As music industry attention shifts to ‘superfans’, let’s not forget who the experts are – retailers.Kim Bayley, head of the UK's Entertainment Retailers' Association, on streaming, superfans, and music rights companies
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Audio Network, part of SESAC Music Group, partners with Audiomachine for trailer and production musicThe partnership comes at a time when AI is playing an increasingly large role in production music
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Waves announces eMotion LV1 v15Waves Audio, the world-leading developer of audio mixing solutions, announcesthe new version of its eMotion LV1 live mixer software, v15. This new version of LV1 software also powers Waves’ new hardware live mixing console, eMotion LV1 Classic. The new v15 version includes various workflow improvements, as well as compatibility with the new Waves eMo IEM software for immersive in-ear mixing, which is now also shipping.

The new Waves eMo IEM enables immersive in-ear mixing via the eMotion LV1 mixer, bringing clarity, openness, and comfort to in-ear monitors in live shows. eMo IEM is a simple software upgrade to LV1: no expensive external hardware or complex routing is needed. Live sound engineers can simply set the LV1 mixer’s monitor output to Immersive, and the performers will receive immersive monitor sound in their in-ears, with the ability to control 360-degree panning on their own via LV1’s mobile apps.

The v15 update of eMotion LV1 includes additional improvements, including workflow enhancements for plugin navigation, channel naming and aux sends and various new features in LV1’s mobile and tablet apps (new flipped landscape mode in the MixTwin tablet apps; more user control in the MyMon personal monitor mixing app; and more).

The new v15 version of LV1 is also the engine running in the recently announced eMotion LV1 Classic live mixing console—the first fully integrated hardware console by Waves. With 64 stereo channels and 44 stereo buses of industry-leading sound, intuitive workflow, 16 onboard Waves Signature Preamps, and powerful Waves processors included with the console, the new Waves eMotion LV1 Classicis ahardware mixing desk that packs more live mixing power in a compact console than ever before.

“With LV1’s new v15 software update and the eMotion LV1 Classic hardware console, we now offer live mixing solutions that combine superior sound and technological innovation with the user-friendly workflows preferred by audio professionals worldwide,” says Noam Raz, General Manager of Waves Live division. “This release demonstrates our team's commitment to addressing the needs and requirements of our clients. We are entering a pivotal chapter of development and we are enthusiastic to be at the forefront of this exciting evolution!”The post Waves announces eMotion LV1 v15 first appeared on Music Connection Magazine.

Strange English Teaching Computer Might Have Been Big in Japan[Ctrl-Alt-Rees] bought something strange on an auction site: a Japanese Cefucom-21 from 1983. No? Didn’t ring a bell for us either. The legend on the front boldly proclaims: “CCI Multipurpose SLAP Computer,” so maybe it is some kind of computer, but it is definitely strange. For one thing, the “screen” isn’t a screen at all. [Rees] has found that it has something to do with teaching English. You can see the odd beast in the video below.
We don’t know how common these were in Japan, but they appear to be virtually unknown everywhere else. Inside is a Z80 computer based on a  Sanyo PHC-25, which is a little better known.

The strange screen is offset from the keyboard. There was also a tape drive and a ROM cartridge port. The screen, however, isn’t driven by the computer — you still needed a TV. Instead, it is a window to view a paper graphic stored on a special kind of cartridge. The cartridge simply had images printed on paper. The computer could roll the paper to an image.
Inside, the computer is a fairly conventional Z80 design but with many extras, including a second Z-80. Luckily, the battery, which is known to leak, didn’t completely blow out.
When the video was made, the old box wasn’t working. However, a comment on the video indicates that he’s since got it working and found the software for it, so we are looking forward to a hands-on video soon.
Have you seen one of these before? If you have, we are sure [Rees] would appreciate hearing from you. There seems to be a correlation between odd machines and dual Z-80s. We love seeing these old, forgotten machines.

Sonicbits releases the Exakt FM synth plugin and updates the FREE Exakt Lite to v2.0.
Sonicbits has released the Exakt FM synth plugin and updated the FREE Exakt Lite to v2.0. If you read the opening statement and thought, hang on, Exakt has been around for years; you’re probably not alone. However, despite Exakt Lite being around since 2020, the full version remained in development until now. Now, we finally [...]
View post: Sonicbits releases the Exakt FM synth plugin and updates the FREE Exakt Lite to v2.0.

