50 Best Boat Songs: Enjoy The Water (With Video!)We just had a week of 90-degree weather up here in Michigan (followed shortly by a week of 30-degree weather, but still…), which means that summer is approaching! 

Up here, one of our greatest pastimes is to get out on a boat, whether it be on one of our many rivers, bays, or lakes. 

While enjoying the waves and rays, we need some jams to enhance our time, right? 

Enter this list of the best boat songs to help you enjoy the water even more! 

I’ll go into detail on my top 20 picks and then offer dozens of more ideas past that. 

#1 “Sailing” by Christopher Cross (Pop)

“Sailing” by Christopher Cross is a timeless pop classic that captures the spirit of adventure and longing for freedom. Released in 1980, this Grammy-winning hit showcases Cross’s smooth vocals and melodic guitar riffs, creating a soothing and dreamy atmosphere. The heartfelt lyrics evoke images of sailing on open waters, seeking solace and escape from the challenges of life. With its catchy chorus and memorable melodies, “Sailing” remains a beloved anthem that continues to inspire listeners to set sail on their own personal journeys.

#2 “Come Sail Away” by Styx (Rock)

“Come Sail Away” by Styx is an iconic rock anthem that tells the story of a protagonist’s longing for escape and adventure. With its epic guitar riffs, soaring vocal harmonies, and powerful piano-driven melody, the song takes listeners on a musical journey. The lyrics evoke a sense of wanderlust and a yearning for freedom as the protagonist dreams of setting sail to unknown destinations. “Come Sail Away” is a timeless rock classic that continues to captivate audiences with its emotive storytelling and majestic musicality.

#3 “The Boat That I Row” by Lulu (Pop)

“The Boat That I Row” is a pop song by Scottish singer Lulu. Released in 1967, it features an upbeat melody and Lulu’s soulful vocals. The lyrics depict a confident and determined protagonist who navigates through life with independence and self-assurance, comparing her journey to rowing a boat. The song’s catchy chorus and Lulu’s powerful performance make it an enduring and iconic pop hit, showcasing her talent as a dynamic and charismatic vocalist. “The Boat That I Row” remains a beloved classic that continues to captivate audiences with its catchy melody and empowering message.

#4 “Dock of the Bay” by Otis Redding (R&B/Soul)

“Dock of the Bay” by Otis Redding is a timeless R&B/Soul classic that was released posthumously in 1968. It features Redding’s soulful vocals and a laid-back groove with memorable whistling melodies. The song reflects on longing and loneliness, with lyrics that capture the bittersweet emotions of watching the tide roll away while waiting for something that may never come. With its unforgettable hooks and emotive performance, “Dock of the Bay” remains a beloved song that has stood the test of time and continues to captivate audiences with its soulful sound.

#5 “I’m On a Boat” by The Lonely Island feat. T-Pain (Comedy Rap)

“I’m On a Boat” by The Lonely Island feat. T-Pain is a comedic rap song that humorously celebrates the joy of being on a boat. With catchy beats, clever wordplay, and exaggerated braggadocio, the song pokes fun at rap tropes while reveling in the absurdity of the situation. T-Pain’s auto-tuned vocals add to the comedic effect, making it a hilarious and memorable song that’s perfect for a lighthearted, comedic mood. It quickly became a viral hit and continues to be a favorite among comedy rap enthusiasts for its playful and entertaining lyrics.

#6 “Boat Drinks” by Jimmy Buffett (Country/Pop)

“Boat Drinks” by Jimmy Buffett is a catchy country/pop song that captures the carefree spirit of life by the water. With its laid-back vibes, playful lyrics, and infectious melody, the song is a quintessential anthem for those who love to unwind on a boat with their favorite drink in hand. Buffett’s signature blend of country, pop, and tropical influences creates a feel-good atmosphere that makes you want to kick back, relax, and enjoy the simple pleasures of life on the water. “Boat Drinks” is a classic Jimmy Buffett track that transports listeners to a sunny, beachy paradise with its breezy melodies and toe-tapping rhythm.

#7 “Orinoco Flow” by Enya (New Age/Pop)

“Orinoco Flow” by Enya is a captivating blend of New Age and Pop music that transports listeners on a soothing musical journey. With its dreamy melodies, ethereal vocals, and lush instrumentation, the song evokes a sense of tranquility and adventure. Enya’s enchanting voice floats effortlessly over the mesmerizing music, creating a sense of serenity and escape. “Orinoco Flow” is a timeless and evocative composition that has captivated audiences with its mystical and otherworldly allure, making it a beloved classic in the genre of New Age and Pop music.

