“Elevator music or commercial music is where you’ll see people out of jobs”: Bombay Bicycle Club’s lead guitarist on AIJamie MacColl, lead guitarist for British indie band Bombay Bicycle Club, has spoken out about the potential impact of AI technology on the music industry.

READ MORE: Can ChatGPT be useful for sound design? YouTuber TAETRO finds out

In an interview with The News Movement at Reading Festival, MacColl, also a research fellow in cyber threats and cyber security at the Royal United Services Institute, addresses the possibility of AI taking his job.
“I think I would be worried if I made elevator music or commercial music where it is quite standardised,” he says. “I think that’s the space where you’ll see people being [put] out of jobs.
“In the long term, who knows, maybe it will replace us all,” a bleak MacColl says, “but I think that’s a long way off. The people who will survive in the age of AI are the people who can ask the right questions and use it rather than being replaced by it. That will probably apply to music at some point down the line as well.

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“It’s all just about streamlining processes and getting rid of the hard work. Much of what we’ve seen so far is replicating existing music. Those Drake songs or The Weeknd songs I don’t think will take off because major record labels are already so litigious and opposed to any sort of violation of copyright.”
When asked if he’s ever used AI to help him write music, the Bombay Bicycle Club guitarist admits that he did once ask AI to write him lyrics but says he got “a lot of lyrics about riding bikes”.
MacColl’s not wrong on major record labels’ response to AI technology being used to replicate the voices of major artists. In August, Google and Universal Music Group revealed they were in talks over licensing issues that surround ‘deepfake’ AI music.
In June, Deezer launched new technology built to “detect and delete” music made by AI that clones the sound and style of real artists.
Hozier also recently said he would “absolutely” strike against the use of AI in music, in a similar way to how actors are currently striking against the use of AI in the TV and film industry. Will.i.am and Nick Cave have also previously voiced concerns about the technology.
Bombay Bicycle Club’s new album, My Big Day – we think – excludes any AI-generated bike-related lyrics and is out in October. Pre-order via bombaybicycle.club.
The post “Elevator music or commercial music is where you’ll see people out of jobs”: Bombay Bicycle Club’s lead guitarist on AI appeared first on MusicTech.

Best DJ Gear 2023: 8 of the best Standalone DJ Controllers in 2023Since the introduction of Pioneer’s CDJ decks in 1994, digital DJ gear has innovated tenfold. Screens have become bigger, touch screen-compatible and more detailed. Advanced features and effects have been added, and taken away, and units have become more compact.

READ MORE: Focusrite’s Scarlett 4i4 is designed for the new generation of recording artists

The next step up in terms of compatibility for DJ gear is the standalone DJ controller. Sometimes called an all-in-one DJ system or a console, a standalone controller condenses your DJ deck setup down while maintaining sturdy, quality features found on pro-grade kit. They combine the mixer, decks and screens into a singular unit; some even have speakers built-in, making them a dream for a swift setup at a house party.
So, if you’re looking to get the party started in seconds, check out this list of the eight best standalone DJ options on the market right now.
8 of the best Standalone DJ Controllers at a glance:

Pioneer DJ OPUS-QUAD
Denon DJ Prime 4+
Numark Mixstream Pro+
Pioneer XDJ-XZ
Pioneer XDJ-RX3
Denon DJ SC LIVE 4
Denon DJ Prime GO
Gemini SDJ-4000

Pioneer DJ OPUS-QUAD
Pioneer DJ OPUS-QUAD. Image: Pioneer DJ
One of the more extravagant standalone controllers on this list, the recently launched OPUS-QUAD is one of Pioneer DJ’s most aesthetically pleasing products yet. It’s the sort of DJ gear that would compliment a living room or a cool cocktail bar, instead of simply being a garish black box in the corner of the room when not in use.
The design is evidently sleek – a matte finish, a unique curved front with an inset wooden-style edging, rose gold knobs including an electrostatic touch module knob for browsing, and a cool new design on the jogwheel’s dial. In terms of functionality, while there’s only two decks, there’s a four-track mixer and four-deck playback capability. An interesting use of the OPUS-QUAD’s huge central screen is that, with certain effects, it turns into an XY pad.
Features:

Sleek design with matte finish and rose gold knobs
Features a four-track mixer and four-deck playback capability
Central screen turns into an XY pad for certain effects
Cloud library sync
Price: $3,199

