Soundiron Iron Pack 13 - Cyborg Bytes The Iron Pack series is a line of compact, affordable, and great-sounding virtual instrument libraries for Kontakt. Iron packs are handcrafted musical color palettes, perfect for inspiring... Read More

SampleScience Organic Alien Drones Organic Alien Drones Light comprises a set of 15 drones that have been crafted by modulating synthesizer chords with field recordings. These drones were created using two distinct... Read More

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AI deepfake of Drake and The Weeknd not eligible for Grammy as vocals not legally obtainedHeart On My Sleeve, which uses AI-generated deep fake vocals by Drake and The Weeknd will no longer be eligible for a Grammy, as the vocals were not legally obtained.

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In a post to Instagram, Harvey Mason Jr., the CEO of the Recording Academy explains that the AI-generated track had been taken out of the running after it was declared that the vocals had not been legally obtained.
“Let me be extra, extra clear, even though it was written by a human creator, the vocals were not legally obtained, the vocals were not cleared by the label or the artists and the song is not commercially available and because of that, it’s not eligible,” Mason reveals.
He adds, “I take this stuff very seriously. It’s all complicated, and it’s moving, really, really quickly. I’m sure things are going to continue to have to evolve and change. But please, please, do not be confused. The Academy is here to support and advocate and protect and represent human artists, and human creators period.”

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Last week it was reported that the AI-generated track was submitted for consideration by The Grammy Awards for two categories: Best Rap Song and Song Of The Year.
The song was created by anonymous producer Ghostwriter. It reached an impressive 13 million views on TikTok when it began circulating earlier this year, and was eventually banned by Universal Music Group.
Back in June The Recording Academy announced that it would consider songs created by AI for a Grammy.
Mason then took to Grammy.com to explain what that means: “At this point, we are going to allow AI music and content to be submitted, but the Grammys will only be allowed to go to human creators who have contributed creatively in the appropriate categories.”
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Universal just launched a fan platform in Germany that sounds a lot like its own version of Weverse. Here’s what’s in it…Universal Music Germany has launched YOUniverse, a 'virtual and interactive fan platform…where fans can meet and interact, and in future even meet their idols'.
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Touring in the US “not viable”, say The Chemical BrothersIconic British dance duo The Chemical Brothers have highlighted the rising costs of touring, bleakly admitting that taking their stage show to the US is “not viable”.

READ MORE: The Chemical Brothers and Beck join forces for new single Skipping Like a Stone

The Galvanize creators make the comments during a recent interview with Billboard in which they discuss their new album, For That Beautiful Feeling, how the Covid-19 pandemic affected its creation, and what keeps them inspired after 34 years.
“The costs have gone up so much,” band member Ed Simons says. “It’s just not really viable at the moment… I’m apologetic to the people who do want to see us that it is increasingly difficult for us to get to America, because we have had the times of our lives playing there.”
The pair go on to say that while there was “a debate that raged over Zoom,” sadly neither the duo nor their team could come to an agreement to tour the US in the way that the pair would have wanted – that is, with the live gear rig, large LED screens and animations that have become a mainstay of their live shows.

Speaking about their massive stage production, The Chemical brothers go on to tell Billboard why they made the decision to include all the theatrics.
“[The production] originally came from the fact that we didn’t want to inflict [audiences with] just the two of us awkwardly standing with the synthesisers,” says Simons, “so we wanted a big back job, but it’s just grown and grown, and now we’ve got these 40-foot clowns voicing the words.”
Buy For That Beautiful Feeling now via The Chemical Brothers’ website.
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“There’s going to be people who will make music in ways they weren’t previously able to”: James Blake on AIProducer and singer James Blake has commented on the benefits of AI technology in music production, predicting more accessibility for everyone as a result of it.

READ MORE: “Elevator music or commercial music is where you’ll see people out of jobs”: Bombay Bicycle Club’s lead guitarist on AI

Discussed during the latest episode of The Zane Lowe Show on Apple Podcasts, Blake also talks about Grimes’ democratising use of AI and his own stance on the controversial topic.
“AI is going to open up a lot of possibilities for composition.” He says. “I think there’s a lot of exciting things going on with it.
“For example, there’s this one guy who created a synth called Synplant – you can put in any sample and then the synth will recreate that sound on a synth, magically – it just does it. You don’t have to do anything. It’s like, you can just imagine a thing and it just… can be there.
“If you wanted to do that now, you’ve got to sit at a synth, know how to use it, figure it out. There’s going to be a lot of people who [will] make music, who weren’t previously able to in the ways that they want to. It’s really interesting.”

Blake and Lowe go on to discuss singer, producer and DJ Grimes as an example of an artist who embraces AI technology to democratise music creation, even if it means putting her name on art made by others. They refer to Elf.tech, Grimes’ AI platform that allows you to create and distribute your own music using her voice.
“She has democratised herself, right?” Says Blake. “Which is an interesting and new way of thinking about it.”
On whether it’s fair for the artist, he says: “It’s about making sure that the artists are remunerated. I just want to take part in making sure that it doesn’t end up creating music in people’s likenesses that are sold without them having shares in it.”
James Blake’s new album, Playing Robots Into Heaven, is out on 22 September. Pre-order it at his official website.
The post “There’s going to be people who will make music in ways they weren’t previously able to”: James Blake on AI appeared first on MusicTech.