#8 “The Wreck of the Edmund Fitzgerald” by Gordon Lightfoot (Folk)

“The Wreck of the Edmund Fitzgerald” by Gordon Lightfoot is a haunting folk ballad that tells the tragic story of the 1975 shipwreck of the SS Edmund Fitzgerald on Lake Superior. With its mournful melodies and poignant lyrics, the song paints a vivid picture of the perilous journey and the crew’s fateful fate. The most memorable quote from the song, “The legend lives on from the Chippewa on down,” has become iconic, capturing the enduring impact and legacy of this tragic event. Lightfoot’s emotive vocals and masterful storytelling make “The Wreck of the Edmund Fitzgerald” a timeless and unforgettable folk masterpiece.

#9 “Sloop John B” by The Beach Boys (Pop/Rock)

“Sloop John B” by The Beach Boys is a catchy and upbeat Pop/Rock tune that showcases the band’s signature harmonies and vocal prowess. Inspired by a traditional folk song, the track’s most memorable quote, “This is the worst trip I’ve ever been on,” reflects the song’s narrative about a troubled sailing trip. With its infectious melodies and tight vocal harmonies, “Sloop John B” has become a timeless classic that captures the carefree spirit of the beach and the joy of singing along to a catchy tune.

#10 “Beyond the Sea” by Bobby Darin (Pop)

“Beyond the Sea” by Bobby Darin is a timeless Pop classic that has been performed in various venues around the world. Originally released in 1959, the song has since been covered by numerous artists and featured in films, TV shows, and commercials. It has been performed in iconic venues such as the Copacabana nightclub in New York City, the Moulin Rouge in Paris, and the Stardust Hotel in Las Vegas. Darin’s smooth vocals and the song’s lively big band arrangement create a nostalgic and romantic atmosphere, transporting listeners to a bygone era of glamorous performances in renowned venues across the globe.

#11 “Boat on the River” by Styx (Rock)

“Boat on the River” by Styx is a soulful and introspective Rock ballad that has been performed in various places, showcasing the band’s versatility. The song’s acoustic guitar-driven melody and emotive vocals tell a poignant story of self-reflection and contemplation. Styx has performed “Boat on the River” in numerous venues, from sold-out arenas to intimate acoustic sets, showcasing the song’s timeless appeal. Its heartfelt lyrics and melodic hooks resonate with audiences, making it a beloved track in Styx’s discography and a cherished gem in the realm of Rock music.

#12 “Boats and Birds” by Gregory and the Hawk (Indie Folk)

“Boats and Birds” by Gregory and the Hawk is a tender Indie Folk song with poetic lyrics and delicate acoustic instrumentation. It has been performed in intimate settings like coffeehouses, small venues, and open mic nights, captivating audiences with haunting vocals and intricate guitar work. The emotive and evocative nature of the song has made it a favorite among Indie Folk enthusiasts worldwide.

#13 “Row, Row, Row Your Boat” (Children’s Song)

“Row, Row, Row Your Boat” is a beloved children’s song that has been passed down through generations. Its simple yet catchy melody and playful lyrics encourage kids to sing and engage in imaginative play. The song’s timeless charm and repetitive structure make it a favorite among young children, who delight in singing along and mimicking rowing motions.

#14 “Boatman” by Levellers (Folk/Rock)

“Boatman” by Levellers is a Folk/Rock anthem that combines energetic instrumentals with powerful vocals and thought-provoking lyrics. The song’s rousing chorus and driving rhythm create an infectious and uplifting vibe, making it a favorite among fans of folk and rock music alike. “Boatman” is a spirited and memorable tune that captures the essence of Levellers’ unique blend of folk and rock influences.

#15 “Boat to Nowhere” by David Crosby (Folk/Rock)

“Boat to Nowhere” by David Crosby is a Folk/Rock gem that showcases his soulful voice and poignant songwriting. The introspective lyrics and melodic guitar work paint a vivid picture of a journey without a clear destination. Crosby’s emotive performance and heartfelt storytelling make “Boat to Nowhere” a captivating and timeless addition to the Folk/Rock genre.

#16 “The Riverboat Song” by Ocean Colour Scene (Britpop/Rock)

“The Riverboat Song” by Ocean Colour Scene is a high-energy Britpop/Rock anthem that oozes with swagger and attitude. With its infectious guitar riffs, driving rhythm, and powerful vocals, the song exudes a sense of rebelliousness and adventure. It’s a timeless and electrifying track that has become a staple in the Britpop genre, capturing the essence of the era with its raw energy and catchy hooks.

