International financial group finds gaps in digital euro legislative packageThe Institute of International Finance looked at seven areas where digital euro legislation, which is being developed alongside the technology, is lacking.

More music streaming price rises – now!They're coming soon – mark our words...
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Betweened wants to teach kids how to use social media, not shut them out of itKeeping kids off social media is idealistic at best, and giving them access to it opens a Pandora’s box of privacy concerns.

Tycho’s $160,000 studio collection is flying off Reverb’s shelves: Why he’s selling and what to expect from his 2024 albumDon’t worry, synth nerds and gearheads. Tycho has a dangerous lust for vintage and extravagant music equipment, too. But the esteemed electronica producer, real name Scott Hansen, is being bold: he’s listing over 100 pieces of his studio treasures on Reverb.com from today (20 Sept). Why? Is he retiring from music-making after 25 years in the game? Not even close. He just wants to give these coveted artefacts a better home.
“I started to get this weird sense of guilt,” Hansen says from his California studio “Like, I’m sitting here on this amazing thing that somebody could put to use and do something awesome with. Instead, it’s sitting in a closet, decaying away.”
READ MORE: “Always record ideas on your phone. Whether they’re good or bad – decide that later”: Basement Jaxx’s tips for aspiring producers
Sadly, he’s not giving them away for free. The collection of alluring hardware – from synths such as the Korg Trident, Sequential Prophet 5, and Moog Voyager to outboard like his beloved Ursa Major Stargate 626 reverb and Roland RE-201 Space Echo – totals more than $160,000. That also includes the $31,254 Oberheim FVS-1 and $15,626 Neve 84 mixer. These were all used on his seminal albums: 2011’s Dive, 2014’s Awake, and 2017’s Grammy-nominated Epoch. And, at the time of writing, he’s already sold over 30 pieces of gear.
Tycho’s studio gear from 2020. Image: Tycho
It’s not like he won’t miss these musical companions. But in creating his upcoming album, which he tells us is set for release in Spring 2024, Hansen realised that his sonic palette is now “limitless” after diving even deeper into plugins and software.
“There’s just so many options,” he says. “And I’m definitely a plugin junkie; my gear lust has switched from hardware to software. I’ve used a lot of software in the past it’s not like I just started using software instruments. But I force myself to…if there’s a software equivalent of a tool or an instrument, I’m going to use that instead of the hardware, no matter what.”
Despite Hansen’s favourite instrument being his Minimoog, for example, he’s found himself using Universal Audio’s version more than the real thing. “That’s the sad thing – Universal Audio came out with its Minimoog emulation and, it’s sacrilege to say it but, I like it more. It ended up serving me well on this record.”
Don’t be fooled, though – there’s no way he’s giving up his Minimoog. “No, absolutely not,” he says with a chuckle. “I don’t care if I never use it again. It’s too sentimental.”

With so much hardware and software he’s racked up, we wonder how the producer decides what gear to invest in next. “I’m always just looking for the Holy Grail of sound or something,” he laughs. “[The gear] is either a shortcut to the sound that I want or it can make a sound that I’ve never heard anywhere else.
“I was never a musician,” Hansen continues. “I came to music through musical equipment. I could probably be pretty fulfilled just messing around with gear and never finishing a song. If I didn’t have to for my job, you know?”
Thankfully, Hansen is clearly capable of finishing tracks and albums. With the cult success of his ever-replayable albums, fans are sure to be stoked for new music in 2024. After his 2020 album Simulcast, Tycho moved studio and his workflow changed with so much of his gear going into storage.
“I wanted this album to be flexible in the mix stages. I was always limited by the decisions I made in the moment with hardware equipment,” explains Hansen.
“I’ve finally got around to learning ReaLearn, which is an add-on script in Reaper, for super-deep integration with plugins and controllers. And so it gives you this ability to have a Minimoog [plugin] and really feel the tactile experience of playing when it’s actually software and a controller.”
Hansen says he got a “ton of new plugins” since Simulcast, after being a little “out of the loop” on which ones were worth copping.
“It felt like something major happened between, like, 2015 and 2020, where plugins finally made it to the point where it’s like…Man, if you can hear the difference between a software emulation and the hardware, good for you,” Hansen says. “But this isn’t about the sound anymore. They did it. The argument of sound is over, it’s just more about workflow. So that was when I was like, ‘Well, I don’t care because I love working with computers. And I’m not old-school where I need to be turning all these knobs.’

