Humble Bundle Now Offers SampleTank 4 Max V2 for $30 until October 24
Humble Bundle recently extended and expanded the IK Multimedia Pro Sound Suite deal and now offers the SampleTank 4 Max V2 virtual instrument workstation for just $30, down from a list price of $300. The timer on the promo page indicates that the deal will expire at 1 AM on October 24, 2024. Humble Bundle is [...]
View post: Humble Bundle Now Offers SampleTank 4 Max V2 for $30 until October 24

Figuring Out the Most Efficient Way to Reuse Bags of DesiccantEveryone knows those small bags of forbidden “Do not eat” candy that come with fresh rolls of FDM filament as well as a wide range of other products. Containing usually silica gel but sometimes also bentonite clay, these desiccant bags are often either thrown away or tossed into bags of FDM filament with a ‘adding one can’t hurt’ attitude. As [Stefan] over at CNC Kitchen recently figured out, adding an already saturated bag of desiccant into e.g. an airtight container with a freshly dried spool of filament can actually make the humidity in the container spike as the desiccant will start releasing moisture. So it’s best to dry those little bags if you intend to reuse them, but what is the best way?
Among the ‘safe’ contenders are an oven, a filament dryer and the ‘filament drying’ option of [Stefan]’s Bambu Lab FDM printer. These managed to remove most of the moisture from the desiccant in a few hours. The more exciting option is that of a microwave, which does the same in a matter of minutes, requiring one or more ~5 minute sessions at low power, which effectively also used less power than the other options. Among the disadvantages are potentially melting bags, silica beads cracking, the bentonite clay desiccant heating up rather dangerously and the indicator dye in silica beads may be damaged by the rapid heating.
After all of this testing, it would seem that there are many good options to reuse those desiccant bags with a bit of care, although for those who happen to have a vacuum chamber nearby, that might be an even faster option.

Celviano AP-300 & AP-S200 from Casio Casio's latest digital pianos promise to deliver an immersive playing experience similar to the higher-range Celvianos, but at a lower cost. 

Former OpenAI CTO Mira Murati is reportedly fundraising for a new AI startupMira Murati, the OpenAI CTO who announced her departure last month, is raising VC funding for a new AI startup, according to Reuters. This startup will reportedly focus on building AI products based on proprietary models and could raise more than $100 million in this round. At the time of her departure, Murati wrote on […]
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Make Your Own Remy the Rat This Halloween[Christina Ernst] executed a fantastic idea just in time for Halloween: her very own Remy the rat (from the 2007 film Ratatouille). Just like in the film Remy perches on her head and appears to guide her movements by pulling on hair as though operating a marionette. It’s a great effect, and we love the hard headband used to anchor everything, which also offers a handy way to route the necessary wires.
Behind Remy are hidden two sub-micro servos, one for each arm. [Christina] simply ties locks of her hair to Remy’s hands, and lets the servos do the rest. Part of what makes the effect work so well is that Remy is eye-catching, and the relatively small movements of Remy’s hands are magnified and made more visible in the process of moving the locks of hair.
Originally Remy’s movements were random, but [Christina] added an MPU6050 accelerometer board to measure vertical movements of her own arm. She uses that sensor data to make Remy’s motions reflect her own. The MPU6050 is economical and easy to work with, readily available on breakout boards from countless overseas sellers, and we’ve seen it show up in all kinds of projects such as this tiny DIY drone and self-balancing cube.
Want to make your own Remy, or put your own spin on the idea? The 3D models and code are all on GitHub and if you want to see more of it in action, [Christina] posts videos of her work on TikTok and Instagram.
[via CBC]

ECB paper claims older Bitcoin holders are exploiting new holdersSince its introduction in 1999, the euro has lost approximately 85% of its value against gold due to monetary inflation.

A Robust Guide To The Xbox 360 Glitch HackThe Xbox 360 was a difficult console to jailbreak. Microsoft didn’t want anyone running unsigned code, and darn if they didn’t make it difficult to do so. However, some nifty out of the box thinking and tricky techniques cracked it open like a coconut with a crack in it. For the low down, [15432] has a great in-depth article on how it was achieved. The article is in Russian, so you’ll want to be armed with Google Translate for this one.
The article gets right into the juice of how glitch attacks work—in general, and with regards to the Xbox 360. In the specific case of the console, it was all down to the processor’s RESET line. Flicker it quickly enough, and the processor doesn’t actually reset, but nonetheless its behavior changes. If you time the glitch right, you can get the processor to continue running through the bootloader’s instructions even if a hash check instruction failed. Of course, timing it right was hard, so it helps to temporarily slow down the processor.
From there, the article continues to explore the many and varied ways this hack played out against Microsoft’s copy protection across multiple models and revisions of the Xbox 360. The bit with the BGA ball connections is particularly inspired. [15432] also goes even deeper into a look at how the battle around the Xb0x 360’s DVD-ROM drive got heated.
We seldom talk about the Xbox 360 these days, but they used to grace these pages on the regular. Video after the break.

[Thanks to aliaali for the tip!]

