Amsterdam pledges €2.2 million over the next four years to boost nightlife sceneOfficials in Amsterdam have pledged €2.2 million over the next four years in a bid to boost the city’s nightlife scene.
According to the city’s deputy mayor Touria Meliani, the fund is to address the problems of lack of suitable space, rising costs and short-term leases. She adds that nightlife plays a “significant role in the renewal of Amsterdam’s culture” [per NLTimes].
The money will be used to find and nurture alternative venues for nighttime spaces, including empty tunnels, old bomb shelters and unused garages.
In 2024, organisers of the scheme will work alongside the Amsterdam Fonds de Kunst, a fund for culture and arts in the city, allocating €1.2 million of the total funds to help young creatives “who want to organise, create, and do business at night”.
Additionally, there will be funds set aside for sound insulation to limit noise complaints in residential areas.
The announcement comes shortly after the government in Berlin announced a €947 million culture fund to support new clubs and cultural spaces in the German capital.
These initiatives are positive not only in the sense that European cities are getting investment to improve their nightlife, but also in that they’re indicative of a growing appreciation by public officials of the importance of nighttime culture, both economically and in terms of the wellbeing of their constituents.
And while Amsterdam’s €2.2 million pledge pales in comparison to Berlin’s €947 million, the fact officials are increasingly allocating funds to nighttime culture is, no doubt, a positive thing for the industry.
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Amazon Music partners with Bandsintown for new merch integrationFans can now shop for merch via artist profile pages on the Bandsintown website and app
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Tame Impala and Thundercat release limited cheetah print 7” vinyl record of No More LiesThundercat and Tame Impala have released a limited edition 7” vinyl of their collaboration track, No More Lies.

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The limited-edition record, whose album artwork depicts a photo of a cheetah, fittingly dons a single-sided cheetah screenprint 7” disc. It can be pre-ordered now but won’t be released until 29 September on Brainfeeder.
The song, released in April 2023, is the first new Thundercat music the musician has released in three years. It’s a roaring pairing between the two, with their respective styles complimenting one another well; Thundercat’s synth noodling works well with Kevin Parker’s vocals.

On the track, Thundercat reflects on a failed relationship, admitting, “But it’s not your fault, I’m just kind of ass”. The track concludes with a raw monologue where he ponders the paradox of honesty and care in relationships: “I speak the truth because I care, yet I also deceive for the same reason.”
“I’ve wanted to work with Kevin since the very first Tame Impala album,” Thundercat writes in the release bio. “I feel that I knew that us working together would be special. I’ve been excited about this song for a long time and hope to create more with Kevin in the future.”
One fan comments on Bandcamp: “The world needs a whole album of this collaboration… soundtrack of the summer 2023…”
He also recently told Zane Lowe on Apple Music 1: “For me personally, this is one of the greater moments. I don’t even know where to begin with this,” he gushed. “This is me and Kevin Parker. And from the day I heard Kevin’s music, I knew me and him could do something. I knew it from the minute I heard it, I was like, ‘Man, I would’ve been in his band.’”
The limited cheetah print 7” record of No More Lies can be purchased via Thundercat’s Bandcamp page.
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TuneCore partners with MBW as exclusive supporter of ‘Trailblazers’ interview seriesTrailblazers highlights forward-thinking entrepreneurs in all corners of the globe, from North America to Latin America, Europe to Asia-Pacific, Africa and beyond
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Baby Audio’s BA-1 expansion packs are a retro producer’s dreamBaby Audio has launched four mighty expansion packs for its BA-1 synth plugin that are just begging to be snapped up by any retro-loving producer.
Each pack has a vintage game card aesthetic, and hosts 64 presets of classic soundscapes from the 1980s.

READ MORE: Baby Audio’s BA-1 is like the legendary Yamaha CS-80’s baby brother

These style-specific preset expansion packs have been designed for the BA-1 synth plugin, and have been designed and crafted by “industry-leading” sound designers. And if you’re looking to go all out, you can even buy a bundle of all four packs.
Those available are:

Neon Black – Created with film composer The Unfinished (Matt Bowdler), this pack offers dark retro soundscapes and is described as offering ‘80s “horror movie magic” but with a modern twist. The presets are inspired by the work of John Carpenter, and sort of give off Stranger Things soundtrack vibes.
City Pop Vol. 1 – Baby Audio teamed up with Ryuichiro Yamaki for this one. “Arguably, no one mastered Japanese 80s synths better than the Japanese producers themselves,” writes the brand on its official website. This pack is described as being more colourful, stylish and reminiscent of Tokyo in the ‘80s.
City Pop Vol. 2 – Also created with Yamaki, Vol. 2 explores the origins of JPOP and Kawaii. These presets are much brighter and bubbly.
Electro Elixir – Created by Bastiaan Barth (Solidtrax), this pack is inspired by and aims to capture the magic of the first encounter you have with a synthesiser. It explores the roots of electro and synth pop.