American Concert D joins Synthogy’s Ivory 3 range American Concert D captures a New York-built Steinway Model D, and benefits from Ivory 3's Continuous Velocity feature and MIDI 2.0 support. 

Free Help with Health Insurance for Musicians & Industry ProfessionalsWith the open enrollment period mandated by the Affordable Health Care Act (Obamacare) about to open and Medicare enrollment underway, the Music Health Alliance is offering free help with health insurance for musicians and industry professionals navigating the complex process.
The post Free Help with Health Insurance for Musicians & Industry Professionals appeared first on Hypebot.

Navigating the Challenge of Being an Indie ArtistNavigating the challenge of being an indie artist is more difficult than ever, with new hurdles emerging at every turn. Learn about the key factors making it harder to succeed independently and how to navigate them.
The post Navigating the Challenge of Being an Indie Artist appeared first on Hypebot.

Future Focused Music Industry Strategies [MIDiA’s Mark Mulligan]As digital growth slows, businesses must shift from maintaining current success to anticipating future problems. Learn why forward-looking music industry strategies are now more crucial than ever to stay competitive. Continue reading
The post Future Focused Music Industry Strategies [MIDiA’s Mark Mulligan] appeared first on Hypebot.

“Ultimately, the product is the experience the music maker has when they’re manifesting their creativity”: Bill Putnam Jr on Universal Audio Apollo ConstellationsAt 7 am on the morning of our interview, Bill Putnam Jr wakes up to a text from members of his all-time favourite band, the Grateful Dead. They’re asking for three more Universal Audio Apollo interfaces.
As CEO of UA, is this part of Putnam’s typical morning? Not quite — usually, it’s coffee, meditation for 15 minutes, creative writing for three pages, and maybe taking a moment outside in the Santa Cruz air before working on that day’s project. Among the least pleasant parts of his day, he says, is taking Zoom meetings — “After a few Zooms, my creativity and my productivity go down,” he says.
He’s speaking to us, quite pleasantly over Zoom, five days ahead of the UA Apollo Constellations launch, which packs the brand’s biggest releases in 2024. This includes an upgrade to the lineup of beloved Apollo X audio interfaces, the Topline Vocal Suite, UAD Guitar Amp plugins, and the announcement of the Apollo Monitor Correction, in collab with Sonarworks. You might think Putnam would be overwhelmed by the imminent campaign. Actually, this is his “coasting period,” he says with a chuckle. With everything planned far in advance, he can watch the drop from afar.
In any case, UA and Putnam are approaching this release with a distinct principle: ”Yes, we make things,” says Putnam, “but ultimately, the product is the experience the music maker has when they’re manifesting their creativity. That’s the dopamine hit, that excitement of having an idea in your head and making it real. That’s the product.”
Universal Audio Apollo Twin X Gen 2, as part of Apollo Constellations. Image: Simon Vinall for MusicTech
The Apollo Constellations launch is a big deal for Universal Audio; not just because the California-based brand expects some attention from music creators, but also because each product is “built on our passions,” says Putnam.
“When I look at the Constellations launch — the updated Apollos, Topline, AutoGain, the Apollo Monitor Correction and the Guitar Amp plugins… I know the detail we went to on each one, and how much heart and soul each person on that team put into it. That’s what’s cool. That’s what gets me excited. We channel this incredible amount of creativity and passion, and we do it in service of something that I can really believe in, which is music makers.”
Since the Constellations announcement on 8 October, the response to the Apollo X Gen 2 has been mixed. The new line of audio interfaces sports a slightly updated design, new 24-bit 192kHz AD/DA converters, built-in Auto-Gain and bass management features, plus new modes for alternate monitoring to switch between immersive and stereo setups. The Apollo Monitor Correction powered by Sonarworks is set to be included in a firmware update in November 2024 for Gen 1 and Gen 2 Apollo interfaces but isn’t available at launch.
Image: Simon Vinall for MusicTech
Some social media commentary suggests it’s not worth upgrading to Gen 2 Apollo X if you’re already an owner. Other reviewers, such as AudioTechnology, have commended the lineup for its “extremely powerful features”. We’re currently putting the new models to the test to figure out who’s right, with results to be published soon.
Meanwhile, Putnam remains firm that the new Apollo X family is a positive for UA and its customers.
“This is the first time we’ve updated every single Apollo in our product line,” he says, and explains that one of UA’s main ambitions is to create tools that “work better together.” To that end, he adds: “These are the best sounding Apollos ever; we’ve increased the dynamic range, reduced the THD and noise, added an Auto-gain feature, and the headphone monitoring across the board has improved significantly. And the hardware and software — we want to make it easy and seamless to use it.”
Putnam has seen his share of major launches. It’s been 25 years since he revived Universal Audio, which his father, Bill Putnam, founded in 1958 before its closure in 1965. The team at this revived UA has overseen several high-profile product announcements, with the Luna DAW in 2020 being the most recent — this included an extravagant space-themed booth and demo station in the Anaheim Convention Centre for The NAMM Show 2020.
Despite his lineage, Putnam never imagined himself at the helm of a company that’s revered for its ambitious catalogue of audio products. He was studying to become a physics professor at Stanford and figured that music was “dad’s thing…I love my dad. I learned so much from him, but I wanted to strike out on my own,” Putnam says.
Bill Putnam Jr with a portrait of Bill Putnam Sr. Image: Universal Audio
Putnam Sr wasn’t just the original founder of Universal Audio and UREI — responsible for legendary LA-2A and 1176 compressors — but was also an audio engineer, producer and studio designer. Before his passing in 1989 at age 69, he worked with Bing Crosby, Ella Fitzgerald and Frank Sinatra, among other legends, (“The first live music I saw was Duke Ellington; I was in sessions with my dad, Ella Fitzgerald, and Bing Crosby”, says Putnam Jr). Through his achievements, Putnam Sr became known as ‘the father of modern recording.’
