Circvit Bass is a FREE Extended Range Bass Virtual Instrument
You can now get Circvit’s Circvit Bass five-string bass virtual instrument as a free download. The freebie release is for macOS and Windows in VST3, VST, AU, and AAX formats. Circvit Bass was created by sampling the Legator Wraith 37” multi-scale five-string bass, which has Fishman Fluence Modern active humbuckers. The extended range bass plugin [...]
View post: Circvit Bass is a FREE Extended Range Bass Virtual Instrument

“They came to hear the artist, what are you going to do – wait ’til the third song to get it together?”: Drake FOH engineer on what really matters in live sound engineeringDemetrius Moore, who’s been Drake’s FOH engineer since 2010, has lifted the lid on what his role is really like, noting how vocals are most important element to get right when mixing a show live.
Moore has most recently accompanied Drake on his $ome $pecial $hows 4 U Tour with PartyNextDoor in Europe. Within his role, he’s been in charge of some pretty mighty gear including a massive Adamson Systems Engineering PA system, provided by Eighth Day Sound. Drake performed in the round for these shows, so getting the sound right was paramount to completing the immersive environment.

READ MORE: 7 lessons on music-making from a breakfast with Babyface

Speaking to MixOnline in a detailed interview about his role, Moore says the shows were very dynamic, with him needing to cater his mix to a range of musical styles including intimate R&B, Drake’s more bass-heavy rap, and even his Ibiza-style dance music.
“I always start with the vocal,” says Moore. “To quote Prince, ‘If the first words out of an artist’s mouth when they hit the stage aren’t heard, you’re a horrible engineer.’ They came to hear the artist, and what are you going to do – wait ’til the third song to get it together?”
Speaking on the colossal PA that carried the sound at Drake’s arena shows – which was broken up into four corners of hangs – Moore says the system was intended for even coverage: “They feel the impact, that’s for sure, but a lot of people look at the PA and say, ‘Oh my God, this is gonna rip our faces off!’ No, it won’t. We did it this way for even coverage, even dispersion and to have power without killing people.”

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MixOnline further reveals how the tour also carried a pair of DiGiCo Quantum852 consoles for Moore and monitor engineer Chris Lee, with both desks on an Optocore network that also supported three SD-Racks and one SD-MiNi Rack.
Moore says he uses his desk “as an instrument”: “It’s definitely an effect-heavy show. The first song is Marvin’s Room, and if you listen to the album, there’s a reverse gate reverb delay that is the whole vocal sound of that song – which we have to recreate live! It’s three effects: The vocal goes into the reverse gate, which goes into the reverb and that goes into the delay.
“I sat there for I don’t know how long, tweaking it until it was as close to the record as possible. It was a little bit of a challenge trying to get it exact, but we’re damn close. Not every song has crazy effects like that, but there are a lot throughout the show,” he says.
Drake’s most recent album, $ome $exy $ongs 4 U is available to stream or buy now.
The post “They came to hear the artist, what are you going to do – wait ’til the third song to get it together?”: Drake FOH engineer on what really matters in live sound engineering appeared first on MusicTech.

From Suno getting sued by Koda to Live Nation’s $8.5bn in Q3… it’s MBW’s weekly round-upThe biggest headlines from the past few days...
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FINNEAS Created Apple TV’s New Mnemonic — Artists Take Note…Tapped by Apple, Grammy-winning producer and songwriter Finneas has created Apple TV's new sonic logo, or mnemonic. Artists, there could be opportunity here...
The post FINNEAS Created Apple TV’s New Mnemonic — Artists Take Note… appeared first on Hypebot.

Waves is giving away a free plugin – we don’t know what it is, but here’s how to get in lineYou can never have too many free plugins, really, can you? Well, Waves is planning to give one away this Black Friday. Trouble is we don’t know what it is yet, but we can tell you how to get in line to get yours.
Here’s what we know: the giveaway begins 28 November, and only a limited number of licenses will be available for free. Oh, Waves says it’s “very exciting”. And that’s about it.