Baby Audio’s BA-1 was launched in April this year, it is the brand’s first ever soft synth and is modelled after the 80s cult favourite CS01 analogue monosynth by Yamaha.
Each pack is available for $10 as part of an intro sale, or you can buy the whole bundle for $29.
Find out more at Baby Audio.
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Songwriters are using AI Generated voices for song pitchesSome may see it as cheating while others find it genius, however no matter what you think AI will not be stopped by creating new strides for music professionals. by. Continue reading
The post Songwriters are using AI Generated voices for song pitches appeared first on Hypebot.

How to film a music video on a small budgetNot everyone has access to fancy high-tech recording equipment to make a music video, but luckily you don’t have to. This easy-to-follow guide gives helpful tips and strategies to produce. Continue reading
The post How to film a music video on a small budget appeared first on Hypebot.

Qobuz partners with Soho Radio to curate and broadcast DJ mixes, playlists and live sessionsMusic streaming platform and digital music store Qobuz has partnered with Soho Radio to deliver its own series of live shows, exclusive mixes, playlists, and live sessions to the global broadcaster’s listeners.

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Over six months, a dozen live sessions will capture exclusive performances, paired with video content for both the Soho Radio and Qobuz platforms. James Endeacott, who hosts Soho Radio’s daily morning show Morning Glory, will lead this campaign, showcasing a weekly mix curated by Qobuz. He’ll also curate exclusive Qobuz playlists.
This partnership will encompass Soho Radio’s influential presenters, artists, and industry ties, including DJ Norman Jay MBE and dub legend Dennis Bovell, collaborating to craft genre-spanning playlists for Qobuz.
“Soho Radio’s audience is a perfect fit for Qobuz, and vice-versa,” says Qobuz Managing Director, Dan Mackta. “I got a great response when I guested on Morning Glory earlier this year, and working with James and the team is always fun and exciting”.
“We are thrilled to partner with Qobuz – as pure music lovers and enthusiasts ourselves, this is a tailor-made fit to join forces and create some really unique content for our listeners. We can’t wait to get going!” adds Soho Radio Station Manager, Rachael Bird.
For those who don’t know, Qobuz, founded in 2007, offers high-quality music streaming and downloads. It operates in 26 countries and has an impressive catalogue of 100 million tracks, all in high-resolution quality.
Soho Radio, established in 2014, gives a global platform to music communities through radio shows, podcasts, artist management, and live events, with 200+ monthly coming from Soho and New York.
While Soho Radio is hosted by a wealth of talented human DJs, it was recently revealed that new AI tech can run a radio show and even emulate presenters’ voices. Spotify also now has a AI-powered DJ feature that mixes music together while ‘hosting’ the show like a real DJ.
Explore the Qobuz streaming platform at www.qobuz.com.
Experience Soho Radio’s live broadcasts from London and New York at www.sohoradiolondon.com.
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Black Octopus Sound Imaginate – Foley Dubstep Black Octopus Sound and Imaginate have released 'Foley Dubstep', a collection of natural of organic foley combined with the alien-like sounds of heavy bass music. What's inside:... Read More

Xfer Records Dimension Expander Dimension Expander is a free expander plugin for macOS and Windows. Read More

IK Multimedia unveil UNO Synth PRO X The latest addition to the UNO range packs three oscillators, two filters, a 64-step sequencer, built-in effects and more into a compact, portable chassis that weighs less than a kilo.

IK Multimedia’s new UNO Synth PRO X promises the “sweet spot” between a versatile sound engine and portabilityIK Multimedia has unveiled the newest synthesizer to the UNO line, the UNO Synth Pro X, in the hopes to bring “new dimensions of sound design, control and portability”.

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According to the manufacturer, the paraphonic dual filter analogue synthesizer represents “the sweet spot” between a versatile sound engine with 256 presets, and a 64-step sequencer, and portability; the unit weighs less than a kilo.
The synth also boasts easy to use controls – with over 30 hands-on controls plus a 16-slot modulation matrix – and has the option to be powered by USB-C as well as the standard power supply unit.

In addition to this, the synth offers ten effects, including a new shimmer reverb and modulators, in three slots: modulation, delay and reverb.
External signals can also be routed through the filters and the effects in addition to UNO’s original thru-put for daisy-chaining multiple units together without using a mixer.
New features also include the new Bassline mode, in addition to legato, mono and paraphonic modes. This modifies the behaviour and interaction between core parts of the synth like the filter and envelopes.
Regarding connectivity, there is a USB-C and 5-pin DIN MIDI In and Out, as well as assignable CV/Gate connections for Eurorack and other modular systems.
The UNO Synth PRO X is available now from retailers for $499.00.
For more information, you can head to IK Multimedia.
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Best free plugins and freeware of the month: August 2023It’s always nice when you uncover some useful or creative tools online – and it’s even nicer when they turn out to be free.

