DIY Spotlight: Vera BloomAlternative rock/punk singer, songwriter and musician Vera Bloom saw her musical journey start when she was just six years old.

“I’ve always been a bit of a rebel without a cause, so as I grew up I spent a lot of my practice time improvising and writing my own songs instead of practicing what I was supposed to,” Bloom says. “Since I could write, I’ve been an avid writer of poetry and journaling, and it was my father who introduced me to the idea of songwriting and adding lyrics to music. The piano was my instrument for writing, but I made the switch to guitar at age 18 and something really clicked. I performed in classical piano recitals throughout elementary and middle school, but in high school I performed my own song on the piano with a drummer in the school talent show and won first place. That’s when I knew this could be something and that my songs could reach people.”

She describes her sound as unpredictable, skirting around the punk sub-genres. That can all be heard on the recent It’s Me EP.

“It’s Me is a compilation of six songs I had written over a year and a half that all belong in the same chapter of my life,” Bloom says. “The common themes are self-love, owning and recognizing self-worth, and reflection and growth. All the songs except "Boxes" were recorded here in Nashville at Battle Tapes Studio, and engineered by Jeremy Ferguson, who also recorded my first EP. The lead guitarist on the songs, Jacob Carey, engineered "Boxes" in his home studio. The tracks feature Brian Chinino on drums, Levi J Miller on bass guitar, Jacob Carey on lead guitars, and me singing and playing rhythm guitar.”

For Bloom, “DIY” means being true to yourself and keeping it real.

“It means doing what you like versus what you think you should do or is expected of you,” she says. “I really strive to maintain this in my music and my music videos, and I think that’s something that people really like about me. That’s why my sound is a bit unpredictable, really, because I do what I want and what I like and what the songs want versus shaping it into something that fits in a box to ‘stay on brand.’” 

For more, visit verabloom.net.

Kids on Roblox are hosting protests for PalestineIn the Lego-like world of Roblox, about a hundred blocky avatars march through a lamplit street, wielding Palestine flags that are larger than their own animated bodies. Characters dressed like cartoonish dinosaurs, steampunk zombies and pastel pink pop stars chant together via instant messages in both Malay and English as they arrive at a stage, […]
© 2023 TechCrunch. All rights reserved. For personal use only.

Paul Burger and Andrew Wilkinson resign as Hipgnosis Songs Fund non-exec directors ahead of tomorrow’s continuation voteThe comes in the same month that HSF confirmed the Chairman of its current board, Andrew Sutch, will step down from his role
Source

Spotify is embracing elements of Universal Music Group’s ‘artist-centric’ royalties model – following a new multi-year licensing deal between UMG and Daniel Ek’s platformSpotify's plans fit with the broad hopes of Sir Lucian Grainge's wishes as outlined at the start of 2023
Source

Eventide MicroPitch Immersive Eventide designed MicroPitch Immersive from the ground up for immersive, Dolby Atmos, and surround workflows. With up to 12 channels of spatialized, detuned delays, plus modulation, EQ,... Read More

Eventide Blackhole Immersive Blackhole Immersive expands the signature sound of the stereo version of Eventide's otherworldly reverb across an entire immersive mix. Designed from the ground up for immersive, Dolby... Read More

SSL launch Pure Drive Quad & Octo preamps SSL's new rackmount preamp units introduce a new Asymmetric Drive function and boast comprehensive digital connectivity as well as a built-in USB-C interface.

Warm Audio’s WA-1B all-tube, transformer-balanced optical compressor “accurately recreates one of the most legendary compression styles”Warm Audio has launched a new transformer-balanced optical compressor, the WA-1B, which the brand says “accurately recreates” renowned Scandinavian compression.
The compression style the WA-1B takes inspiration from was originally found in Tube-Tech’s CL 1B from 1987, and it’s been hardwired to recreate the sound of its original circuitry.