READ MORE: Slower Fragment: e-instruments’ new plugin brings half-speed tape magic – for free

If, like us, your interest is piqued, you can sign up for the giveaway by providing Waves with your email address. The brand’s previous Cyber Weekend deals have included freebies such as its Lo-fi Space reverb, Silk Vocal processor, and more.
Last year’s free plugin was its IDX Intelligent Dynamics processor, which the brand says “brings your mix to life with just one knob, adding instant energy, punch, and focus”. Using multiple detectors across the frequency range, IDX shapes the envelope of your tracks, delivering “in your face” sound.
At its launch, it was limited to just 10,000 free copies, but is also now reduced in this year’s Black Friday sale from Waves. Down from $79 to $29.99, you can save over 60 percent on the plugin – which has a near five-star rating on the Waves site itself. Check out IDX in action in the video below:

Currently, Waves is also offering a huge Black Friday deal on its Creative Access pro plugin catalogue subscriptions – with the essential tier reduced to $119.99 for the first year including access to over 120 plugins, or its Ultimate tier with over 240 plugins, also available at the same rate for the first year. Over 30 of its plugins are also on sale for the run up to Cyber Weekend.
Check out more Black Friday deals from Waves, or sign up to be in with a chance of landing its newest plugin for free. 
The post Waves is giving away a free plugin – we don’t know what it is, but here’s how to get in line appeared first on MusicTech.

Choosing a Digital Platform for Music Promotion Based on GenreThis post, courtesy of notefornote, talks about the differences between DSPs and why those differences matter for promotion depending on the genre of music you make as an artist.
The post Choosing a Digital Platform for Music Promotion Based on Genre appeared first on Hypebot.

Sure, your studio sounds great, but does it look the part? With these LED-lit acoustic treatment panels, it willAcoustic treatment is a necessity for any studio, but why can’t it also double as a visual enhancement for the space? With these two new wall sound absorbers from t.akustik, it can.
Fitted with coloured LEDs for an upgrade to both your studio look and sound, these absorbers sit “where acoustic performance meets modern lighting design”, the brand says.

READ MORE: You know how everyone cares when you share your Spotify Wrapped? Well, now you can do it every day

These absorbers are built using durable chipboard veneer with a 3mm CPL laminate-finished HDF front panel, and filled with 40mm PET acoustic material for “professional-grade sound absorption”.
But quality acoustic treatment is widely available; the real appeal of these, let’s be honest, is the visual enhancement they’d bring to your space.
Credit: t.akustik
The 5V LED lighting housed within is colour changeable via remote control, so you can find the perfect mood for your session. Anecdotally, if the vibe is right in the room I’m working in, creativity just flows better, so I get it.
The panels feature USB-C connectivity embedded in their Halifax Oak wood frames, and can therefore be plugged in via both a power bank or USB-C power adapter. If using the former setup, a power bank can, of course, be secured via velcro behind the panel, for a sleek, wireless look.
These panels measure 1,200 x 600 x 80mm (W x H x D) and weigh 9.85kg, and come with a mounting rail for wall installation. Bear in mind, though, that mounting accessories like dowels and screws don’t come included.
“With its blend of acoustic efficiency, modern design and customisable lighting, the t.akustik LED Absorber 120 Tech in Halifax Oak sets a new standard for acoustic room enhancement,” the brand says.
It’s not just about the sound when it comes to building a studio or any creative space. The way it looks is just as crucial in creating an environment conducive to creativity. t.acustik’s new LED panels might just kill those two birds with the same stone.
These panels come in two configurations: Circle Oak and Tech Oak, both priced at £231 per panel.
Learn more at t.acustik.
The post Sure, your studio sounds great, but does it look the part? With these LED-lit acoustic treatment panels, it will appeared first on MusicTech.

SSL reveal Acoustifier plug-in Acoustifier uses advanced modelling techniques to emulate the sound of a dual-mic setup, and comes loaded with built-in EQ, compressor and reverb sections.