READ MORE: Best sample packs of the month

We’ve rounded up a handful of this month’s free releases for you to check out, including a chord-based ROMpler, a transparent limiter, a fully-featured spatial 3D instrument, an epic, endless reverb, and a fun sample chopping sequencer.
Monster DAW – MONSTER OctaChord v1
MONSTER OctaChord v1. Image: Monster DAW

macOS and Windows
64-bit VST/VST3/AU
Download OctaChord

If you’re looking for some inspiration to get you started, then Monster DAW’s chord plugin with built in sounds could be just the ticket. There are 18 presets for different styles including lo-fi, techno, cinematic, R‘n’B, pop and more.
Each preset includes a full set of 12 scales, plus an Ornament set of fill-ins, melodic lines and sound effects that match the chords. Additional features include master volume, pan, reverb and delay controls, plus separate volume controls for the chord and ornament sections. It’s easy to build up progressions, but with so many different sounds and chord samples, note that the full plugin library size is over 6GB.
Press Play – Wave Breaker
Wave Breaker. Image: Press Play

macOS and Windows
64-bit VST/VST3/AU
Download Wave Breaker

Press Play is best known for its excellent free oscilloscope plugin, Wave Observer. Its new release uses the same waveform display engine, but this time puts it to use as instant visual feedback within a true-peak stereo limiter plugin.
Wave Breaker offers a transparent sound with precise true-peak detection, look-ahead audio analysis and 4x oversampling. You can use the Drive control to push volume into the limiter at a desired threshold and choose from manual output compensation, or target peak-level normalisation. You can also add a touch of saturation, choose from a range of colour schemes and resize the GUI.
SpatStrument SM24
SpatStrument SM24. Image: Acousmodules

macOS and Windows
64-bit VST3
Download SpatStrument SM24

SpatStrument SM24 is a beast. It’s an effect, a synth, a sampler, a 3D panner and a controller all in one. It’s designed to offer a fun and playful approach to audio-spatial sculpting, especially if you have an MPE controller.
Its whopping feature set includes up to 24 output channels with free arrangement in 2D or 3D space, Periphonic and Volumetric Spatial modes, Spatial Shaper and Animator, live input processing, an eight-voice sampler, a three-oscillator synth with FM, cross modulation and ring modulation between the sampler and synth, eight-channel delay/resonator and hall reverb, lockTrigger and VeloPad for granular effects and more.
Airwindows – Galactic 2
Galactic 2. Image: Airwindows

macOS, Windows, Linux, Pi
32/64-bit VST/AU/VCV Rack
Download Galactic 2

Airwindows has built up a massive library of excellent free plugins over the years, with an emphasis on sound rather than snazzy GUIs. Its latest release is a massive-sounding reverb that gives a different twist on Airwindows’ first Galactic reverb plugin.
You get simple controls for drive, sustain, Darken and wet, which can all be manipulated to craft epic-sounding, infinite drones and pads. With sustain on full, it will even start to feedback on itself. You can also put in mono signals and get a wider-sounding stereo reverb out.
HY-Plugins – HY-Slicer2 free
HY Slicer2. Image: HY-Plugins
This cut-down version of HY-Slicer2 can be used as a fun and creative way to re-invigorate your loop library. You get 3 slicer units where you can load three different samples that get chopped into smaller pieces. These can then be sequenced in the Sampler Track where you can rearrange up to 16 slices.
Things get a little more interesting when you start using the additional lanes that let you sequence things like chance, reverse, tune, pan, filter, effect sends and more. You also get built-in effects and master effects to refine your new loops, and a Pattern chainer to help develop longer ideas.

macOS, Windows, Linux
64-bit VST/VST3/AU
Download HY-Slicer2 free

The post Best free plugins and freeware of the month: August 2023 appeared first on MusicTech.

Focusrite FAST range offer Until 31 August 2023, users are able to save a huge 85% when purchasing Focusrite's FAST Bundle, or any of the individual plug-ins it contains.

Q&A: A high-tech take on Wagner’s “Parsifal” operaThe world-famous Bayreuth Festival in Germany, annually centered around the works of composer Richard Wagner, launched this summer on July 25 with a production that has been making headlines. Director Jay Scheib, an MIT faculty member, has created a version of Wagner’s celebrated opera “Parsifal” that is set in an apocalyptic future (rather than the original Medieval past), and uses augmented reality headset technology for a portion of the audience, among other visual effects. People using the headsets see hundreds of additional visuals, from fast-moving clouds to arrows being shot at them. The AR portion of the production was developed through a team led by designer and MIT Technical Instructor Joshua Higgason.