“How can you live up to that?” laughs Putnam Jr. Still, a young Putnam picked up plenty from his father: they’d build HAM radios together and explore the art of problem-solving. Music, of course, was a staple in the family. “[Dad] had all sorts of talents that I didn’t pick up on,” adds Putnam. “I’m not the audio engineer he was, I’m not a recording engineer, I don’t build recording studios like he did…But his love of technology I did pick up on. To me, technology is still magic.”
His passion for music and technology converged unexpectedly in his adolescence, when he was still adamant about not following in his father’s footsteps. After his mother passed away when he was 17, Putnam Jr dropped out of school, got a job at a digital audio company — “that’s where I learned digital signal processing in the 80s” — and was recommended some new music by a friend.
“It was the Grateful Dead. They were coming to California, we went and saw them, and that changed my life,” says Putnam. “Suddenly, I went out; I left home. I got on the road with a backpack, some shoes I borrowed from my brother and hitchhiked and met people and just travelled across the country seeing the band.
“That’s when I saw what music can do to really drive culture and energize a tribe. The band really pushed limits in technology. So that’s when I found out what I wanted to do, and it was music technology.”
Image: Simon Vinall for MusicTech
In 1998, Bill and his brother, Jim Putnam, began reviving their dad’s audio brand, combining both their fields of expertise: “[Jim] was very analogue and I was very digital. We kind of argued with each other, and decided to do both…The vision was: there’s no reason I felt that digital audio couldn’t sound every bit as good and vibey as analogue and have that soul and depth. So let’s have it both ways.”
Now, with a global team of over 200 employees and hundreds of products, Putnam says: “[UA] means more to me than I ever knew.”
He still thinks technology is magic, too — even the tech that appears frightening at first. “I don’t think I’m ever going to lose this childlike glee with new technology. I still love new stuff,” he says. “And obviously, the most recent being everything that AI is bringing, both good and bad.”
Image: Simon Vinall for MusicTech
Putnam’s pretty relaxed about AI, excited even. He uses it to assist with prompts for his daily writing exercises and makes it known that Luna has some “important features” that are AI-based — “we don’t make a big deal of it,” he says. The UA CEO has been deep into neural networks and pattern recognition since studying for his master’s degree, with artificially generated music being a focus. However, he caveats that it has taken him into a “negative mind spiral” of wondering what happens when anyone can make music with a single line of text and a ‘Generate’ button. But, as his woodworking hobby proved to him, it’s much less about the result and more about the process.
“What AI means to Universal Audio is less important than what it means to the music-making community and the overall professional community,” he says. “Obviously, if a computer can make music fool a listener as to whether it was created by a human or a computer, it’s certainly provocative. And then I realised, [with woodworking], I will never make a piece of furniture as well as I can go out and buy one. …Yet I find joy in making. We’re makers — humans are creative beasts, you know? I can press a button right now and make music better than I’ll ever be able to, yet playing music with friends is still one of the biggest joys.”
Image: Simon Vinall for MusicTech
Putnam is fortunate to have an impressive network of friends to jam with. He and some colleagues at UA get together once a month but, during the COVID pandemic, he was testing online collaborative platforms and jamming with some special guests: Bob Weir from the Grateful Dead and Jay Lane, the drummer of the Wolf Brothers Band with Weir.
“Bob Weir reached out to me because he knew I was at Stanford, and he knew I was a geek and whatever,” Putnam says casually. “And so [Weir] was very keen on [online collaboration], because he is unstoppable. He wants to keep playing! We were online every day just trying out different online jamming things. That was fun — I get to do a lot of crazy fun stuff that’s not in my job description. But I’m super interested in [collaborative platforms] but latency is the challenge.”
Could we see a Universal Audio platform arise from his findings? Maybe. If you want.
“It’s certainly something we can do, given the technology we’ve already developed. But it just comes down to, ‘Is it worth the effort and also a great fit for our customers and what they want to do?’”
uring our conversation Putnam frequently stresses the importance of the customer and their needs. Although the immediate impact of Apollo X Gen 2 has been seen as lacklustre by some, the Constellations launch as a whole is focused on offering inspiration to all types of music makers. That’s also why UA recently made Luna a free download, too.
Image: Simon Vinall for MusicTech
With the Apollo Constellations launch, UA is heading into territory that’s already crowded: guitar amp plugins, a vocal tuning plugin, channel strip emulations, audio interfaces and room monitoring correction. Putnam praises the wealth of “amazing pedal companies” out there creating stellar products — particularly as a guitarist himself — and says that he’s always nervous about new releases. Fortunately for him and his team, UA already has a strong lineup of artists using its pedals and emulations. Including…
“Dream ’65 Reverb was the [UA pedal] I always used, which is the deluxe reverb model,” says Putban. “But now I’ve been using Ruby ’63 because Bob Weir uses Ruby on all his stuff. That and the Lion’68 are all available in software now, so it’s about spreading our product line.”
“Being able to connect and give something back to folks who’ve inspired me — it’s a special pleasure, and I don’t take it lightly. Sometimes I forget because I’m so effing busy! But I’ll tell you, my favourite moments are when I’m taking a walk in Santa Barbara, and I’ve got my UA Spark shirt on and someone’s like, “Oh, I love your shirt! How’d you get it?” And I just love that moment and the excitement — to hear someone, whether they’re the biggest stars we work with or someone I just run into on the street,​​ say: “I couldn’t have made my last album without you,” that’s super special. I mean, how lucky are we?”
Read more MusicTech digital cover features. 
The post “Ultimately, the product is the experience the music maker has when they’re manifesting their creativity”: Bill Putnam Jr on Universal Audio Apollo Constellations appeared first on MusicTech.

