Primavera Sound will not return to Madrid in 2024, organisers confirmPrimavera Sound will not return to Madrid in 2024, organisers have confirmed.

READ MORE: 165% increase in average number of songwriters on hits since 1970s, study shows

While the festival will continue to take place in it’s founding home, Barcelona, the festival will not take place in Madrid next year.
“Although both the city of Madrid and the whole region welcomed us with open arms, with a warmth that was mirrored in the institutions, the cultural agents and of course the audience,” says the festival’s director Almudena Heredero, “the external difficulties that the festival had to face in the final stretch of the pre-production gave rise to one of the most complicated events that Primavera Sound has ever had to face.”
Last year marked the first time the festival took place in two locations, with the same line-up performing in both Spanish cities – similar to Leeds and Reading festival in the UK.
Rumours have circulated about the future of the festival in Madrid after complications last year. Now festival organisers have confirmed its fate.
The first day of the Madrid site was cancelled due to adverse weather, and there were also issues at the Barcelona site including overcrowding, access to water, Covid “casualties”, and other logistical problems.
“As a consequence, although the evaluation of the festival was more than satisfactory on a musical level,” he continued. “The expectations we had were not fulfilled and the experience of the festivalgoers due to several logistical aspects was not the desired one.”
“And that leads us to understand that, now, the conditions are not right for Madrid to have a Primavera Sound as it deserves in 2024”.
According to Alfonso Lanza, director of Primavera Sound, the team will continue to explore Madrid as a possible Primavera location.
Primavera Sound will return to Barcelona from 30 May to 2 June 2024. Tickets are on sale now. 
The post Primavera Sound will not return to Madrid in 2024, organisers confirm appeared first on MusicTech.

Making sense of MIDiA’s global music forecastsTop MIDiA analyst Mark Mulligan looks at global music market forecasting and explains the methodology and most importantly, how to interpret them. by Mark Mulligan of MIDiA Music Industry Blog. Continue reading
The post Making sense of MIDiA’s global music forecasts appeared first on Hypebot.

Todd Edwards unpacks the floppy disk containing all 70 samples for Daft Punk’s Face To FaceDaft Punk fans have been searching for the source of the samples used in the duo’s 2001 track, Face To Face for many years. Now, Todd Edwards has thrown the actual floppy disk containing the samples onto the table – boy, is it a winning hand.

READ MORE: Thomas Bangalter on Daft Punk split: “The last thing I would want to be, in 2023, is a robot”

For those that have been following this lengthy Daft Punk sampling quest, it’s a huge revelation. That’s because the track Face To Face features a whopping 70 samples, as Edwards once confirmed in an interview, which many die-hard Daft Punk fans have been searching for many years.
Here’s the track in all its glory for those who don’t know:

Now, in an Instagram post, the regular Daft Punk collaborator has put the pursuit to bed by presenting the actual floppy disk which houses the samples. He also refers to a recent TikTok Live session in which he played through some of the samples.
“Did you ever wonder why on Daft Punk’s Discovery album most of the samples they used for their songs were from disco and R&B, except for one song in particular, Face To Face, where they used folk music and soft rock?” Says Edwards in the Instagram post.
“That’s because most of the samples came from my sample library. The thing is, for years before, I did sample disco and R&B but I got kind of tired of it…
“The day Thomas [Bangalter] and I worked on the track, the night before I sampled up 70 samples, they came in the next day and they sampled up 70 samples. And all those samples were recorded on this zip disk.”