READ MORE: Warm Audio goes bling with a limited gold version of the WA-8000 condenser microphone

Warm Audio says that the WA-1B delivers “forgiving” compression with added speed and control functionality. It utilises a 270v circuit with handwired, through-hole circuitry, and a “100 percent discrete analogue signal path.”
It has custom large-core transformers from Lundahl, Sweden, and high-powered vacuum tubes that deliver the compressed signal to the output of the compressor. It features all of the same classic controls, including variable threshold and infinite 2:1 – 10:1 ratios.
The WA-1B also features a three-setting metre switch with input, compression, and output levels, and an on/bypass switch to activate or bypass the compressor. Additionally, Attack/Release controls can be switched from a fixed setting, manual (variable) setting, or a combined setting.

“The WA-1B has been on our wishlist for quite some time and we are very excited to accurately deliver one of music’s most sought-after styles of compression. The sound of this compressor has been a key part in shaping so many hits over the years and we are beyond thrilled to release such an incredible design affordably,” says Bryce Young, founder and CEO of Warm Audio.
“This type of product has been one of the most requested pieces of analogue gear from our customers and fans and we knew we had to nail the tone, character, and functionality. To accomplish this, we rely on the Warm Formula to bring together elite components and sonically accurate circuitry to achieve such legendary analogue tone.”
Some original CL 1B compressors are retailing for over $3,000, but Warm Audio’s WA-1B comes in at $1,199/£1159 (inc. VAT)/1349€ (Inc. VAT). Find out more via Warm Audio.
The post Warm Audio’s WA-1B all-tube, transformer-balanced optical compressor “accurately recreates one of the most legendary compression styles” appeared first on MusicTech.

Listening to “moving” music can help to reduce pain, study findsA new study suggests that listening to emotional music can affect how we feel pain. Researchers have found that listening to “moving” tracks that produce “chills” can link to feeling a lower pain intensity.
In fact, listening to our favourite tracks can approximately offer the same impact as an over-the-counter pain relief remedy such as ibuprofen.

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

The study, which was reported on by The Guardian, was carried out at McGill University in Montreal, Canada, and involved 63 participants. Researchers used a probe device to heat an area on their left arm to recreate a similar sensation to a hot cup of coffee being held against the skin.
Meanwhile, the participants either listened to two of their favourite tracks, relaxing music selected for them, scrambled music, or silence. As the sound or silence went on, the participants were asked to rate the intensity and unpleasantness of the pain they were feeling.
“We can approximate that favourite music reduced pain by about one point on a 10-point scale, which is at least as strong as an over-the-counter painkiller like Advil [ibuprofen] under the same conditions. Moving music may have an even stronger effect,” says Darius Valevicius, the first author of the research from McGill University.
Participants rated the pain as less intense by about four points on a 100-point scale, and less unpleasant by about nine points, when listening to their favourite tracks compared with silence or scrambled sound. However, moving music that produced more chills was associated with lower pain intensity and pain unpleasantness, with lower scores for the latter also associated with music rated more pleasant.
“The difference in effect on pain intensity implies two mechanisms – chills may have a physiological sensory-gating effect, blocking ascending pain signals, while pleasantness may affect the emotional value of pain without affecting the sensation, so more at a cognitive-emotional level involving prefrontal brain areas,” adds Valevicius, though he clarifies that more work is needed to test these ideas.
The post Listening to “moving” music can help to reduce pain, study finds appeared first on MusicTech.

Spotify says new model will shift $1B to ‘working artists’ in 5 yearsSpotify is making major changes that it says will shift $1 billion in royalty payments over the next five years to ‘legitimate’ artists and rightsholders. Spotify has confirmed to multiple. Continue reading
The post Spotify says new model will shift $1B to ‘working artists’ in 5 years appeared first on Hypebot.

$500,000 Cash or Lunch with JAY-Z? The rapper/entrepreneur weighs in [VIDEO]Would you be smarter to take $500,000 in cash or have a private lunch with JAY-Z? The rapper and entrepreneur offered his own answer during ab interview with Gayle King. Continue reading
The post $500,000 Cash or Lunch with JAY-Z? The rapper/entrepreneur weighs in [VIDEO] appeared first on Hypebot.