Martin Garrix declared world’s No.1 DJ for the fifth timeMartin Garrix has once again landed the top spot in DJ Mag’s Top 100 DJs poll for 2024, marking his fifth win.
Garrix has been voted as No.1 DJ five times in the last nine years, and during this time he has never placed outside of the top five. The 28-year-old Dutch artist now ties with Armin van Buuren for the highest number of No. 1 DJ wins, who presented him with the award.

READ MORE: “It’s nicer to be in the world as opposed to in some room with no natural light”: Why Fred again.. prefers writing outside of the studio

The crowning moment took place at the Amsterdam Music Festival (AMF) in front of 40.000 fans at the weekend as the clock struck midnight following sets from Monocule, Tita Lau, Wade and Marlon Hoffstadt.
DJ Mag’s show saw streamed performances from the world’s Top 100 DJs from all over the world delivered right to the AMF stage at the Johan Cruijff ArenA. Garrix also performed following his win with a celebratory performance that led into this headlining set.
DJ Mag’s poll takes place every year in aid of UNICEF. Also listed within the top 100 list for 2024 is David Guetta in second place – who won in 2023 – as well as Dimitri Vegas & Like Mike in third, and ALOK in fourth. Other creatives within the list are Armin van Buuren (6th), Afrojack (7th), Peggy Gou (10th), and Steve Aoki (12th).
Skrillex comes in at 19th, with Calvin Harris in 22nd and Fred again… at 28. Just squeezing in at 100 is Meduza. For Garrix’s previous win in 2022, he celebrated by performing a live-streamed set on top of the Empire State Building, becoming the first ever DJ to do so.