Find the Pioneer DJ OPUS QUAD on Amazon.
Denon DJ Prime 4+
Denon DJ Prime 4+. Image: Denon DJ
While for many years Pioneer DJ has lead the way on DJ gear, Denon DJ is climbing the ranks in popularity. The brand offers an alternative to the industry standard, with different – sometimes more impressive – feature sets, including different effects and a refreshing design.
Denon DJ’s Prime 4+ has a multi-gesture 10.1-inch touchscreen for browsing tracks, and with four USB inputs, an SD card slot, and a 2.5-inch SATA drive bay, there’s plenty of room for everyone’s music and less for nightmarish accidental USB unplugging incidents.
Features:

Multi-gesture 10.1” touchscreen
Four USB inputs, SD card slot, and 2.5” SATA drive bay
Versatile music control with alternative-sounding effects
Ideal for professional DJs seeking flexibility
Price: $2,873

Find deals for the Denon DJ Prime 4+ at Thomann.
Numark Mixstream Pro+
Numark Mixstream Pro+. Image: Numark
With WiFi and onboard speakers, Numark’s affordable Mixstream Pro+ grants instant access to streaming tracks, no laptop required. The 7” touchscreen offers hands-on Engine DJ control, while Philips Hue lighting syncs wirelessly. Pluck music from TIDAL, Beatport LINK, and more without a computer, and unleash pro DJ features through the embedded Engine DJ OS.
The built-in speakers are fantastic for playing for small groups at home, and, if yo have a smart home, you’re in luck. This controller empowers you to create synchronized light displays effortlessly via its built-in touchscreen. Through Engine Lighting integration, the Mixstream Pro + offers a selection of strobes, colour alterations, and BPM-aligned lighting.
Features:

Built in Wi-Fi
Streaming with TIDAL, Amazon Music Unlimited, Beatport, Beatsource, SoundCloud Go +, Dropbox
Smart home integration
Built-in speakers
Price: $800

Find deals for the Numark Mixstream Pro+ at Thomann.
Pioneer XDJ-XZ
Pioneer XDJ-XZ. Image: Pioneer DJ
Pioneer DJ’s XDJ-XZ offers a professional-grade setup reminiscent of Pioneer DJ’s NXS2 CDJs. Its full-size jog wheels enable precise scratching and beatmatching, and the informative colour display screen enhances track control.
The unit boasts 14 Beat FX and six Sound Colour effects providing added flavour to your sets. It accommodates USB drives with Rekordbox-analyzed tracks or laptop connection using Rekordbox or Link Export mode, and is seamlessly integrates with Serato DJ Pro.
Features:

Three USB ports
Sturdy design
Multiple EQ options
Equipped with full-size jog wheels reminiscent of the CDJ-2000NXS2.
Includes a Microphone Feedback Reducer feature.
Price: $2,499

Get the Pioneer XDJ-XZ at Sweetwater.
Pioneer XDJ-RX3
Pioneer XDJ-RX3. Image: Pioneer DJ
Combining flexibility and utility, the XDJ-RX3 offers an array of features sourced directly from the club-standard CDJ-3000 multi-player and DJM-900NXS2 mixer, along with a fresh 10.1-inch touch screen.
This screen empowers seamless playlist browsing, track mixing, and effect application, all with an intuitive feel. The device’s polished design further enhances your setup with a professional aesthetic.
Features:

10.1-inch Touchscreen with New Interface
Release FX Mode
Colour On Jog Display
More Beat FX and Sound Color FX
USB Hardware Unlock
Price: $2,099

Find deals for the Pioneer XDJ-RX3 at Amazon.
Denon DJ SC LIVE 4
Denon DJ SC Live 4. Image: Denon DJ
Integrating with Amazon Music Unlimited and other major streaming platforms, the SC LIVE 4 offers DJs instant access to a vast library of lossless tracks. Equipped with built-in Wi-Fi and rapid onboard song analysis, it enables laptop-free performances.
It functions as a dedicated Serato DJ Pro controller in Computer Mode, with compatibility for Virtual DJ as well. This compact 4-deck standalone DJ unit combines club-standard capabilities with a 7” touchscreen, and also has built-in Wi-Fi.
Features:

In-built speakers
Integrated lighting
Integration with Amazon Music Unlimited
True 4-channel standalone DJ capability
Price: $1,413