Audio Imperia releases Glade, a FREE cinematic writing instrument for Kontakt Player
Developer Audio Imperia has released Glade, a free cinematic writing instrument for Kontakt Player. It’s been a great few days for media composers and fans of cinematic sounds. First, we had The Pulse Elements, a synth-based instrument, inspired by Ridley Scott’s iconic Blade Runner, and its incredible original score by Vangelis. Now, we have Audio [...]
View post: Audio Imperia releases Glade, a FREE cinematic writing instrument for Kontakt Player

Best of The Band, Robbie Robertson Insomnia, and The Band PhotographsOn December 12, Capitol Records/UMe will release the newly remastered The Best of The Band on vinyl, CD and Super High Material CD. The long out-of-print LP version will be available on standard weight black vinyl, marking the first time it’s been available since the 1980s. Both the CD and SHM CD versions have been mastered for digital format, with the SHM CD utilizing a special polycarbonate material that leads to additional clarity, depth and definition of sound.

At the height of summer of 1976, the sun was setting on The Band. Having ushered in the decade’s folk-rock movement by seamlessly weaving elements of rock, blues, jazz and country, The Band was at its breaking point. Guitarist and songwriter Robbie Robertson was tired of the road and interested in exploring new musical avenues, pianist Richard Manuel was still recovering from a boating accident, and Garth Hudson, Levon Helm and Rick Danko were all ready to go their separate ways. As the group prepared for their farewell concert, they released The Best of The Band, a retrospective of timeless classics that would influence music for generations to come.

Released on July 16, 1976, The Best of The Band is a precursor to a landmark moment in music history. Having first formed in the 1960s as Ronnie Hawkins’ backing band, The Hawks, the group— Helm (drums, vocals, mandolin), Robertson (guitar, piano, vocals), Danko (bass, vocals, fiddle), Manuel (keyboards, vocals, drums), and Hudson (keyboards, horns)—would back Bob Dylan during his controversial electric “plugged-in” phase.

Rechristening themselves as The Band, the group recorded their landmark debut album, 1968’s Music From Big Pink, featuring “Tears of Rage” and the song that would become the group’s enduring signature, “The Weight.” Drawing from the American roots music panoply of country, blues, R&B, gospel, soul, rockabilly, the honking tenor sax tradition, hymns, funeral dirges, brass band music, folk, and rock 'n' roll, The Band forged their singular sound that would forever change the course of popular music.

The Band followed in 1969 with their masterpiece, their eponymous album, which would go on to be lovingly called The Brown Album for its iconic cover. With classics like “Up On Cripple Creek,” performed in a star-making moment on The Ed Sullivan Show, and “The Night They Drove Old Dixie Down,” The Band’s fame skyrocketed and their status was cemented as one of the most respected and exciting bands in years.

Between 1970-76, The Band released four studio albums, including 1970’s Stage Fright (“The Shape I’m In”), 1971’s Cahoots (“Life Is A Carnival”) and 1975’s Northern Lights—Southern Cross (“It Makes No Difference,” “Ophelia”) plus the 1972 live record, Rock Of Ages (“Don’t Do It”), recorded at the Academy Of Music in New York City, until exhaustion and creative differences were too much to handle. They opted to lower the curtain on Thanksgiving 1976 with a performance at the Winterland Ballroom in San Francisco. 

The farewell gala would grow to include performances by friends such as Neil Young, Joni Mitchell, Van Morrison, Muddy Waters and Bob Dylan. Six weeks before the concert, Robertson reached out to filmmaker Martin Scorcesse to see if he’d film the show for posterity’s sake. The result was The Last Waltz, one of the greatest concert films ever made.

In the decades since their release, both The Last Waltz and The Best of the Band have stood as testaments to The Band’s undeniable place in rock and roll history. In 1994, The Band was inducted into the Rock and Roll Hall of Fame. Though every member has passed on, their legacy endures, and the upcoming The Best of the Band is at once both a perfect primer for those just discovering The Band’s genius and longtime fans eager to have the hits on vinyl once again.

The Best of The Band

Vinyl Track list

Side A

1. Up On Cripple Creek

2. The Shape I'm In

3. The Weight

4. It Makes No Difference

5. Life Is A Carnival

Side B

1. Twilight

2. Don’t Do It

3. Tears Of Rage

4. Stage Fright

5. Ophelia

6 The Night They Drove Old Dixie Down

CD Track list

1. Up On Cripple Creek

2. The Shape I'm In

3. The Weight

4. It Makes No Difference

5. Life Is A Carnival

6. Twilight

7. Don’t Do It

8. Tears Of Rage

9. Stage Fright

10. Ophelia

11. The Night They Drove Old Dixie Down

In other Band news, the sequel to Robbie Robertson’s New York Times bestselling memoir, Testimony, titled Insomnia, will be released November 11 via Penguin Random House. The late rock legend tells the story of his wild ride with Martin Scorsese – as friends, adventure-seekers, and boundary-pushing collaborators.