#17 “Proud Mary” by Creedence Clearwater Revival (Rock)

“Proud Mary” by Creedence Clearwater Revival is a timeless Rock classic that features an infectious rhythm, powerful vocals, and memorable guitar riffs. The song’s energetic and soulful vibe, along with its iconic “Rollin’ on the river” chorus, has made it a beloved anthem that continues to captivate listeners with its irresistible groove and catchy melodies.

#18 “Boat Trip” by Ziggy Marley (Reggae)

“Boat Trip” by Ziggy Marley is a vibrant Reggae tune that brings the laid-back vibes of the Caribbean to life. With its catchy rhythms, infectious melodies, and Ziggy Marley’s smooth vocals, the song creates a feel-good atmosphere that’s perfect for cruising on the waves or dancing along to the reggae beats.

#19 “Boat Drinks” by Alan Jackson (Country)

“Boat Drinks” by Alan Jackson is a laid-back Country tune that captures the carefree spirit of the beach and the joys of escaping to the water. With its catchy melody, twangy guitars, and Jackson’s smooth vocals, the song is a perfect soundtrack for kicking back, sipping drinks, and enjoying the sun-kissed vibes of a coastal getaway.

#20 “Boat Leaks” by Beastie Boys (Hip-Hop)

“Boat Leaks” by Beastie Boys is a high-energy Hip-Hop track from their album “The Mix-Up.” With its funky grooves, catchy samples, and clever wordplay, the song showcases the Beastie Boys’ unique style and wit. It’s a standout track that embodies their innovative approach to blending genres and pushing the boundaries of Hip-Hop music.

30 More Examples Of The Best Boat Songs

#21 “Boat to Sail” by Loggins and Messina (Rock)

#22 “Boat Behind” by Kings of Convenience (Indie Folk)

#23 “The Boat That I Built” by Tom Chapin (Children’s Song)

#24 “Boat on the Ocean” by John Butler Trio (Folk Rock)

#25 “My Boat” by Little Joy (Indie Pop/Rock)

#26 “Boats on the Water” by Gregory Page (Folk)

#27 “Boat Drinks” by Zac Brown Band (Country)

#28 “Boat of Love” by The B-52’s (Pop/Rock)

#29 “Boat Song” by Woodkid (Indie/Pop)

#30 “Boat on the River” by Baba Shrimps (Indie Folk)

#31 “Yellow Boat” by Julia Holter (Indie Pop/Experimental)

#32 “Boat Dance” by The Black Lillies (Americana)

#33 “Boats Against the Current” by Eric Carmen (Pop)

#34 “Boat Club” by Blood Orange (R&B/Pop)

#35 “Rock the Boat” by Aaliyah (R&B/Pop)

#36 “Boat to Nowhere” by Johnny Reid (Country)

#37 “Boat” by Minus the Bear (Indie Rock)

#38 “Boats and Trains” by George Michael (Pop/R&B)

#39 “Boat” by Yusuf/Cat Stevens (Folk Rock)

#40 “Boat Behind” by Lykke Li (Indie Pop)

#41 “Boats on the Shore” by Adam Cohen (Folk Rock)

#42 “Farewell to Tarwathie” by Judy Collins (Folk)

#43 “The Boat is in the Barn” by Built to Spill (Indie Rock)

#44 “Boats on the River” by Moon Taxi (Alternative/Indie)

#45 “Shrimp Boats” by Jo Stafford (Jazz/Pop)

#46 “Boat to Liverpool” by Nathan Carter (Country)

#47 “Boats” by Kenny Chesney (Country)

#48 “Boatman’s Call” by Nick Cave & The Bad Seeds (Alternative Rock)

#49 “Boats on a River” by Peter Gabriel (Progressive Rock)

#50 “Boat to Nowhere” by Randy Travis (Country)

Tracy Maddux on how AI can positively transform the business of musicEven as the music industry struggles to contain AI-generated music, it’s essential to explore how it can also transform how the business runs from fighting bad actors to rewarding artists. Continue reading
The post Tracy Maddux on how AI can positively transform the business of music appeared first on Hypebot.