Find deals for the Denon DJ SC Live 4 at Thomann.
Denon DJ Prime GO
Denon DJ Prime GO. Image: Denon DJ
Denon’s Prime GO is a nifty little standalone DJ console that offers professional features in a portable unit. You can play for up to four hours just off the unit’s lithium-ion battery. It boasts rapid track loading, seamless navigation on its 7″ HD Touchscreen. Despite its compact size, Prime GO thrives with dual mic control, high-quality I/O, 24-bit/44.1kHz audio, dual-FX engines, 2-deck mixing, and performance pads.
Features:

Rechargable power
Engine OS power
HD touch screen
Built in Wi-Fi
Beatport LINK, Beatsource LINK, Soundcloud Go+ & TIDAL compatibility
Price: $1,322

Find deals for the Denon DJ Prime GO at Thomann.
Gemini SDJ-4000
Gemini SDJ-4000. Image: Gemini Sound
A refined all-in-one DJ solution, the Gemini SDJ-4000 is not only a portable unit, but it manages to fit in four channels and loads of performance pads, too, providing you with more options to get creative in your sets.
The SDJ-4000 boasts tactile jog wheels, 16 LED-illuminated rubber performance pads, and precise 100mm pitch faders for BPM adjustment. It offers flexible connectivity, including two USB drives or Ethernet linking to other Gemini media players, two microphone inputs with individual mixing and EQ control, and balanced XLR/unbalanced RCA master outputs with a dedicated booth output.
Features:

Sixteen rubber performance pads illuminated by LEDs
You can link up to two USB drives or employ an Ethernet connection to link with other Gemini media players
There are two microphone inputs, each equipped with individual mixing and EQ controls
The 6-inch platters are high-resolution and touch-sensitive
Precise track BPM adjustment is achieved with 100mm pitch faders
Price: $1,183

The post Best DJ Gear 2023: 8 of the best Standalone DJ Controllers in 2023 appeared first on MusicTech.

RELEASE DETAILS
Release title:
Real Hip Hop (Presented By DJ Emotion)
Main artist name:
Kid Rap,Pleco Nation
Release date:
18th Aug, 2023
https://publme.lnk.to/RealHipHopPresentedByDJEmotion
#newmusic #Release #Music #indepedent #artist #hiphop #trap

Timothy Xu, former Sony Music boss in China, named CEO and Chairman of Universal Music Greater ChinaChina broke into the world's Top 5 recorded music markets in 2022, according to IFPI data
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Digital euro can ward off a host of private payment service ills: ECB officialPrivate payment services can gain a monopoly with no benefit to other market players or economic stability, ECB board member Fabio Panetta said.

Get DirektDSP’s Fuzzboy FREE Until September 6th
DirektDSP offers the Fuzzboy guitar pedal plugin as a free download until September 6th. I think I’ve mentioned already that I love fuzz pedals. It is just a simple fact of life: From the time Sleep drafted their debut album, I was destined to enjoy the sound of fuzzed-out Marshall amps running in C standard [...]
View post: Get DirektDSP’s Fuzzboy FREE Until September 6th

Witch Pig AXA All of these samples in this Kontakt instrument were recorded with a 7 string guitar, and then designed to sound nothing like a guitar. Click on the outer spheres to select the FX chains,... Read More

Level up on the Builders Stage at TechCrunch DisruptTechCrunch Disrupt, our flagship startup event, returns to San Francisco on September 19–21, and you can bet TechCrunch+ will be in the house. With excitement and pride, here’s what we have in store for you on the Builders Stage at Disrupt on what I predict will be the most whip-ass stage at the event. See […]

Image Line update FL Studio The latest version 21 of Image Line's FL Studio introduces a range of the community's most requested features alongside a selection of new plug-ins.