“I’m on the list with all my idols,” Martin Garrix states in a press release. “I look up to Armin, I look up to Tiësto. To be in there with those guys is very surreal. My biggest worry when I entered the list, and topped [it], was that it could only go downhill from here, so it’s very special we’re back at the No.1 spot.”
You can view the full list of DJ Mag’s Top 100 DJs now, or find out more about Martin Garrix.
The post Martin Garrix declared world’s No.1 DJ for the fifth time appeared first on MusicTech.

Cindy Charles, Twitch Head of Music and DJ category pioneer, has died in a traffic accident in AmsterdamCindy Charles, Twitch’s head of music, has passed away following a traffic accident in Amsterdam, as confirmed by her husband.
Per NL Times, the incident – in which Charles was hit by a garbage truck while walking on the Passeerdersgracht in the centre of the Dutch capital – occurred at around 1pm on Monday 14 October. The driver of the truck was arrested, but has since been released, with authorities currently deciding on possible prosecution.
Charles, age 69, was in the country for a speaking engagement at the Amsterdam Dance Event. Among many other achievements, Charles was a driving force behind Twitch’s new DJ category, which lets creatives live stream sets legally thanks to licensing deals with the three major labels – Sony, Warner, and UMG – plus other indies. She was passionate about giving underrepresented communities a platform.
Charles’ colleague, Kira Karlstrom (Head of Twitch Music Label Relations) has since written a blog post in response to her passing, in which she shares that Charles grew up in Queens, New York, and originally majored in Political Science. After working on her first campaign and witnessing her father’s experiences as an entertainment lawyer, she decided to embark on a new path – “A form of activism that spoke to her passion: advocacy for music, for artists, and for women”.
Karlstrom states, “She was the heart and soul of our team, and a force for good in everything she touched… Her career speaks volumes. Cindy held numerous positions of influence, but what she did outside of her day-to-day was nothing short of remarkable. She was an advisor to the Board of Governors at the Recording Academy, co-founder of Women in Digital – a group with over 1,500 members between NYC and SF – and co-founder of the SF chapter of She is the Music.
“Behind the scenes, Cindy never stopped advocating for the causes she believed in. She was relentless in the best way, fighting for what was right, taking calculated risks, and rallying people around her mission.” Karlstrom also shares that Charles “believed DJs could bring immense value and growth to Twitch, but even more importantly, she saw Twitch as a home where DJs could be supported, promoted, and given the tools to build their global communities”.
She concludes: “I’ll never forget sitting with Cindy in the JFK Delta Lounge on Sunday evening, just before we left for Amsterdam — the night before she passed. We reflected on all we had accomplished — the success of the DJ programme, the Charli XCX event at Storm King — and talked about the exciting things ahead. In that moment, Cindy said something I’ll carry with me forever: ‘I finally feel like all my life’s work has been worth it. I’m making a difference for artists.’”
Daniel Clancy, CEO of Twitch, has also written a tribute to Charles. You can read it below:

In Memory of Cindy Charles
Last week we received some truly tragic news at @Twitch about the passing of Cindy Charles. Cindy was killed in a traffic accident when she was traveling in the Netherlands. Most of the members of the Twitch community are probably not familiar with…
— Daniel Clancy (@djclancy999) October 18, 2024

The post Cindy Charles, Twitch Head of Music and DJ category pioneer, has died in a traffic accident in Amsterdam appeared first on MusicTech.

Sonuscore offer Time Textures Expanded Time Textures Expanded builds on the concept of its predecessor, and includes a whole slew of new source sounds and processing capabilities.

Paul Di'Anno RememberedIron Maiden's early singer, Paul Di'Anno, has passed away at the age of 66. Greg Prato interviewed Di'Anno at length for the book Iron Maiden: 80 81, which thoroughly studies this early era of the band.

Perplexity is reportedly looking to fundraise at an $8B valuationAI search engine Perplexity is in fundraising talks and hopes to raise around $500 million at an $8 billion valuation, according to the Wall Street Journal. If a deal happens with those terms, it would more than double Perplexity’s valuation from its $3 billion valuation when it raised from SoftBank over the summer. The WSJ […]
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