Latin music label The Wave Music Group inks long-term distribution deal with Capitol Music GroupDeal follows the news that Latin music officially generated more than $1bn in US recorded music revenue in 2022.
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Heavyocity Mosaic Neon Introducing Mosaic Neon, the next chapter in the acclaimed Mosaic Series line of virtual instruments. Mosaic Neon elevates a wide palette of quintessential synth sounds into dynamic, score-friendly... Read More

AI will transform music; the question is how?Every new technology goes through a period of being overhyped before the dust settles, and that technology either fades or builds steadily thereafter. Think 3D printing, VR, NFTs. In my 20+ years as a media and tech analyst, only three technologies have had a level of hype that felt like it was going to live up to expectations: 1) the internet (which was already in full swing by the time I started out – I’m not that old); 2) smartphones / apps; and 3) AI. Those technologies have one big thing in common: what they could become is ungovernable by its originators. But while it was human-power that unlocked that potential of the first two, it is the technology itself that is the accelerant for AI. Of course, people will amplify it as well, but AI itself is already creating many of the new pathways. The business, societal and even humanity implications are so vast that the implications for music are small in comparison. This, however, does not mean that they will not be equally transformational and disruptive within the confines of the music business. Which brings us nicely onto ‘heart on my sleeve’.

For those of you that have been on Mars for the last few days, this AI-generated track mimics the musical style and voices of Drake and The Weeknd. As Trapital’s Dan Runcie observed “[It] isn’t that good, but it’s an improvement from 2020’s TravisBott and other generative music attempts in recent years”. UMG’s response was to encourage DSPs not to host generative-AI tracks, and Drake himself was not happy with the last time a ‘fake Drake’ track did the rounds. Drake will probably be even less happy with this latest AI addition to the Fake Drake roster, which raises the question: will Fake Drake Break Drake?! While there are valid concerns from both parties, there is a real risk of this becoming an old world versus new world conflict, and in such scenarios, the new most often comes out on top.

AI is going to change the future of music. That genie is well and truly out of its bottle. Should more have been done by the traditional music industry to work with music AI companies earlier on? Of course, but we are where we are. So the focus now should be on trying to work out how to influence and shape what the future might be, through collaboration as much as (perhaps more than) enforcement:

We have been here before: The music industry was vehemently against P2P piracy (and I am old enough to remember that). After more than a decade of trying to fight it, the music business finally built an entirely new business around piracy’s successor technology – streaming. P2P infringed copyright, it took control out of the hands of the traditional business, and it created previously impossible use cases. AI is doing the same. What is different now is that the very ecosystem that streaming created (along with social platforms) puts AI into the hands (and ears) of billions of people, whereas P2P reached just tens of millions. Consumers will experience AI at scale before the industry can shape it. And in the digital world, consumers tend to get what they want.

Guitar or tape machine?: These two old technologies both reshaped music. One was about creating, and one was about copying. AI is a mix of both, which is what makes the response so difficult. Assistive and generative AI is already a mainstay of music creation, such as iZotope’s Neutron 4 and Splice’s CoSo. AI music is a continuum, from tweaking mixes through to composition, with virtually everything else in between. There is not one single, simple answer for ‘what to do with AI?’

Enforcement will be difficult: With the best will in the world, copyright law was not designed for AI. Music rightsholders will do their best to apply existing law, but they will face challenges in doing so. Meanwhile, there will simply be too much output to effectively pursue plagiarism cases, which take time and ultimately depend on the personal interpretation of non-expert judges and juries. If you think 100,000 tracks being uploaded per day to streaming now is a problem, when generative AI goes mainstream among consumers (which it most likely will), the number of new ‘songs’ created daily could easily be a hundred times that – perhaps even a thousand. 

Focus on the input not the output: So, the most scalable solution for music rightsholders will be to fix the problem at the top, by ensuring that generative AI tools only learn from what they have permission to learn from. ‘heart on my sleeve’ can only sound like Drake and The Weeknd because the tech learned from theirmusic. A number of generative-AI companies already only learn from selective, pre-authorised datasets. If this becomes the norm then an entire new licensing opportunity emerges for music rightsholders. Artists and songwriters will likely need to consent first, similar to how sync works. The alternative (trying to license and / or collect royalties on the millions, billions or trillions of songs that will be created) would be a fool’s errand.

The reason why AI feels so frightening to much of the music business is not just because of what it is, but also because it is a catalyst for pre-existing market shifts. The last half decade was characterised by the rise of non-traditional music, in the shape of ‘fake artists’, mood music, and independent artists. All of which have eaten into the market share of traditional music companies and creators. 