Vicious Antelope Harmonia Keys - Harmonia Harmonia Keys contains 51 Avant Garde keys for Cherry Audio Harmonia Synth. Main characteristic of the soundbank is the experimental dimension that results to some unique sounds. As most... Read More

The UK’s One Media IP renews distribution deal with The Orchard, securing $1m advanceAIM-traded One Media IP raised £6.04 million (approx. USD $8m) in 2020
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Producer “speedruns” Soulja Boy’s ‘Crank That’, recreating in 19 secondsProducer and content creator Simon Servida has recreated Soulja Boy’s iconic 2007 hip-hop track Crank That in a speedrun lasting just 19.91 seconds, the world’s fastest attempt to date
READ MORE: “‘Bad’ is not a thing in mixing”: Disclosure justify imperfect mixing in music
In a video posted to his YouTube channel, the producer uses FL studio, the same DAW as Soulja Boy reportedly used to produce the original track, to recreate the song’s iconic elements including piano bass, hip-hop percussion and catchy steelpan riff.
Speedrunning, more commonly found in the video gaming community but gaining popularity in music production, is the process by which a task is completed as quickly as possible, often in a competitive setting.
In music speedrunning, producers are documenting themselves recreating popular tracks or completely new beats in the fastest time possible, often inciting comments and challenges from others.
Starting off the video with an original speedrun of 37.39 seconds, Servida receives multiple challenges from producers online attempting to break his attempt. The fastest record is from producer Eliminate, who completes the speedrun in 22.74 seconds, setting a new world record in the process.
Sevida then challenges himself to beat this record over the course of a week, eventually managing it within five days. However, the producer is underwhelmed at his achievement, saying, ‘‘I think I can go way faster,” before attempting a sub-20-second speedrun, filming each attempt as it happens and sharing helpful tips along the way.

Crank That, the breakout single from Soulja Boy Tell’em, was an international success; spending 7 weeks at #1 on the US Billboard Hot 100 and becoming the most downloaded song in the USA in 2007.
Instantly recognizable by its iconic steelpan hook, the track reportedly took Soulja Boy very little time to make: “It took me an hour to produce the Crank That song– at the most,” he famously admitted in an interview with HipHopDX.
Find out more about Simon Servida at simonservida.com
 
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“‘Bad’ is not a thing in mixing”: Disclosure justify imperfect mixing in musicBritish electronic duo Disclosure have justified the imperfections of mixdowns in music, arguing that a song can still be “absolutely correct” even if it’s lacking in the mixing department.

READ MORE: Mixing elements of a project is like “playing Tetris”, says Breauski

Speaking on the Tape Notes podcast, the Settle creators discuss production techniques used on their latest album, Alchemy, while revealing insights into how the two brothers work together.

On priorities, the singer-songwriter of the pair, Howard Lawrence, says, “For me, the harmony and the melody – if I don’t love that, I’ll never love the song, ever. It doesn’t matter how good the production is. It’s the same with [my brother] Guy. Even if the harmony and melody are sick, if the production’s not very good, he’s not going to be happy with it.”
Guy adds: “The song’s got to be unbelievably good if the mix is bad. Some of my favourite songs ever, the mixing is a ‘bad’. ‘Bad’ is not a thing in mixing, it’s just ‘this way’ or ‘that way’.
“One of my favourite songs is Let’s Stay Together by Al Green,” Guy continues, “It’s just one mic over the whole drumkit and you could argue its small by today’s standards, but it’s absolutely correct.”

Also in the podcast episode, Guy talks about “glueing the meaning of the song to the production” by adjusting the pitch formant on Howard’s vocals in correspondence to the emotions in the lyrics: “The driving force is Soundtoys’ Little Alterboy,” he explains, “I’m automating the formant to go up and down. I’m raising it when there’s more hope in the lyrics and making it fall when it’s more depressing and sad.”
Guy pinpoints where he uses this technique, highlighting the rise in pitch on lyrics such as ‘looking for love from everybody’ and the fall on ‘I’ve got this hole in my heart’, heard in the song Looking For Love.
“If it makes sense with the lyrics,” Guy adds, “it’s the right move to make. That’s an ethos for the whole record with Howard’s lyrics and the sound choices that are made.”
Also in the episode, Disclosure say how having no samples or collaborations on the Alchemy album made the whole process of finishing tracks much simpler and easier.
Want to see Disclosure live? Head to their website, disclosureofficial.com.
The post “‘Bad’ is not a thing in mixing”: Disclosure justify imperfect mixing in music appeared first on MusicTech.