Musician, ABC News Anchor Dan Ashley on the Importance of AuthenticityDrawing from his experience on camera and stage, Dan Ashley joins the Music Biz Weekly to discuss storytelling, engaging with your audience, and being authentic. Ashley fronts an indie Americana. Continue reading
The post Musician, ABC News Anchor Dan Ashley on the Importance of Authenticity appeared first on Hypebot.

The PolyPulse is a new “unconventional standalone performance workstation”Lambda Synthetics, a newly formed Dutch music tech brand based out of Utrecht, has launched a Kickstarter campaign for a new algorithmic performance workstation called PolyPulse.

READ MORE: Native Instruments: “We had to modernise our architecture… We’re now more aligned in new ways to integrate our hardware and software”

With this, Lambda aims to bring together the “playfulness and performability of physical instruments” with the “precision and sonic detail of digital music production techniques”.
It offers five tracks, each equipped with an algorithmic sequencer and a polyphonic sound engine. You can use it to create evolving rhythms and melodies while using touchpads to seamlessly morph between presets, achieving expressive sound and texture changes.
Credit: Iris-Sanne van der Aar
With four audio inputs and eight outputs, the PolyPulse also supports flexible audio routing. It can be synchronised to other devices through various ways, including MIDI, with the help of sample-accurate clock signals.
It includes multiple sound engines such as analogue-style drum kits, sampler, and synthesis methods, and a range of audio effects like modulation, compression, and filtering.
The PolyPulse has a sturdy metal casing, along with a user-friendly interface with encoders and touchpads, and a powerful processor. There are also high-quality audio I/O, trigger connections, MIDI compatibility, and Ethernet connectivity for file management and updates.
It’s not the only piece of music tech to have appeared on Kickstarter recently. In October, Donner revealed a campaign raising funds for MEDO, a portable sampler, synthesizer, looper, MIDI controller, and speaker that can be operated in the palm of your hand.
In April, another funky-looking workstation was launched – the Polyend Tracker Mini. Following the original Polyend Tracker, this smaller version offers improved storage, signal pathways, and hardware options. Notable differences include the absence of FM radio and endless encoders, yet the Mini remains a reliable tool for beatmakers with eight hours of battery-powered operation.
The Kickstarter campaign started on 23 October and will run for 30 days. When funded, the PolyPulse will ship in September 2024. There are five ‘super early bird’ units available to pre-order for €1799 each, five ‘early bird’ units for €1899 each, with 40 available at the normal price of €1999.
Head to the product’s Kickstarter page for more information.
The post The PolyPulse is a new “unconventional standalone performance workstation” appeared first on MusicTech.

Four new pedals from Universal Audio The latest four additions to Universal Audio's UAFX pedal family offer a mix of amp modelling, dynamics and effects processing.

“Nothing gets done without it”: Voigtmann’s MPC1000 is the “heart of his workflow”Claus Voigtmann’s second full-length album, Life Miles, an eight-track release dripping in the Londoner’s irresistible hardware-made minimal tech house style, is due out on 20/20 Vision on 20 December.

READ MORE: “I like to find weird stuff that’s mad rare”: Inside Carter Lang’s overflowing hardware haven

Ahead of the release, MusicTech heads into the sufficiently-tooled space, shared with Tom Demac, to find out about how the studio’s offerings have informed the sounds on the album. We hear about why the “dusty” nature of hardware suits his sound and how the whole studio – running tightly in tandem – is funnelled through the swing of his beloved Akai MPC1000