Streaming’s finite royalty pot makes revenue a zero sum game. Whatever may be done to try to ‘formalise’ AI music, it is almost certainly going to accelerate the fragmentation paradigm shift, by putting music creation in the hands of consumers. Radiohead once sang that “anyone can play guitar”. In practice, most people cannot, and do not. But literally anyone can ‘play’ AI.

There is growing concern among investors that this will mean market share erosion for the majors (and it probably will), but there is still a play for traditional labels and publishers, by licensing AI at the top. In doing so, they can benefit from the shift, just in the same way that major labels benefit from the rise of independent labels and artists through owning distribution platforms. That opportunity, though, requires the right approach and for it to be taken fast. The time is now.

I will leave the final words to President Biden, whose comments on AI as a whole apply just as neatly to AI in music:

“Look what’s happening with artificial intelligence right now. It poses enormous promise and enormous concern. Our world stands at an inflection point. The choices we make today are literally going to determine the future of this world.”

How to get started in Sync Licensing and why it’s so importantHaulix Daily explains how important is for musicians should try to get their music synced and how to do it. by Ashley Di Buduo of Haulix Hey there, music lovers!. Continue reading
The post How to get started in Sync Licensing and why it’s so important appeared first on Hypebot.

MPG Awards: Change of venue The upcoming MPG Awards ceremony have been forced to move to a new venue due to structural issues being identified at their original location. 

Witech Releases FREE Simple Sampler Plugin
Witech released Simple Sampler, a freeware sampler VST3 plugin for Windows. Along with synthesis, sampling is one of the backbones of electronic production. While most DAWs have their own sampler built-in, there is something to be said about having options. With the plethora of samplers in the wild for producers, Witech has thrown in their [...]
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Sound Radix release Auto-Align 2 A major update to Sound Radix automatic microphone alignment and phase correction plug-in.

Elon Musk to launch truth-seeking artificial intelligence platform TruthGPTThe tech billionaire made the announcement during a Fox interview on Monday.

Universal Music Group responds to ‘fake Drake’ AI track: Streaming platforms have ‘a fundamental responsibility to prevent the use of their services in ways that harm artists’UMG calls on streaming services to choose the right 'side of history'
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Twitter to label tweets that get downranked for violating its hate speech policyTwitter announced today a new policy that it claims will offer more transparency around which hateful tweets on its platform have been subject to enforcement action. Typically, when tweets violate Twitter’s policies, one of the actions the company can take is to limit the reach of those tweets — or something it calls “visibility filtering.” In these scenarios, the tweets remain online but become less discoverable, as they’re excluded from areas like search results, trends, recommended notifications, For You and Following timelines, and more.
Instead, if users want to see the tweet, they have to visit the author’s profile directly.
The tweet may also be downranked in replies when such enforcement takes place and ads won’t run against the content, Twitter’s guidelines state.
Historically, the wider public would not necessarily know if a tweet had been moderated in this way. Now Twitter says that will change.
The company plans to “soon” begin adding visible labels on tweets that have been identified as potentially violating its policies, which has impacted their visibility. It did not say when exactly the system would be fully rolled out across its network.
Image Credits: Twitter
In addition, not all tweets that have had their visibility reduced will be labeled, the company noted.
It’s starting only with tweets that violate its Hateful Conduct policy and says it will expand the feature to other policy areas in the “coming months.”
“This change is designed to result in enforcement actions that are more proportional and transparent for everyone on our platform,” a blog post authored by “Twitter Safety” stated. The post additionally touted Twitter’s enforcement philosophy, calling it “Freedom of Speech, not Freedom of Reach.”
If a tweet is labeled, the user themselves won’t be shadowbanned or removed from the network — the company notes the policy actions will occur at “a tweet level only and will not affect a user’s account.”
Twitter also explains that users whose tweets were labeled will be able to submit feedback if they think their tweet was incorrectly flagged, but says they may not get a response to that feedback, nor will it guarantee the tweet’s reach will be restored.
Likely, this has to do with the vast cuts Twitter made to its Trust & Safety teams and the company as a whole. And it may be relying heavily on automation to make its decisions over labeling, though it’s unclear to what extent this system will be automated. (Twitter no longer replies to press inquiries, so blog posts and tweets made by the company or its new owner, Elon Musk, are the only official word on things like this.) Automation, of course, could mean Twitter will get things wrong — something it admits in a Twitter thread about the changes. Here, the company also says it plans to allow authors to appeal its decision at some point “in the future.”
Again, no hard deadline or a ballpark time frame was provided.