Focusrite Scarlett Solo 4th Gen makes life easy for singer-songwritersSometimes simple is best. Just ask Lewis Capaldi. No, we aren’t suggesting Lewis is simple, but that the singer-with-a-guitar pathway he follows pares away all of the layers of production complexity to leave nothing but the purest, simplest expression of the original musical idea. There are many would-be Lewises strumming and singing away in home studios across the land, and for years they have been well-served by Focusrite’s Scarlett Solo, an audio interface that perfectly meets the needs of the singer-songwriters, podcasters and streamers.
READ MORE: Focusrite’s Scarlett 4i4 is designed for the new generation of recording artists
With Focusrite recently launching the fourth generation of its Scarlett interfaces, we’ve been in a Rush to give the new Scarlett Solo a Tough test to ensure its improvements aren’t Pointless.
Focusrite Scarlett Solo 4th Gen. Image: Focusrite
Guitar and vocals
What makes the Scarlett Solo such a strong match for singer-songwriters is its arrangement of two input channels, with one 6.35mm jack input for line/instrument signals and one XLR input for mics. Obviously, this is ideal for recording guitar and vocal mic at the same time, but is also useful for recording DI’d guitar and mic’d guitar amp simultaneously, not to mention many other solo recording tasks. The recording of stereo signals is a problem, of course, but you can work around this with a DI box.
The mic input, which has been relocated to the rear panel since the 3rd Gen model, feeds into a new preamp that features a redesigned Air mode. The Air mode on the 3rd Gen units introduced a presence peak in the upper mid and high frequencies, useful as a pre-treatment on vocals and other sources that carry a lot of detail in the higher registers. In the 4th Gen preamps, the presence peak has been modified to be useful across a wider range of sources, although its usefulness will depend on what you are recording.
Focusrite Scarlett Solo 4th Gen. Image: Focusrite
A new second Air mode engages a subtle harmonic overdrive that adds fizz and… well… air to the top end. This can sound brilliant alongside the presence peak, giving a very pro-sounding sheen to sounds. However, we think it would be even more useful if there was a third option consisting of just the harmonic drive.
Airless
The line/instrument input, which remains on the front panel, doesn’t have an Air mode. This is unfortunate because it would be seriously effective on a DI’d acoustic guitar which, let’s face it, is what most people will be connecting to that input. Also, as we found with the new Scarlett 4i4, the harmonic drive can serve as a brilliant front-end when feeding an electric guitar to a plugin amp simulator – again, a DI box would solve this by letting connect a guitar signal via the Air-enabled mic input.
You can configure the inputs directly on the front panel, which keeps things nice and easy to use. Your workflow is made even easier by the improved Gain Halo lighting that surrounds the gain knobs. These act as circular level meters that show the input signal level, giving surprisingly detailed visual feedback despite their small size.
At present, the Focusrite Control 2 software does very little with the Solo – it has a pair of input level meters and duplicates the hardware’s front panel buttons. Notable in its absence is an output mixer for balancing the direct monitoring levels of the two inputs with the internal DAW output bus – direct monitoring is either enabled or disabled. This shortcoming is intentional to a degree, as it suits the interface’s easy-to-use ethos. Nevertheless, Focusrite recognises that some users will want more control over monitoring levels and are exploring possible updates to Focusrite Control 2 that would make this possible.
Focusrite Scarlett Solo 4th Gen. Image: Focusrite
All in one
Accompanying the Scarlett Solo hardware is a suite of music production software that contains everything needed to get a new studio up and running.
On the DAW front, there’s a three-month subscription to Pro Tools Artist and Avid Complete Plugin Bundle, along with a 25 per cent reduction on a subsequent annual license, and of course, there’s the ever-present Ableton Live Lite. On top of this, there’s Focusrite’s Hitmaker Expansion pack that includes big-name instruments and effects such as Native Instruments Massive, Softube Marshall Silver Jubilee 2555, and Focusrite’s own Red 2 & 3 plugin suite.
The 4th Gen makeover of the Scarlett range has had less of an impact on Solo than it has had on its larger siblings, but this is just a reflection of the interface’s elegant simplicity – once Focusrite fitted the new preamp and converters, there wasn’t much left to change. As a result, the price has gone up slightly but it’s excellent value for money. Yes, you may need to add a DI box to get the most out of it, but it allows you to do an awful lot of music-making for very little initial outlay.
Key Features

Price: £139.99 / €130.24 / $139.99 (USD) / $199.09 (AUD)
USB audio interface
1x line/instrument input
1x mic input with Air and phantom power
2x line output
Headphone output
High performance converters taken from flagship Focusrite RedNet interface
Direct monitoring

 
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What does AI mean for music producers?
Music technology journalist Declan McGlynn discusses the potential implications of AI in music, how creators can apply it to their creative processes, and more.