“This project felt like being a beginner producer again. Suddenly everything is possible”: KOAN Sound on recording cello and piano on their new albumKOAN Sound has revealed why they chose to focus on cello and piano on their newest album, Led By Ancient Light.

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In an interview with MusicTech, the electronic duo explain why they used the two instruments for their newest project, which acts as a soundtrack to their 9,000 word story, written to accompany the album.
“We chose those instruments partly because they’re so versatile. We associate them on one hand with emotiveness and vulnerability,” says one half of the duo Jim Bastow.
“On the other hand, they could be transformed into these much more aggressive and foreboding elements. That was really fun for us to explore all the different types of energies that we could create through processing them in different ways,”
However, as both Bastow and Will Weeks explain, a lot of this fun comes from the experimental ways to record, and therefore transform the instrument.

“Being literally close to the instruments that we were recording you get these incredibly detailed and up close takes,” explains Will Weeks. “It makes you want to let them breathe and let them exist by themselves.”
During the recording process, Will Weeks discovered that the cello produces waveforms like a sawtooth wave when it plays low notes. He would then tune the cello down as low as possible and process those ‘saw waves’. He also used mallets and beaters to tap the wooden body of the cello, before transforming them into new forms on his DAW.
For the piano, Bastow borrowed a recording technique from Nils Frahm. This involved covering the strings of the piano with felt and placing the microphones extremely close to grab the mechanical sounds of the hammers and other internal components of the piano, which they then processed into oblivion.
“One of the most exciting things about this project is that it felt like being a beginner producer again. We tried so many new things; literally everything about the process was new,” continues Weeks. “It’s very freeing to reset to everything being new. Suddenly everything is possible.”
The post “This project felt like being a beginner producer again. Suddenly everything is possible”: KOAN Sound on recording cello and piano on their new album appeared first on MusicTech.

Believe, TuneCore decry UMG, Deezer ‘reverse Robin Hood’ artist payoutsGlobal digital music company Believe has taken aim at plans by Deezer and UMG to change how streaming payments are calculated to what they call a “value sharing artist-centric” model.. Continue reading
The post Believe, TuneCore decry UMG, Deezer ‘reverse Robin Hood’ artist payouts appeared first on Hypebot.

Blackstar launch HT Venue MK III Series The Venue MK III Series retains the versatile dual-channel design that made the range popular, but introduces built-in cabinet simulation and some technical improvments. 

No, you can’t make $1200 monthly playing a song on repeat, says Spotify CEOA new analysis by JP Morgan showed that an artist could earn $1,200 a month in royalties if they upload a 30-second or longer track and then play it on. Continue reading
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Native Instruments releases Kontrol S-Series MK3 MIDI controller keyboards, described as the “ultimate studio centrepiece” Native Instruments has today (12 September) launched its new Kontrol S-Series MK3 MIDI controller keyboards – the S49, S61, and S88.
The keyboards are said to offer “seamless hardware and software integration, unique expressive control”, and have an industrial design.

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The S-Series MK3 models connect “intuitively” to instruments, effects, and DAWs, and each has a high-res, glass screen. They are available in three size options – 49 semi-weighted keys, 61 semi-weighted keys, or 88 fully weighted hammer-action keys – and even have light guides that illuminate switches, key zones, scales, and more.
A new polyphonic aftertouch functionality allows users to control cutoff, pitch, vibrato, and more without an extra encoder or dial. The keybeds on each model have been developed in collaboration with Italian manufacturer, Fatar, which was founded back in 1956.
The Kontrol S-Series controllers also come with a range of software included. These are:

Komplete 14 Select – an “essential” production suite, including synths, drums, percussion, effects, and an array of customizable sounds
Komplete Kontrol – this software organises instruments, effects, loops, and samples, mapping everything to the keyboard controller
Other bonus software includes – Stradivari Cello, Hypha, Guitar Rig LE, iZotope Elements Suite, and Ableton Live Lite

Each model also has USB and bus-powered USBC connectivity, plus inputs for a sustain pedal, an expression pedal, and two assignable pedals as well. Currently, pricing for the Kontrol S49 MK3 is listed at £649,00, with the S61 at £749,00, and the S88 at £1129,00.
Last month (August) the brand also launched the third edition of its Traktor X1 DJ controller, with an improved layout for better usability, enhanced effects control, playback manipulation, looping, adjusted mixer mapping, and more.
Pre-orders start today for the S-Series MK3 range, with full availability online and in-stores coming in October (when the pre-orders will also ship).
Find out more at Native Instruments.
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How to prepare your music portfolio: 8 tips for what to include
A music portfolio is an invaluable resource for applying to music-focused programs, networking, and more—here are eight tips for how to prepare yours.

What Photography has taught me about musicAndrew Tasselmyer explains how his new found passion for photography taught him how to change his mindset about making music and overall improving his creative process. by ANDREW TASSELMYER of. Continue reading
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Tongue and cheek: the Rolling Stones and the unpalatable ascendancy of fauxganic marketingThe following op-ed comes from long-time music industry journalist Eamonn Forde
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