The new “Parsifal” has engendered extensive media attention and discussion among opera followers and the viewing public. Five years in the making, it was developed with the encouragement of Bayreuth Festival general manager Katharina Wagner, Richard Wagner’s great-granddaughter. The production runs until Aug. 27, and can also be streamed on Stage+. Scheib, the Class of 1949 Professor in MIT’s Music and Theater Arts program, recently talked to MIT News about the project from Bayreuth.

Q: Your production of “Parsifal” led off this year’s entire Bayreuth festival. How’s it going?

A: From my point of view it’s going quite swimmingly. The leading German opera critics and the audiences have been super-supportive and Bayreuth makes it possible for a work to evolve … Given the complexity of the technical challenge of making an AR project function in an opera house, the bar was so high, it was a difficult challenge, and we’re really happy we found a way forward, a way to make it work, and a way to make it fit into an artistic process. I feel great.

Q: You offer a new interpretation of “Parsifal,” and a new setting for it. What is it, and why did you choose to interpret it this way?

A: One of the main themes in “Parsifal” is that the long-time king of this holy grail cult is wounded, and his wound will not heal. [With that in mind], we looked at what the world was like when the opera premiered in the late 19th century, around the time of what was known as the Great African Scramble, when Europe re-drew the map of Africa, largely based on resources, including mineral resources.

Cobalt remains [the focus of] dirty mining practices in the Democratic Republic of Congo, and is a requirement for a lot of our electronic objects, in particular batteries. There are also these massive copper deposits discovered under a Buddhist temple in Afghanistan, and lithium under a sacred site in Nevada. We face an intense challenge in climate change, and the predictions are not good. Some of our solutions like electric cars require these materials, so they’re only solutions for some people, while others suffer [where minerals are being mined]. We started thinking about how wounds never heal, and when the prospect of creating a better world opens new wounds in other communities. … That became a theme. It also comes out of the time when we were making it, when Covid happened and George Floyd was murdered, which created an opportunity in the U.S. to start speaking very openly about wounds that have not healed.

We set it in a largely post-human environment, where we didn’t succeed, and everything has collapsed. In the third act, there’s derelict mining equipment, and the holy water is this energy-giving force, but in fact it’s this lithium-ion pool, which gives us energy and then poisons us. That’s the theme we created.

Q: What were your goals about integrating the AR technology into the opera, and how did you achieve that?

A: First, I was working with my collaborator Joshua Higgason. No one had ever really done this before, so we just started researching whether it was possible. And most of the people we talked to said, “Don’t do it. It’s just not going to work.” Having always been a daredevil at heart, I was like, “Oh, come on, we can figure this out.”

We were diligent in exploring the possibilities. We made multiple trips to Bayreuth and made these milimeter-accurate laser scans of the auditorium and the stage. We built a variety of models to see how to make AR work in a large environment, where 2,000 headsets could respond simultaneously. We built a team of animators and developers and programmers and designers, from Portugal to Cambridge to New York to Hungary, the UK, and a group in Germany. Josh led this team, and they got after it, but it took us the better part of two years to make it possible for an audience, some of whom don’t really use smartphones, to put on an AR headset and have it just work.

I can’t even believe we did this. But it’s working.

Q: In opera there’s hopefully a productive tension between tradition and innovation. How do you think about that when it comes to Wagner at Bayreuth?

A: Innovation is the tradition at Bayreuth. Musically and scenographically. “Parsifal” was composed for this particular opera house, and I’m incredibly respectful of what this event is made for. We are trying to create a balanced and unified experience, between the scenic design and the AR and the lighting and the costume design, and create perfect moments of convergence where you really lose yourself in the environment. I believe wholly in the production and the performers are extraordinary. Truly, truly, truly extraordinary.

Q: People have been focused on the issue of bringing AR to Bayreuth, but what has Bayreuth brought to you as a director?

A: Working in Bayreuth has been an incredible experience. The level of intellectual integrity among the technicians is extraordinary. The amount of care and patience and curiosity and expertise in Bayreuth is off the charts. This community of artists is the greatest. … People come here because it’s an incredible meeting of the minds, and for that I’m immensely filled with gratitude every day I come into the rehearsal room. The conductor, Pablo Heras-Casado, and I have been working on this for several years. And the music is still first. We’re setting up technology not to overtake the music, but to support it, and visually amplify it.

It must be said that Katharina Wagner has been one of the most powerfully supportive artistic directors I have ever worked with. I find it inspiring to witness her tenacity and vision in seeing all of this through, despite the hurdles. It’s been a great collaboration. That’s the essence: great collaboration.