For four decades, Robertson produced music for Scorsese’s films, a relationship that began when Robertson convinced Scorsese to direct The Last Waltz, the iconic film of the Band’s farewell performance at the Winterland Ballroom on Thanksgiving 1976. Insomnia is an intimate portrait of a creative friendship between two titans of American arts, one that would explore the outer limits of excess and experience before returning to tell the tale.

Elliot Landy is a celebrated music photography artist and writer, who has captured some of the industry’s greatest names. His iconic works include portraits of rock music giants like Bob Dylan, Jimi Hendrix, Janis Joplin, The Band, Jim Morrison, and many others. As a photojournalist as well, his early career images documented and supported the rising tide of anti-war sentiment and spiritual awakening throughout the United States during the late 1960s. Since 1967 Elliott’s work has been published and exhibited in galleries and museums worldwide. He has published nine books on his photography.

Elliott Landy has announced a second volume of photos that he took of The Band. Ten years after the first edition that had long since sold out, the legendary photographer will publish The Band Photographs: 1968 – 1969 Two-Volume Set. The hardcover title, 12×12 inches, joins the two editions, with a combined 352 pages and nearly 400 photos. The book, via publisher Weldon Owen, arrives November 25, 2025. The title features a foreword by Eric Clapton and an introduction by Bruce Springsteen.

When you picture The Band, you have Landy’s photographs in your mind. He took the legendary photos in their 1968 debut album, Music From Big Pink, and The Band, their self-titled 1969 follow-up.

“I was the only photographer who had access to The Band during that period while living in Woodstock, NY,” he says. “Because we were friends, I had the freedom to hang out and take whatever pictures I wanted. I shot more than 10,000 frames of film of The Band during this period. Of these, fewer than 25 had been published prior to my 2015 book, The Band Photographs 1968-1969, which contained 200 photographs—most of which had never been published before.”

Want more on The Band? May I humbly suggest The Story of The Band From Big Pink to The Last Waltz that was published in 2018 by Sterling/Barnes & Noble. It’s a hardcover coffee table-size book I wrote with fellow author and musician, my brother Kenneth Kubernik.

Robbie Robertson always knew and respected my knowledge of The Band. Over nearly a half a century from 1976-2017 I conducted three extensive interviews with Robertson who praised my understanding of The Band. 

I saw the group in concert eight times, including three Bob Dylan/Band Inglewood Forum shows on the 1974 tour, and attended The Last Waltz as a reporter for Melody Maker. I’m glimpsed in the documentary.

In January 2017 I interviewed Robertson inside his office at The Village Recorders in Westwood, California, upstairs from where the Band and Bob Dylan recorded Planet Waves in 1973 with engineer Rob Fabroni and the live ’74 Bob Dylan and The Band album Before the Flood was mixed.        

During one chat, Robbie discussedcollaborating with Dylan onThe Basement Tapes.

“But we did have the experience with Bob Dylan and in doing The Basement Tapes with the songs that were supposed to be shared with other artists to record. It was because so many people recorded Bob’s songs and we were hooked up together, you thought ‘Oh. That’s part of it.’ And how that struck me I didn’t think about it in writing the songs or making the records that other people would do. This was a very interior thing. This was a thing between the five of us in the band. Something that we had collected over ages and pulled it together and made this gumbo.

“Bob already had such a track record that you thought people are going to be drawn to this. If he put something out there for people to record, people are going to be drawn to this. It just seemed to me that this was something he’s already established.

“Bob was involved in it. Garth was involved in it. Right? And part of it was just in fun. You know, we would record a song like ‘You Ain’t Going Nowhere.’ And Bob would say. ‘Whatta you think. Ferlin Husky? Right?’ And it was half kidding around and half meaning somebody is going to but with the way that he is and the way that he thinks too Bob that he could insist on sending that song to Ferlin Husky first. You know what I mean? Just because he would do something like that. But when we said ‘OK. We’ve got to pull some of these things. We were recording a lot of stuff. We were covering songs and just having fun. And then, every once in a while, there would be an original one in all of this.