View this post on Instagram

A post shared by Todd Edwards (@toddedwards3000)

One comment reads: “YouTubers who have [been] breaking down the samples for a decade and a half are about to lose their minds right now”. They’re not wrong.
Now, if you’re intrigued as to how these samples were re-contextualised by Edwards and the iconic dance duo, a YouTuber by the name of undrtune recently claimed to have dug out all the samples used in the track. Check out undrtune’s impressive Daft Punk Face To Face sample breakdown video below:

Edwards, who later provided vocals for Daft Punk’s 2013 track Fragments of Time, has been discussing the French duo, who broke up in 2021, a lot recently. In a podcast, he called his collaboration with them “life-changing”, later saying he “wouldn’t count out” a potential Daft Punk reunion. The sample hunt is over, but the dream of a reunion is not.
Daft Punk have been recently celebrating the 10th anniversary of their Random Access Memories album in a series of interviews with collaborators and fans. Check them out via their YouTube channel.
The post Todd Edwards unpacks the floppy disk containing all 70 samples for Daft Punk’s Face To Face appeared first on MusicTech.

6 Gen-Z Rappers leading Cutecore RapA new generation of young female rappers is leaning into the pink and sparkly cutecore aesthetic popularized on TikTok. by Jaelani Turner-Williams from the Chartmetric Blog The world is gearing. Continue reading
The post 6 Gen-Z Rappers leading Cutecore Rap appeared first on Hypebot.

Minimal Audio release Fuse Compressor Fuse Compressor has been designed to provide a quick and simple way of setting up multi-band compressor, but still offers plenty of in-depth control for those who wish to fine-tune the results. 

A major record deal after three years: How did MARGE do it?With just three years of experience, no label releases, less than 1,000 SoundCloud followers and no gigs, how did Believe In Me, a piano-centric house track, land MARGE a major record deal with Sony?

READ MORE: Plug-ins I Actually Use: TIBASKO

The 20-year-old producer, hailing from Hull, UK, picked up music production in 2020 when DJing was put on hold. MARGE wasted no time in conjuring a modest setup, staying up late watching YouTube tutorials, and uploading tracks to SoundCloud. It was this passion and an understanding of “the way you’re feeling” while making a song that made MARGE’s music sound so sweet.
He’s clearly doing something right. Believe In Me has pricked the ears of Roger Sanchez, Chris Lake, TSHA, Oliver Heldens, Martin Garrix, Claptone, and Calvin Harris, who have all been playing the track in their sets.
So, what is it exactly?

Hey, MARGE. Congrats on your first official release, Believe In Me. How do you feel about the support it’s garnered already?
Thank you! The support has been unreal. It feels surreal seeing support from huge names I look up to like Danny Howard, Calvin Harris, MK, Don Diablo, Martin Garrix, Oliver Heldens and so many more. These are names I’ve grown up listening to through the years and I still can’t believe they’re fans of my work!
In addition, hearing my song being played on stations like Kiss FM, TROS FM, Fun Radio and RTE 2FM over the past few weeks has ramped up my motivation and love for producing even more.
This success hasn’t been luck. Why do you think the track has done so well?
Believe in Me was the first track I made not trying to fit in with trends. I let my gut take me through producing the entire song, not second-guessing myself too much, which I think translated perfectly into the final product.
Where was Believe In Me made?
I currently only have a small setup in my room, where Believe in Me and every other track of mine was produced. I love the look of studios on @studiotime and I think the quality of my tracks would definitely benefit from it, but while I’m still capable of performing as I am being a bedroom producer is good enough for me.
MARGE. Image: Joe Magowan
What’s in this small setup?
I’ve upgraded through the years with helpful bits of hardware (Alesis V Mini MIDI Keyboard, Akai Fire Workpad, Sony monitors and Technics headphones) but nothing overly fancy just yet.
The MIDI keyboard was my first purchase and makes riffing ideas much easier like a mini piano you can have sat on your desk at arms reach. Workflow is super important to me, as I’m often flooded with ideas for a full track at once and it’s a pain forgetting one of those ideas while I’m sketching out another.
The Akai Fire is like a physical workstation that can make producing and mixing a lot easier. I will admit though, it just sits looking pretty on my desk for the most part, as I’ve not put much time into using it to its full capability.
The monitors and headphones are the only actual necessity really. Being able to hear your song at proper quality is super important.
The stock FL processing plugins have been a blessing to have with a beginner budget – as part of the Image-Line FL Studio package, they allow me to customise, clean and tighten my sounds to my liking.