“So it was just about using as many plugins as I could and figuring out which developers I liked,” he continues. “Now, when I look at plugins, the only thing I’m looking for is a novel approach or a sound that I can’t get anywhere else. Ujam’s stuff is interesting because their plugins sound like nothing I’ve ever heard and that’s compelling to me. But do we need another Roland Juno emulation? Like, Softube’s Model 84 – that’s it! I don’t need another one.”
Alongside new gear and processes comes new collaborators, too. The album’s lead single, Time To Run, comes with an unexpected new collab partner. “The impetus for that song was this drum part by [producer, multi-instrumentalist and streamer] Kaelin Ellis. I just got really into his drumming, so I worked with him on the drums for [Time To Run]. And he has this like, looser style; I’m used to rigid rhythmic structures I’ve been doing in the past, and more like indie-rock-type drums. So it’s cool to work with a different kind of pattern.”

As it happens, Reverb.com also lent a hand in introducing Ellis to Tycho. Hansen and Reverb had been discussing the gear sale for almost three years, developing a pretty close relationship. Separately, the marketplace was planning to create a video to promote the sale of a Minimoog reissue and found Hansen and Ellis as the perfect candidates.
“Reverb wanted to bring somebody who was using a Minimoog clone into my studio, where I had a real Minimoog, and just like, show them around the real thing and have them play it. And that was Kaelin. I didn’t even know him!
“So they had him come out and we just connected that day. And I was like, ‘Man, I’m working on this album. Why don’t you come back out to my studio?’ And he did. So yeah, that was really cool.”

According to Hansen, though he keeps the album’s details close to his chest, the material can be categorised into sets of three. “I’d say there’s a set of three songs that kind of live in the same space as Time To Run. There are three songs that live in darker [space], like if we kept doing stuff like Epoch, and then there’s some very Tycho original, kind of like Dive and Past Is Prologue era stuff. It feels like it’s a nice balance of stuff from different eras. But it all feels evolved.”
Until then, we wonder how he’s going to feel when his cherished studio gear goes into new studios for other artists to create with. “You know, I really appreciate my time with it. And I’ll always remember it. But I think it’s time – you got to keep things fresh, you know?”
Check out the official Tycho Reverb shop.
The post Tycho’s $160,000 studio collection is flying off Reverb’s shelves: Why he’s selling and what to expect from his 2024 album appeared first on MusicTech.

Grainge and Huffington Host Music + Health SummitSir Lucian Grainge, Chairman and CEO of Universal Music Group (UMG), and Arianna Huffington, CEO, Thrive Global hosted the MUSIC + HEALTH summit in Los Angeles, in association with Havas Health. The focus of the event was exploring the direct relationships between music and health, discussing recent research that has documented music’s therapeutic and medical benefits, showcasing innovators integrating music into products and services devoted to fitness and wellbeing, and introducing some of the new applications of technology that are helping to harness it. 

The event brought together leading experts from across the fields of music, science, health & well-being, fitness and technology including legendary nine-time Grammy-winning producer, and recent author of ‘The Creative Act: A Way of Being’ Rick Rubin, in conversation with Dean Willow Bay on Creativity, Music & Wellbeing. Panel discussions featured prominent voices from science and medicine including Dr. Lisa Miller, Dr. Daniel Levitin, Dr. Assal Habibi, Jaron Lanier and neurosurgeon and scholar Dr. Ali Rezai. Closing the event was a special conversation between Sir Lucian Grainge, Arianna Huffington and singer, businesswoman and actress Selena Gomez on music for mental health. 

Speaking at the event, Sir Lucian Grainge said, “Throughout my life, I have experienced countless examples of how music can change people’s mood, comfort them in times of emotional crisis, or even help them physically. At Universal, I wanted this powerful relationship between music and health to not simply be a series of anecdotal observations, I want it to be a key component of our strategy, so we can really put music to work in ways it has never been used before. As a company, we are fundamentally rooted in the belief that music is a powerful force for good, and now we have the science and technology—with AI and therapeutics and more— to help accelerate these developments. It really is one of the most interesting and exciting new frontiers for music.”

Arianna Huffington, Founder & CEO, Thrive Global said, “Music has always been a moving force throughout human history. And our goal with the conference was to move beyond anecdotes and highlight the science and the applications which confirm the power of music to impact our mental and physical health. We’re thrilled to partner with Universal Music Group to put this into practice by licensing Universal music for Thrive Reset, our 60-second stress reducing product that uses music and breathing to help move users from the sympathetic to the parasympathetic nervous system in just one minute. Universal’s catalog will make Thrive Resets more engaging, personalized and joyful to drive even greater behavior change through our platform, helping people reduce stress and connect each day with what they love about their lives. As we learned today from neuroscientists, historians, doctors and entrepreneurs, we’re just getting started with all of the ways we can leverage music, both for preventive health and to augment medical treatment, and I am looking forward to using today’s conference to accelerate this growing movement of music and health.” 