“And when we were doing this not with Bob, this was the germs and the idea and the beginning of Music From Big Pink. That was happening kind of in the back room too. So, when we chose those songs to send out, we were choosing what we liked. We were kidding around. I didn’t notice Manfred Mann could do a really great job on ‘The Mighty Quinn.’ I didn’t know that. But we were saying ‘that ‘The Mighty Quinn’ thing has something to it.’”

The Band’s Music From Big Pink was on everybody’s turntable I knew in 1968. Their debut LP wasn’t really an outgrowth from road work with Dylan. Robertson and group members had previously logged some time in recording studios.

“When we hooked up with Bob Dylan it was made clear to Bob and to [our manager] Albert [Grossman], ‘this is a whistle stop for us.’ We are on our own path. We’ll do this in the meantime but we’re going to do our own thing. Right?’ After we did the thing with Bob and he wanted to do more. But he had this accident [in July 1966] and so then, and I say this in my book [Testimony], Albert had no idea what we were or what we could do. No idea. He liked us. He thought it was really interesting what we did with Bob. But he said ‘I think I can get you a deal for doing an album of instrumentals of Bob Dylan songs.’ So, I said, ‘All right. Let me talk to the guys about that.’ (laughs). And I thought, ‘Albert has no idea…’

The Band and Bob on stage. There was a thing that happened between Bob and The Band that when we played together that we would just go into a certain gear automatically. It was like instinctual, like you smelled something in the air, you know, and it made you hungry. (laughs). It was that instinctual.

“When we recorded Music From Big Pink, Albert was astonished by the results of that record. And he so embraced it and made it his own and all that other stuff vanished. He was like ‘I knew it all along.’ It fit so perfectly into his scenario. But we had gone to the edge together. And because we had done all that stuff and The Basement Tapes, and through all of this, still had no idea of what this was going to be when we did it. That was thrilling.”  

This century I’ve interviewed the legendary songwriter and record producer Al Kooper a few different times. Last decade he reminisced about Music From Big Pink.  

“I knew what was happening in 1968 with John Simon producing the debut Blood, Sweat & Tears album and the first Band album and should have had an early glimpse of what was going on,” Kooper admitted. “But at the time I was staying home and not going out.

“John used to call me up, right after the first BS&T album. ‘What are you doing?’ ‘You gotta come down to the studio and hear what he called, Robbie’s album.’ 

“I think John zeroed in on like the leader of The Band in this case.   And John would call me over and over again and say, ‘You gotta come hear Robbie’s record.’ That’s what he called it. And I didn’t know what it was.

“John had an understanding of the singer songwriter. He was an erudite musician. And that was the important thing. That was the thing I learned from him. How to use that in the production of the record.

“And then I heard it when it was finished up at Albert Grossman’s office. I went, ‘Holy shit! This is ridiculous.’ I didn’t think it was gonna be like that. I had no idea what that was gonna be like. Up at Albert’s office they just played it. Side one and side two. And I kicked myself for not going to the sessions since I was invited.

“I later reviewed Music From Big Pink for Rolling Stone. ‘Music from Big Pink is an event and should be treated as one… There are people who will work their lives away in vain and not touch it.’”

Released during a long, turbulent season of war and socio-political unrest, and sandwiched between other culture-shifting 1967-‘68 albums by The Beatles (Sgt. Pepper’s Lonely Hearts Club Band and ‘The White Album’), Jimi Hendrix (Axis: Bold As Love), and The Rolling Stones (Beggars Banquet), Music from Big Pink astonished critics.

Writing for Rolling Stone, journalist Alfred G. Aronowitz proclaimed that Big Pink was “the kind of album that will have to open its own door to a new category.” 

In his San Francisco Chronicle review, Ralph J. Gleason wrote, “The voices are unique and make a sound not available anywhere else in popular music that I know of. It is a rural sound, not on the country & western stations, yet not rural in the sense of lack of sophistication; I think it is hymnal… The songs are going to be American classics and it will not matter if there is no second album nor if The Band ever appears in person again.” 