Voigtmann – amazing album. Why did you choose to make this as opposed to a string of EPs?
When Ralph Lawson from 20/20 Vision Recordings asked me for music for the label he was the one who immediately said, ‘These tracks need to be an album’. I recently got the Akai MPC1000 and was totally blown away by the swing and sound so I revisited all the tracks and re-recorded all the drums through the MPC. This tied them together even more – the same sound with the MPC’s swing.
Voigtmann at the studio desk. Image: @Ginnypa
Tell us a bit about the studio.
The studio is located in the Star Lane studio complex in London. It’s actually not mine – it’s owned by my good friend, Tom Demac. We decided to throw our gear together a few years back and he uses the studio daytime and me after 6 pm. More than half of the gear, especially the expensive processing side belongs to Tom and I can’t take any credit for it but it’s a total blessing to have in the studio.
Gear in the studio shared by Voigtmann and Tom DeMac. Image: @Ginnypa
How do you use the studio?
I love the studio mainly for the accuracy – it’s so tight in here now that you can hear everything. Every machine is at hand and I love that you have to get up and play things. Everything starts from my MPC, which is the heart of the workflow, and then I sequence the main synths (e.g Oberheim OB-6 or Moog Subsequent 37) from the MPC.
Which DAW do you use and why?
Ableton Live – I always have. It’s quick and I love the workflow.
Voigtmann with his feet up at the studio desk. Image: @Ginnypa
Why are you so into hardware?
Sound. Listen to a digital kick or bassline and compare it to a kick from the MPC or EMU (even more apparent) or the bass from the Moog SUB37. It’s pretty obvious. We (me and Tom Demac) make house and techno and, for me, that style comes with a specific dusty sound that these machines provide.
The swing of the MPC is another big reason, I cannot un-hear it now after I got so used to it. Older productions of mine without the MPC now make me cringe.
What is your favourite piece of gear and why?
My favourite piece of gear is the MPC1000. Nothing gets done without it anymore. I love the sound, simplicity and the feeling that you actually drum/play in the beats. As mentioned above, I am a big sucker for its swing.
The Eventide DSP 4000 alongside other gear in the studio Voigtmann uses. Image: @Ginnypa
Were there any other notable pieces of gear used on Life Miles?
The other main piece of gear on the album is the Eventide DSP 4000. I consider it an instrument because what it can do to your sound source is simply magic. I love the Eventide.
What can you tell us about your bass guitar?
I used to play in a skate punk band as a teen and guitars have always featured in my life. I got the bass guitar during lockdown, I was working on a downtempo live set which unfortunately was left behind half-finished as, thankfully, the real world came back. But, who knows, maybe one day it will resurface.

There are such clean drum breaks on Lowrider. How were these created?
That’s an interesting story. The kick is from a Twisted-Electrons module, the hats are from my old Roland TR-606 that I regretfully don’t have anymore. They are really spread wide, almost too much – but it’s the driving element and it pushes the track forward. The snares are in fact digital. I tried to replay the snares with the MPC like I did with all the tracks but it changed the flow and vibe for the worse somehow and I could never get it to sound 100 per cent so I kept the snare samples in and it has such a nice flow now.
Gear in the studio shared by Voigtmann and Tom DeMac. Image: @Ginnypa
What’s an essential processing unit in your studio?
I tend to record everything through the Eventide DSP 4000, the Shadow Hills Mono GAMA preamp and then strap the Empirical Labs EL7 FATSO analogue tape simulator behind that for control. Kicks go through the Massive Passive for essential EQ.
Your massive vinyl record shelf – do they inspire your productions?
You’ve got to know what you want to make in order to achieve it. I think being a DJ for almost 20 years now has shaped my taste and has really helped to refine my production.
Voigtmann’s records on the studio’s vinyl shelf. Image: @Ginnypa
What is your top piece of production advice?
Don’t force it. There will be days when you will find yourself stuck and listening to one loop over and over. Pack up immediately and go home. It will only take one right move on the next day and you cracked it. The secret is your mood — sometimes it’s not right and that is okay.
What is the one piece of advice you would give someone starting out building a studio?
Get your listening situation right. It’s so essential I can’t stress this enough. You can only make decisions that you can hear. Get a measurement and have peace of mind that you are listening to as close to the truth as possible.
Pre-order Voigtmann’s forthcoming album, Life Miles, via Juno Download.
The post “Nothing gets done without it”: Voigtmann’s MPC1000 is the “heart of his workflow” appeared first on MusicTech.