SSL launch UF1 DAW Control Centre SSL's new single-fader controller can be used on its own, or paired with the UC1 and up to four UF8s to form a larger control surface.

ModeAudio Metalwork: Found Percussion Samples Metalwork - Found Percussion Samples from ModeAudio whirs and grinds its way into your DAW, melting the shimmering clamour and intense heat of the factory down into hammering sonic shards... Read More

YouTube kills Stories as Google emphasizes Shorts for fan engagementYouTube is discontinuing its Stories feature as of June 26th in a move designed to emphasize its TikTok-like YouTube Shorts feature. Much like Instagram Stories, YouTube Stories were considered an. Continue reading
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Fix The Tix coalition voices strong opposition to BOSS ticketing billThe Fix Tix has come out in strong opposition to the BOSS Act introduced in the U.S. Congress last week. The Fix The Tix coalition includes NIVA, NITO, UMG, See. Continue reading
The post Fix The Tix coalition voices strong opposition to BOSS ticketing bill appeared first on Hypebot.

AIR Music Technology unveil Jura softsynth Jura offers a faithful emulation of a Roland Juno-60 as well as featuring an extended interface option that unlocks a range of modern capabilities. 

How remixes can revive old tracksSome songs just need a few tweaks and a new beat to top the charts again. Bobby Owsinski of Music 3.0 looks at the phenomenon and how to take advantage. Continue reading
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We Asked 1,500 Music Producers How They Use AI in Music Production
Is AI music a threat to creativity or an asset? And how do music producers feel about it? You can hardly go anywhere these days without being bombarded by the effect of AI, especially in creative industries. Whether it’s Chat GPT, Midjourney, or otherwise, the advent of AI is here. But what about music production? [...]
View post: We Asked 1,500 Music Producers How They Use AI in Music Production

M-Clarity plug-in from Techivation Described as a dynamic resonance suppressor, Techivation's latest plug-in aims to enhance the overall clarity and tonal balance of individual sources or entire mixes using spectral shaping technology.

Pamela Z: Singing the body electricIn the mid-1980s, artist Pamela Z was working at Tower Records on Columbus Street in San Francisco, where one of her jobs was replacing pages in the store’s Phonolog, an enormous alphabetized directory of all the music available at the time, which formed a kind of bible of pop. When she ripped one loose-leafed sheet from the book, she noticed that all the titles on that sheet began with “you.” You stayed on my mind. You stole my heart. You stepped out of a dream. When spoken, the repetition of the words had an undulating, musical quality. It soon found its way into one of her electronic compositions, the found poetry processed with four-track cassette recorder, the simple list of phrases made incantatory through the looped rhythms of the human voice. 

Pamela Z, the recipient of this year’s Eugene McDermott Award in the Arts at MIT, has become renowned for her pioneering work in live digital looping and interactive audio/video performance. Her voice is the centerpiece of these performances, manipulating and layering recordings in real time to produce complex sonic textures. Through the use of experimental extended vocal techniques, operatic bel canto, multimedia and sampled sounds, digital processing, and wireless MIDI controllers that use physical gestures to manipulate sound, Z creates immersive and magical aural collages.  

While her first tool was a hollow-body guitar, which Z would use to accompany herself in clubs at night as she sang opera arias by day, her art changed once she discovered a digital delay in the '80s. “I came home from the music store, hooked everything up and started singing through it,” she remembers. “I never went to sleep that night because I was just looping my voice over and over again, and discovering beautiful properties of repetition, of layering, of being able to harmonize with myself, of being able to make complicated things by feeding back into the delay as I added more and more layers. I really think that I was never the same after that.” Having new technological tools, she said, allowed her to listen in new ways, discovering all the polyphonic dimensions within a single sound. 

In the decades since, Z has sought possibility in the objects of everyday life — Slinkies, plastic water jugs, hair clippers, and power tools — working these found materials into densely layered compositions, woven through with her classically trained soprano. The sound of the freight elevator in her loft, a glass falling on the floor, or a fragment of conversation can all become defamiliarized and creatively repurposed in the work. What begins as a simple act of noticing, then, in the process of composition, evolves into much larger meditations on the human condition. 

In the 2010 work “Baggage Allowance,” for example, the experience of hauling suitcases through airport security expanded into a philosophical investigation of memory, belonging, and what it means to carry things with you. “Her process is ‘Let's explore a subject area, or take these objects and put them together. Let's take this language and cut it up, letting its meaning evolve through examining it in what seems to be an objective way,'” says Evan Ziporyn, Kenan Sahin Distinguished Professor of Music and faculty director of the Center for Art, Science and Technology, “and then ending up with something very subjective, personal, and moving.”
At MIT, Z worked with students on their own compositions incorporating found sounds. The students, says Ziporyn, submitted their sounds two hours before the start of class. By the time the group met with Z, she had not only listened to each one but found in each something unique. What she modeled for the students, says Ziporyn, was a form of deep attention to a world swelling with sonic potential. “It was a good lesson in the idea of recontextualizing a sound that you find out in the world somewhere,” says Z, “And just by the act of recording it and listening to it on its own, you've already begun making a piece.” By the last session, she says, each student “had made really beautifully sculpted sound pieces.” 