We will continue to remove illegal content and suspend bad actors from our platform. We’re committed to increasing transparency around our moderation actions, and we’ll continue to share updates on our progress. You can learn more about our various enforcement actions here:…
— Twitter Safety (@TwitterSafety) April 17, 2023

The launch of the new policy follows Twitter’s earlier decisions under Musk to allow controversial figures, including Trump and neo-Nazis to rejoin the network. In one incident, Musk brought the artist formerly known as Kanye West back to Twitter, who then tweeted a swastika and was resuspended.
The new policy announced today may be one that reflects Twitter’s attempt to balance two opposing forces. On the one hand, Musk is a free-speech proponent who railed against Twitter’s allegedly less-than-transparent moderation policies in the years before he took control of the company. He even went so far as to publicly share internal documents and communications, aka the Twitter Files, in an attempt to expose how Twitter’s moderation decisions had been made in the past.
The results weren’t as astounding as he hoped. What was largely found was a company having to make complex and nuanced decisions, often in real time, around borderline content and high-profile figures.
Visibility filtering was one of the topics the Twitter Files had covered, in fact.
Musk aimed to show that Twitter had previously been politically biased in its past filtering of tweets, but the report didn’t include any information about how many accounts or tweets were de-amplified or the politics of those who were impacted, so no conclusions could be made.
But Musk’s personal beliefs are bumping up against the need to maintain a functioning business. That’s why, on the other side of things, Twitter could be attempting to make things right with advertisers.
Since Musk’s takeover, advertisers have been fleeing the network. Major brands, including Mars, AT&T, VW and Stellantis have all gone — and all the brand safety measures haven’t been able to restore their trust. The company may hope that labeling tweets that have been de-ranked will help marketers feel more comfortable that their ads aren’t running directly alongside hate speech. But advertisers have plenty of other reasons to be concerned over Twitter.
Since Musk’s acquisition, the network has been chaotic, with constantly changing policies and features, including a now pay-for-reach version of Twitter Blue and, over the past few days, changes to how news outlets are labeled, leading to generally reliable newsrooms like PBS, NPR, CBC, and others to leave the platform entirely. 

Twitter adds more ‘government-funded’ labels to global news outlets

This Week in Apps: Newsrooms leave Twitter, Reels expands, Android 14 arrives

Twitter to label tweets that get downranked for violating its hate speech policy by Sarah Perez originally published on TechCrunch

Apple Music, Deezer, TIDAL pull down viral AI ‘fake Drake and The Weeknd’ trackGhostwriter's heart on my sleeve has now surpassed 625,000 plays on Spotify
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Mojave'S MA-37 RECOGNIZED AT NAMM TECH AWARDSMojave Audio was recognized for their outstanding Technical Excellence and Creativity during the 38th Annual NAMM TEC Experience, held last Thursday night at the Anaheim Convention Center in California. Mojave’s MA-37 captured a TEC Award in the category of Microphones-Recording.

Started in 1985 by MIX Magazine, the TEC Awards are widely regarded as the highest honor dedicated to the pro audio and sound recording industry, recognizing outstanding performance by the individuals, companies and technical innovations behind the sound of recordings, live performances, films, television, video games and multimedia.

Mojave’s MA-37, winner of the Microphone-Recording category, is a modern take on the iconic Sony C-37a – a workhorse from the Golden Age of Hollywood recording. The MA-37 is a high headroom large-diaphragm tube condenser that updates the original design with modern components and workmanship for a rich, natural sound that imparts a smooth musicality on any instrument or voice. As with all Mojave Audio microphones, the MA-37 is hand-built with the same detailed craftsmanship that have made them essential in studios around the world.  

"This is Mojave’s fourth TEC Award nomination and we are honored to have been recognized this year by NAMM for the MA-37," commented Dusty Wakeman, President of Mojave. "We’re privileged to work alongside the creative genius David Royer and we’d like to thank our families and loyal customers for their continued support.”

For more information and detailed specifications, please visit: https://mojaveaudio.com/ma-37

About Mojave Audio

Mojave Audio was founded by Technical Grammy Award winning David Royer, widely known for his ribbon microphone designs with Royer Labs. Mojave Audio makes world-class microphones for Artists and Engineers who are passionate about their sound.

Photo ID: Mojave Audio President Dusty Wakeman (left) and Mojave Audio Partner Colin Liebich

Lake People announce MC100 monitor controller Lake People build on their expertise in converters and headphone amplifiers, announcing the MC100 monitor controller.