And what about plugins? Any that you’ve really enjoyed using recently?
Xfer‘s Serum can be found in every one of my projects. I can create almost any sound I want or any sound the track needs and I think that plays a huge part in Serum’s quality. The ability to replicate an old-school synthesizer within my DAW is helpful. And it’s fun to play around with the two oscillators, seeing what sound comes out the other end.
Korg M1 is a classic VST that I use for one of my piano layers and can be found in tons of classic dance tracks, perfect for the vibe I was going for with Believe in Me. This VST also has the organ bass preset featured in Robin S – Show Me Love, which I’ve used countless times as a layer or main feature in my other tracks like Falling and Chemistry. It would be wrong not to shout out Korg for the number of times I’ve used it.
I love adding an atmosphere and spacey soundscape to my tracks, and Endless Smile by Dada Life allows me to create these atmospheres with just a single knob. Although it’s not 100 per cent necessary, it’s definitely an effect plugin I’d recommend if you’re trying to achieve a huge washout effect in your track.
The way you’re feeling while producing the track will carry through to the end product, and the listeners will feel it.
Where’s the vocal sample from? How do you source your samples and does it take a lot of digging to find the right one?
I picked this vocal sample up from a royalty-free Splice pack – definitely struck gold with it! After some post-processing to tidy it up, I added strong reverb to enhance the power of the vocal, which I think helped push the emotion through the track.
Vocal samples can be a pain to find. At the moment, this is the issue I’m finding with my tracks. I’m sure this is the same for many new producers – if the sample is good, chances are it’s been used tons already. There are things you can do to make your sample more unique, but nothing will ever beat original vocals – I hope, with time, vocalists will be happy to reach out and work with me, to help me achieve my vision for future tracks.

What piece of advice would you give to anyone hoping to achieve the same sudden success that you have?
Don’t force your music, work off your passion – producing should be fun. The way you’re feeling while producing the track will carry through to the end product, and the listeners will feel it. If you’re truly passionate about producing, you’ll spend every spare second learning and/or creating, while loving every second of it.
What’s the most useful piece of advice you’ve been given, production-wise?
One piece of advice I was given that really stuck with me was: ‘Don’t polish a turd’. This is funny but was super helpful for me – focus on the songwriting and the flow of the track before trying to mix it all in. Trying to mix a badly written track is demotivating and you’ll likely fall out of love with it before you finish it.
Check out MARGE’s tracks and give him a follow on his Soundcloud
The post A major record deal after three years: How did MARGE do it? appeared first on MusicTech.

Beatport Group announces $150,000 Annual Diversity + Parity FundThe Beatport Group has announced that it is opening applications for grants to its annual Diversity + Parity Fund. First launched in 2022, the initiative is designed to support organisations that focus on underrepresented groups and promote diversity within the music industry.

READ MORE: 165% increase in average number of songwriters on hits since 1970s, study shows

The fund will offer financial support, editorial exposure, and marketing across Beatport’s social media platforms to help organisations increase their impact and reach a wider audience. Organisations that share a similar dedication to amplifying underrepresented voices in the music industry are encouraged to submit an application through the Diversity + Parity Fund.
This is the second year Beatport has funded organisations whose mission is to increase diversity within the electronic music community. Last year the company distributed $100,000 to three organisations – Lady Of The House, Future Female Sounds and #FORTHEMUSIC.
Notably, this year sees Beatport increase the Diversity + Parity Fund by 50% to $150,000. To encourage participation from a wider pool of organisations (including emerging or grassroots initiatives), Beatport has introduced two separate kinds of grants this year — one for smaller organisations ($3,000 to $15,000) and one for larger organisations ($15,001 to $30,000).
Beatport will also be working with like-minded partner companies to increase the amount of opportunities and capital invested in these opportunities.
“We believe in the power of music to unite people from all backgrounds, and it is our responsibility to ensure that the music industry reflects the diversity of the world we live in,” says Sofia Ilyas, Chief Community Officer of The Beatport Group.
“Through the Diversity + Parity Fund, we are committed to accelerating change and creating a more inclusive and equitable music industry for everyone. We invite other companies in our community to join us in our mission to increase parity and diversity in music.”
Applications open on Tuesday, 25 July at 12pm GMT and closes on 22 August at 12pm GMT.
For more details and submission guidelines, head to Beatport’s official website.
The post Beatport Group announces $150,000 Annual Diversity + Parity Fund appeared first on MusicTech.