The Band album recorded their second self-titled LP inside Sammy Davis, Jr’s pool house in the Hollywood Hills.

I suggested to Robbie in one conversation that The Band and co-producer John Simon had started a new low-fi recording bio-regional process when a signed group with a major label record company moved into a home studio and did masters for albums and not just recorded demos.   

“That’s where that Les Paul thing came back into the picture,” explained Robertson. “Before Big Pink, I had had this dream of having a workshop. A place. A sanctuary where we could go into the privacy of our own world and do something and not be on somebody else’s lawn to really be in our own environment let alone away from studio union breaks, so all of these things played into it a little bit. We go into a studio and the guy is like ‘well, it’s almost 4:00 pm…’ So, all of these things are playing into it and although the experience in the studio of recording Music From Big Pink was fabulous. The producer John Simon was great and the engineers were great at Phil Ramone’s place, all of it, but the idea of having this private sanctuary and that it would have its own sound. Its own sound and its own flavor.

“It would be like Chess Records. We could have our own one and it would not sound like any of these other places. Going into somebody’s environment and then saying, ‘you go over there. You sit here. And we’re gonna use this kind of microphone on you.’ I thought that was what you did with somebody else. ‘I feel like I’m getting seconds here.’

“I was thankful for that period of time too. Because it was now a period where an artist wanted to something that A&R guys like [Capitol Records engineer and staff producer] John Palladino had nothing to do with the music. He was never there when we recorded. No intrusion. So, when I said ‘we want to do this thing that started in the basement of Big Pink we want to bring the equipment to us in our own atmosphere. And we want to record at whatever time we feel the spirit. We don’t want to be on somebody’s clock.’ John was like ‘OK.’ ‘We just need the equipment to come to us.’ And he had to kind of go along with it, you know, but he didn’t understand it.

“We came to do it in Hollywood because it was too cold in Woodstock. [Laughs.] And we were from Canada. So, we knew cold and we knew when to get out of the way. So, we thought, ‘Wouldn’t it be wonderful to go and do this thing and go outside, where it feels beautiful and sunny and everywhere else it’s stormy.’ It was a good feeling inside and we felt we were getting away with something.

“Many years later when I went to Dublin, Ireland, to do some experimenting with U2 and they were recording in the living room of Adam [Clayton]’s house, and when I walked in, the producer Daniel Lanois, Edge and Bono said, ‘Does this feel familiar?’ And I didn’t quite understand what they meant.

“What they were saying was, ‘You are the guys who started this whole thing.’ When we did Stage Fright at the Woodstock Playhouse, we brought the equipment into that room. But it’s very common today.”

In my 1976 interview with Robertson for Crawdaddy, I wanted to know about one aspect of his songwriting with The Band, why he employed a third-person perspective on tunes like “The Weight,” “Stage Fright,” and particularly “The Night They Drove Old Dixie Down.”

“It’s just that it’s a part of storytelling. It isn’t anything to put the songs in the third person. Sometimes when you get that little detachment you can write about more. I’m Canadian and I wrote the song about the Civil War. I didn’t know the story, and it fascinated me. Everyone else took it for granted—they read about it in history class. When it’s strictly about yourself, you’re not allowed to deal with fiction. So, it’s something that opens the gates a little bit,” he underlined.

In my 2016 interview with Robbie Robertson for Record Collector News magazine, I asked what was it like for him when he hears The Band recordings on the radio or when compiling reissues. Was it a joyous or sad experience? 

“I just feel extremely proud in the choice that we made to work together,” reinforced Robbie. “I absolutely feel there are moments when I think… ‘Whew…He’s the business. What talent.  What an amazing emotional musical choice was made right there.’  I do feel those things.” 

(Harvey Kubernik is the author of 20 books, including 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon, 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972, 2015's Every Body Knows: Leonard Cohen, 2016's Heart of Gold Neil Young and 2017's 1967: A Complete Rock Music History of the Summer of Love. Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. In 2021 the duo wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble. 

Otherworld Cottage Industries in 2020 published Harvey’s Docs That Rock, Music That Matters. His Screen Gems: (Pop Music Documentaries and Rock ‘n’ Roll TV Scenes) is scheduled for 2025 publication.     

