explore the deep integration on offer then these might seem like pricey products; indeed, there are many cheaper and more generic controllers out there if that’s all you need. Think of these first and foremost as the ultimate controller for any NKS instrument or effect – which are huge in number – and also a customisable way to control other plugs as well, control your DAW and even go computer-free with MIDI mode. NI tells us that it has made great strides in integration and it certainly shows when you get hands-on with this new system – it’s an incredibly rich and immersive way to play and to create.
Key features

49, 61 or 88 keys
USB-C for power and MIDI data
Metal, capacitive knobs for tactile control
Colour screen powered by onboard CPU
Deep integration with NKS-compatible instruments
Standalone MIDI mode for controlling external gear
Komplete Kontrol software brings in all your plugins
Scale, chord and arpeggio modes plus Light Guide
4 pedal inputs
Comes with Komplete 14 Select bundle

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