For a limited time only we are currently doing a deal when you buy 1 single play on any network, you get 1 play on any network of your choice for free.
Networks : MTV, MTV Live, MTV2, VH1, BET JAMS, BET HER, BET, A&E, Comedy Central, Nickelodeon, CMT & VICE.
#Promotion #Video #MusicVideo #artists #MTV #MTV2 #BETJams

Wolfgang Van Halen Discusses Mammoth, Stadium Tours, Songwriting Over ShreddingWolfgang Van Halen spoke with AllMusic shortly before the release of Mammoth II, discussing the new album, touring with some of the biggest bands, and if there are any plans to unlock the vault of unreleased music by his father, the legendary Eddie Van Halen.

Snap’s revenue woes continue but earnings yield a few bright spotsSnap just reported its quarterly earnings and it’s a bit of a mixed bag.
Snapchat’s parent company brought in $1.07 billion during Q2 — up from last quarter but a year-over-year dip. Snap saw its first revenue decline as a public company in Q1, marking a 7% drop in sales from the previous year. At the time, Snap CEO Evan Spiegel said that the shift did not reflect the company’s ambitions.
While revenue is trending down, Snapchat’s daily active users perked up in Q2, up 14% year-over-year to 397 million.
Like its peers, Snap is still contending with a decline in advertising revenue stemming from intense competition from rivals like TikTok and Instagram and changes to Apple’s app privacy policies that threw social media companies for a loop when first introduced.
To keep its platform fresh and its users engaged, Snapchat introduced buzzy new AI features in recent months, with some cordoned off specifically for its paid subscribers. Snap’s AI chatbot My AI is now woven into the app’s group chats, place recommendations and Lens suggestions.
A year ago, Snapchat introduced paid subscriptions, charging users $3.99 a month for a collection of premium perks. Snap’s premium service Snapchat+ — a hub for “exclusive, experimental, and pre-release features” — has now collected more than 4 million paid subscribers.
Paid memberships and premium tiers were once anathema to social media companies hellbent on squeezing every ad dollar out of their users, but that sentiment has shifted in recent years — particularly after Apple’s policy changes limited how closely platforms could track user behavior.

While parents worry, teens are bullying Snapchat AI

Trademark attorney predicts legal fights ahead with Twitter's rebrand to XAccording to Josh Gerben, the social media platform could be embroiled in lawsuits over its 'X' branding for years, costing upwards of millions of dollars.

PLATOON & THE GRAMMY MUSEUM INVITE YOU TO: "Family Time - Arrullos Mexicanos"PLATOON presents ARRULLOS MEXICANOS:

An afternoon of fun with live music from the collection of modern lullabies. The event will feature fun activities like family yoga, face painting for kids, a DJ set by the Mexican Institute of Sound, and an interactive performance by Tia Leah's Neighborhood.

WHEN:

Saturday, July 29, 2023

12:00 pm - 4:00 pm

WHERE:

GRAMMY MUSEUM® L.A. Live

800 W Olympic Blvd, Los Angeles, CA 90015, USA

For tickets and more info click here.

US-based performance rights organization BMI in renewed sale talks (report)News arrives several months after BMI revealed that it was changing to a for-profit model
Source

‘The industry has learned its lesson.’For 20 years at BMG and Universal, Rob Wells was the music industry’s go-to digital guru. Then he quit. After enduring a ‘trainwreck’ at Crowdmix, he’s now back as CEO of fast-growing rights management company Orfium...
Source

New control surfaces from Asparion Asparion's upcoming modular control surface range will allow users to build a system with up to 64 motorised faders.