 Harvey wrote the liner notes to CD re-releases of Carole King’s Tapestry, The Essential Carole King, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special, The Ramones’ End of the Century and Big Brother & the Holding Company Captured Live at The Monterey International Pop Festival.

During 2006 Kubernik appeared at the special hearings by The Library of Congress in Hollywood, California, discussing archiving practices and audiotape preservation. In 2017 he lectured at the Rock and Roll Hall of Fame in Cleveland, Ohio, in their Distinguished Speakers Series. Amidst 2023, Harvey spoke at The Grammy Museum in Los Angeles discussing director Martin Scorsese's The Last Waltz music documentary.

Kubernik is in a documentary, The Sound of Protest now airing on the Apple TVOD TV broadcasting service. https://tv.apple.com › us › movie › the-sound-of-protest. Director Siobhan Logue’s endeavor features Smokey Robinson, Hozier, Skin (Skunk Anansie), Two-Tone's Jerry Dammers, Angélique Kidjo, Holly Johnson, David McAlmont, Rhiannon Giddens, and more.

Harvey is interviewed along with Iggy Pop, Bruce Johnston, Johnny Echols, the Bangles' Susanna Hoffs and Victoria Peterson, and the founding members of the Seeds in director Neil Norman’s documentary The Seeds - The Seeds: Pushin' Too Hard now streaming online on Vimeo. This November 2025, a DVD with bonus footage of the documentary is scheduled for release via the GNP Crescendo Company).The post Best of The Band, Robbie Robertson Insomnia, and The Band Photographs first appeared on Music Connection Magazine.

Accel backs Uber rival Rapido as Prosus boosts stakeTVS Motor booked a 152% return as it sold its Rapido stake to Accel and Prosus.

Making Steam-Powered LEGO MachinesOver the decades we have seen a lot of methods for powering LEGO-based contraptions, ranging from LEGO Technic pneumatics to electric motors, but what about steam power? We have all seen those cute little model steam engines that can definitely put out some power. Sure, you can just drop those in like a kind of confused internal combustion engine, or you can try to make a steam engine that actually tries to be directly compatible with LEGO.
While exploring this topic, [Jamie’s Brick Jams] on YouTube found that the primary concern here is simply the very hot steam produced by the boiler. While not a surprise to anyone who has ever run a model steam engine, this poses a major challenge to the thermoplastics used by LEGO.
Obviously a boiler cannot be made out of plastic, but the steam turbine can. That said, material selection here is key, as the hot, wet steam produced by the boiler demolishes PLA parts and ruined the original and very unsafe copper boiler in the process. Ultimately a LEGO Technic-compatible steam turbine was printed in high temperature resistant PAHT-CF and PC filament, which enables a steam-powered LEGO walker to come to life, albeit with a distinct lack of power.
Model steam engine enthusiasts are of course quick to point out that you should try to create dry steam through superheating, definitely add a safety valve and so on, all of which should make for an even more powerful and safe LEGO steam engine. For a rundown of how steam engines work, [Lawrie] did an excellent video on the basics a while back, as well as a video playlist full of demonstrations of both classical Mamod model engines and questionable modern takes.
Suffice it to say that although model steam engines look like toys, they involve fire, hot steam and other fascinating ways to melt things, light them on fire and cause painful injuries, so definitely follow a safety briefing before attempting any of it at home.

BeatStars has paid creators over $400m to date. CEO Abe Batshon wants 1 million musicians to earn a living from his platform1.5 million tracks are downloaded monthly from BeatStars' marketplace of 11 million-plus beats
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Synchro Arts release RePitch 2 Synchro Arts' pitch-correction plug-in has just been treated to a signficant update that introduces multitrack editing along with improved note editing, a redesigned GUI and more.

Fracture Sounds releases FREE Blueprint: Clavinet for Kontakt Player
Fracture Sounds released Blueprint: Clavinet, a FREE funky clav for Kontakt Player. As I say in every single Fracture Sounds post, the Blueprint series has provided some of my absolute favorite free sounds. Their latest addition is the Blueprint: Clavinet, a free funky clav for Kontakt Player. The instruments are so good that any developer could [...]
View post: Fracture Sounds releases FREE Blueprint: Clavinet for Kontakt Player