In recent years, UMG has led the industry in exploring creative and commercial opportunities for music to play an even greater role in health & well-being, licensing its catalog of music to more than 40+ companies across the field. Today UMG’s music is not only being used to soundtrack fitness, mental well-being, relaxation and meditation, but also harnessed to be used alongside treatment for a broad array of serious/chronic medical conditions including Stroke and Traumatic Brain Injury recovery, Alzheimer’s, Dementia, Parkinson’s, Anxiety, sleep and mental healthconditions, among others.

During the event, UMG announced a new partnership with Arianna Huffington’s Thrive Global, that will see UMG become the exclusive music partner for their Thrive Reset stress reduction product featuring music and breathing. In 2016, Huffington launched Thrive to help individuals, companies, and communities improve their well-being and performance – and debunk the collective delusion that burnout is the price we must pay for success. Since then, Thrive has been working to bring its AI-powered behavior change technology platform and Thrive Microsteps – small, science-backed steps to improve health and productivity – to employees at more than 125 organizations in 140 countries, from frontline and call center workers to executives at multinational companies.

The day featured a presentation from MedRhythms co-founder and CEO Brian Harris, to discuss their product’s innovative usage of music as medicine, helping patients learn to walk again after debilitating strokes. Their InTandem device was recently listed with the FDA as the world's first prescription digital therapeutic product that uses music. In the device UMG recordings are played based on data that the service algorithm receives from sensors the patient wears on their body. The sensors monitor the user's gait and positioning and play the "right" music to fit each patient's current walking ability. 

During the event, UMG announced that it was licensing innovative digital therapeutic company soundBrilliance, providing selections from its catalog for use in closed clinical trials for music and health research. These trials will use music, psychology, & measurement techniques to create tools & exercises which empower people to better self-manage the fundamentals of health: emotional balance, fitness, quality sleep and pain control. UMG also introduced Sollos, its forthcoming music-centric wellness app that uses cognitive science and proprietary audio technology to support focus, relaxation and sleep.

The day featured a performance and conversation with Republic Records’ artist Chelsea Cutler, Breathing Session and performance from Decca Records’ Pianist and composer Chad Lawson and panel appearances from UMG partners including Apple Fitness +, Endel, Music Care, Universal Production Music, Thrive Reset and Havas Health’sWelltainment panel, a look at music’s power to help end the health equity crisis. 

UMG is not only the world-leader in music-based entertainment, but has a historical track record of technological, scientific and medical innovation, dating back to the beginning of the 20th Century. These include significant breakthroughs in the fields of sound recording, television, radar, computing and in medicine – most notably for the invention of the CT scanner, the pioneering X-Ray technology that heralded a new era in medical diagnostics. In 1979, in recognition for its impact to global health, EMI engineer Godfrey Hounsfield was awarded the Nobel Prize for Physiology or Medicine for his role in its development.

Soundiron Sitarion Sitarion is a powerful virtual electric sitar library designed to harmonize tradition and innovation. Chithrinie Nirupama sampled her beautiful custom sitar built by luthier Sanjay Rikhi... Read More

Proposed US bill would allow indie artists to negotiate collectively with streaming services, AI companiesThe Protect Working Musicians Act of 2023 was introduced on Tuesday (September 19)
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RELEASE DETAILS
Release title:
Rhyme Felony
Main artist name:
Sina Arpa,Ahorock
Release date:
13th Feb, 2021
https://publme.lnk.to/RhymeFelony
#newmusic #Release #Music #indepedent #artist #hiphop

RELEASE DETAILS
Release title:
Vice Path
Main artist name:
Sina Arpa
Release date:
21st Sep, 2019
https://publme.lnk.to/VicePath
#newmusic #Release #Music #indepedent #artist #hiphop

Vicious Antelope Solar System: Phobos - Pigments and Analog Lab V Phobos continues our Solar System soundbank series for Arturia Pigments and Analog Lab V. This time all presets are sample based and the pack is inspired by one of the two Mars' moons Phobos.... Read More

Waves launch Waves Online Mastering Waves have announced the launch of a new AI-powered online mastering service that aims to provide users with quick and easy access to high-quality masters of their finished mixes.

I've listened to several random tracks at https://masterchannel.ai/ and I wouldn't say masters sound better than mixes...
#AI #Mastering

You:
tell me more about PublMe Music platform
😎
ChatGPT:
PublMe Music is a digital platform that provides a space for musicians and artists to showcase and distribute their music to a wider audience. It offers a user-friendly interface, allowing artists to upload and share their tracks easily.

Here are some key features and benefits of PublMe Music:

1. Music Distribution: It allows artists to distribute their music across popular streaming platforms like Spotify, Apple Music, Deezer, and more. This helps artists reach a larger audience and potentially gain more listeners.