Z often performs her compositions with sensor-based, gesture-controlled MIDI instruments, wearing pieces of hardware as jewelry. Her gloved hands, like a conductor’s, summon sound from empty air. As part of her residency, Z performed a suite of her compositions for solo voice and electronics, ranging from early groundbreaking works to recently premiered ensemble pieces. Joining her, among musicians from the Boston area, were pianist Sarah Cahill, violinist Kate Stenberg, and flutist and MIT student Sara Simpson. Ziporyn conducted one of the pieces. For Z, the creation of the performance — its movements, feeling, and visuals — is deeply integrated into the process of composing itself. “It seems like magic — one voice becoming many, bird calls emerging and dispersing with the wave of a palm — but it’s really a multilayered virtuosity,” writes Ziporyn, “imbuing every aspect of Pamela’s work, smoothly masked by her grace as a performer. Pamela works with interactive music systems designer Donald Swearingen to develop the instruments and designs her own hardware, then learns how to use both as second nature.”

If some artworks fetishize the novelty of new technology, while others might dismiss it as somehow removed from what we perceive as human, Z has found a way to seamlessly combine digital tools with the ancient arts of performance, the manipulated sounds of the machine coalescing with the music of her own body. 

Z’s expressive form of electronic music, Ziporyn says, reflects how we live today. It reflects the condition of living in a world mediated by technology, a world of bits and atoms, where the digital and analog are continually overlapping zones of experience. Her work, he says, defies any artificial separation between the so-called natural and the synthetic. And, as Z reminds us, we ourselves are electric: Everything we do, think, and feel is powered by the electrical currents coursing throughout the body. Her performances, says Ziporyn, are arguments for accepting that both the material and digital are part of what it means to think, feel, sense, and express — part of what it means to be human.

Presented by the Council for the Arts at MIT, the Eugene McDermott Award in the Arts at MIT was first established by Margaret McDermott in honor of her husband, a legacy that is now carried on by their daughter Mary McDermott Cook. The Eugene McDermott Award plays a unique role at the Institute by bringing the MIT community together to support MIT’s principal arts organizations: the Department of Architecture; the Art, Culture and Technology program; the Center for Art, Science and Technology; the List Visual Arts Center; the MIT Museum; and the Music and Theater Arts Section.

Tommy Stinson Talks Cowboys in the Campfire, the Replacements, Guns N' RosesTommy Stinson spoke to AllMusic shortly before the release of his new album and chatted about his latest project, if a reunion with Paul Westerberg is a possibility, and his thoughts on Chinese Democracy.

Deal to avoid US debt default nixes proposed 30% crypto mining tax, says Ohio lawmakerAccording to Representative Warren Davidson, legislation to address the U.S. debt ceiling blocks “proposed taxes,” including a 30% tax on electricity used by crypto miners.

Get Kuassa Pillar Power Amp FREE With Any Gainia Preamp Purchase
Kuassa offers the Pillar Power Amp plugin as a free add-on with any Efektor Gainia purchase. So far, 2023 has been a blessing regarding guitar plugins for your average axe slinger. The wizards over at Kuassa have been on fire this year as well, and the release of the Gainia preamps is a great addition [...]
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Reliance’s JioCinema breaks world record with free cricket streamingIndia’s JioCinema broke the global record for the most concurrent views to a live streamed event on Monday, eclipsing a long-standing milestone set by Disney’s Hotstar, as the Asian tycoon Mukesh Ambani spares no expense in expanding his digital empire.
The Indian streaming app, whose partner includes James Murdoch’s Bodhi Tree-backed Viacom18, surpassed the record Monday evening, attracting over 33 million concurrent viewers to the final game of the 16th edition of Indian Premier League cricket tourney between Chennai Super Kings and Gujarat Titans.
In what was a high point for Hotstar, the platform drew an impressive 25.3 million simultaneous viewers for a cricket match in July 2019, a record that went unchallenged for several years. However, as the platform shifted the IPL streaming service to a paid format, it grappled to surpass this benchmark in the subsequent years, underscoring the complexities in balancing reach and revenue within the streaming sector.
A screengrab of JioCinema service from the Monday IPL game. (Image: Viacom18)
Drawing a page from Hotstar’s earlier strategy, Viacom18 is seemingly steering its trajectory along a similar path. The Indian entertainment giant, whose largest investor is Ambani’s Reliance, in a strategic shift last year emerged victorious in a $3 billion bidding war against Disney, securing the digital rights for the immensely popular IPL for a five-year period until 2027.
As part of its streaming strategy, Viacom18’s JioCinema app is offering free streaming of the tournament to audiences across South Asia, a move that could potentially reshape the region’s digital streaming landscape, analysts say.
JioCinema, which also offers free access to its basic content to Jio telecom network subscribers, recently rolled out a premium tier. As of last month, users can opt for an annual premium plan, unlocking access to a broader range of content for the modest price of 999 Indian rupees ($12).
Viacom18 has clinched deals with international entertainment powerhouses Warner Bros. and NBCUniversal in recent weeks to make its premium offering a more compelling proposition for potential subscribers.
Despite the challenges, Disney is still managing to find significant success. The international giant, which is broadcasting the game via satellite television in India, garnered a tally of 482 million cumulative views throughout the initial 66 matches, according to data from the industry organisation, Broadcast Audience Research Council.
Reliance’s JioCinema breaks world record with free cricket streaming by Manish Singh originally published on TechCrunch

Vicious Antelope I Saw A Dream - Dreamsynth DS-1 I Saw A Dream soundbank contains 125 80's influenced polysynths for Cherry Audio Dreamsynth DS-1 synthesizer. The sounds are full of nostalgia and bring memories of cinematic and videogames... Read More

Vicious Antelope Lift Up Keys - Dune 3 Lift Up Keys contains 50 classic dance and trance synths for Synapse Audio Dune 3 synthesizer. It is a pretty much generic sounding collection aiming for classic dance and trance... Read More