2. Customizability: Artists can personalize their profile pages on PublMe Music by adding their bio, photos, links to social media accounts, and other relevant information. This allows them to create a unique and engaging online presence.

3. Analytics: The platform provides detailed analytics and insights on track performance, including the number of plays, listeners, and geographical data. This helps artists understand their audience better and make informed decisions about marketing and promotion.

4. Collaborations and Networking: PublMe Music encourages collaboration between artists by enabling them to connect and collaborate with other musicians and producers on the platform. This can lead to potential opportunities for creative partnerships and growth.

5. Royalty Payments: PublMe Music ensures that artists receive their rightful royalties for their streams and downloads. It simplifies the process of collecting and distributing royalties, making it easier for artists to earn money from their music.

6. Promotion Tools: The platform provides various promotional tools to help artists increase their visibility and reach. This includes playlist placements, social media promotion, and the ability to send tracks directly to industry professionals for consideration.

In summary, PublMe Music is a comprehensive platform designed to support musicians and artists in sharing their music with the world, offering distribution, analytics, networking, and promotional tools. It aims to empower artists and provide them with the resources they need to succeed in the music industry.

🌌 Thanks ChatGPT.
💫 Stay tuned and Enter The Space!
#CommunityNetwork #PublMe #Space #Services #Distribution #TheMusicverse

Say hello to SpatialAI, the world’s first spatial AI mastering solutionAI mastering platform Masterchannel has launched SpatialAI, a new tool that specialises in mastering immersive music to be used on spatial audio systems.

READ MORE: Bose introduces QuietComfort Ultra headphones and earbuds with spatial audio

SpatialAI, according to Masterchannel, is the world’s first spatial AI mastering solution, streamlining the creation and technical compliance of spatial audio projects, making them ready for distribution in a matter of minutes.
To use the tool, you upload your music file as an Audio Definition Model Broadcast Wave Format (ADM BWF) to Masterchannel. It will then process the file and return with an optimised track for streaming platforms, along with an individually optimised stereo version for traditional distribution.
The launch arrives just as the popularity of spatial audio on streaming platforms is booming. Apple Music recently disclosed that after just over a year since its introduction, over 80 per cent of its global subscribers have embraced spatial audio, leading to a 1,000 per cent surge in monthly listeners of the format in 2022.
“There’s a growing urgency for artists to deliver tracks in spatial audio, with the format being prioritised for streaming playlists,” Masterchannel CTO Simon Hestermann states in a press release. “However, until now it has been an elite technology. Producers have needed expensive equipment and add-ons to trust it, and engineers and their studios needed to be certified to attract business, making it prohibitively expensive and complex for many.”
“That’s why we launched SpatialAI, to democratise access to spatial audio. Now DIY artists have the opportunity to compete with major signed artists for listener attention. Our aim is to streamline the switch to spatial audio for artists of all kinds.”
To find out more, head to platform.masterchannel.ai.
The post Say hello to SpatialAI, the world’s first spatial AI mastering solution appeared first on MusicTech.

UK music industry body wants to adopt these five key principles for regulating AIThe Council of Music Makers has shared five key principles for AI use that they want policymakers to adopt when considering how to regulate AI for use in music.

READ MORE: This new drawing-based synthesiser makes sequencing easier than ever

The council – which represents UK songwriters, composers, artists, musicians, producers and music managers – has unveiled five fundamentals that it says should be fully embraced by the music industry as AI technology develops.
They have been developed by CMM’s five member organisations – The Ivors Academy, the Featured Artists Coalition, the Musicians’ Union, the Music Producers Guild and the Music Managers Forum. The five principles will be officially unveiled at The Ivors Academy Global Creators Summit on music and AI in London later today (20 September).
In addition to the proposed principles, the CMM has also produced a template letter that artists can tailor and send to record labels about the use of AI.
“We all recognise that AI presents opportunities for the music business,” says a representative for the Council of Music Makers. “However, the rights of music-makers – including artists, musicians, songwriters and studio producers – must be respected by technology companies and rights-holders as music AI models are trained and new AI-powered products and services are developed.”
The five principles can be seen below. We’ve simplified the wording a little, so if you want to the principles exactly as the Council of Music Makers proposes, you can head to the organisation’s website.

Consent must be acquired by the individual music-makers before music is used to train AI models.
All publicity and personal rights of the music-maker must be respected and cannot be exploited by AI companies or rights-holders. The UK government should strengthen these rights.
Music-makers must fairly share the financial rewards of the music AI.
AI companies must proactively consult music-makers and reach an agreement on how each stakeholder will share the revenue.
AI-generated works must be clearly labelled, and AI companies must be fully transparent about the music that has been used to train their models, keeping and making available complete records of datasets.

The post UK music industry body wants to adopt these five key principles for regulating AI appeared first on MusicTech.