Getting It Done: Last Week in D.I.Y. and Independent Musician NewsLast week, our D.I.Y. tips and independent musician news covered how artist get the most from Spotify Wrapped, Apple Music adding Set Lists via Bandsintown, and more…
The post Getting It Done: Last Week in D.I.Y. and Independent Musician News appeared first on Hypebot.

REWIND: New Music Industry’s Week in ReviewA busy week by any definition and the music industry was no exception, Apple Music added Set Lists, Live Nation under fire, with the slow revival of indie sleeze, a. Continue reading
The post REWIND: New Music Industry’s Week in Review appeared first on Hypebot.

Black Pearl B200 completes IK Multimedia’s Pianoverse Black Pearl B200 captures a Bösendorfer 214VC Vienna Concert grand piano, promising to round off the Pianoverse collection with a unique, contemporary tone. 

TRINITY makes a beat with Splice in Studio One Pro 7
Expert music producer and songwriter TRINITY walks through how she makes a beat with the new Splice x Studio One Integration.

Kubernik: The Doors 60th Anniversary, Record Store Day Releases
Photo of Jim Morrison by Henry Diltz, Courtesy of Gary Strobl at the Diltz Archive. 

Photo of Harvey Kubernik and Ray Manzarek by Heather Harris. 

All other images courtesy of Rhino. 

   In November, the Doors will kick off the 2025 60th Anniversary with a new anniversary logo, a series of physical releases, and anthology book, and much more to come. 

The Doors 1967-1971 6-LP set will arrive as the latest installment in Rhino’s acclaimed High Fidelity audiophile vinyl series on November 22nd, featuring all six of the band’s original studio albums cut from the original analog master tapes by Kevin Gray at Cohearant Audio. The vinyl was pressed at Optimal Media and the box includes a heavyweight gatefold jacket featuring rare photos and liner notes by Doors archivist David Dutkowski. Only 3,000 copies of the limited-edition set will be available exclusively at thedoors.com and rhino.com.

   Additionally, for Record Store Day’s Black Friday on November 29th, The Doors will release The Doors – Live in Detroit, featuring the band’s performance from the Cobo Arena in Detroit, Michigan on May 8, 1970. This 4-LP set will be available on vinyl for the first time. 

Captured on tape during the band's 1970 US tour, it was one of the band's longest performances. In fact, the band played for an hour past curfew and were then banned from the Cobo Arena on future tours. The fiery set includes a number of Blues covers, including "Back Door Man," Junior Parker's "Mystery Train," and "Crossroads" by Robert Johnson. The Doors also tear through a 17-minute-plus version of "The End," as well as an over 19-minute version of "Light My Fire" and other rare tracks such as "Love Hides." This collection captures the band at their absolute zenith.

   The Doors’ eponymous debut album - which the BBC and Rolling Stone have each hailed as one of the greatest debuts of all time - released in January 1967 and features the chart-topping smash-hit “Light My Fire,” the bluesy, growling “Back Door Man” and seminal live-set showstopper “The End,” with its legendary Oedipal spoken word section. 

   Having cemented their place in the rock pantheon and the psychedelic rock revolution, The Doors returned to the studio resulting in the anticipated follow-up, Strange Days, which went to number three on the US Billboard 200 and featured “Love Me Two Times” and “People Are Strange.”

   In 1968, the band released Waiting for the Sun, their first number one album featuring the chart-topping single “Hello, I Love You,” along with “Love Street” and “Five to One.” 

   The Doors then dove further into uncharted psychedelic territory with 1969’s string and horn-laden album The Soft Parade, which included the Krieger-penned hit “Touch Me.”

   1970’s Morrison Hotel,which boasts fan favorites “Roadhouse Blues” and “Peace Frog,” took the band back to its bluesy roots. 1971’s L.A.Woman, the band’s final album with Morrison and recorded in the band’s rehearsal space, features “Riders on the Storm,” “Love Her Madly” and the title track.

   During their brief time together, The Doors delivered six studio albums before Morrison’s untimely death in Paris in 1971. Their electrifying achievements in the studio and onstage remain unmatched in the annals of rock, and today they remain as one of the best-selling bands of all time with over 100 million records sold worldwide. 

   In 1993 the band was inducted into the Rock and Roll Hall of Fame. Several years later, the songs “Light My Fire” and “Riders on the Storm” along with The Doors’ debut album were inducted into the Grammy Hall of Fame. The Library of Congress also recognized the band, selecting their self-titled album for inclusion in the National Recording Registry in 2014. The Doors also received a Grammy Lifetime Achievement Award and a Star on the Hollywood Walk of Fame in 2007.

Created to commemorate the upcoming 60th anniversary, The Doors’ first-ever complete anthology book Night Divides the Day will illuminate the band’s archives like never before with rare photography, intimate interviews with Robby Krieger and John Densmore, and meticulously sourced archival text from Jim Morrison and Ray Manzarek. With unlimited access granted by the band, Night Divides the Day includes a unique collection of historical ephemera – including childhood photos, song lyrics, poster artwork, movie stills, and much more – which adds context to the wealth of rare photography that documents the band’s musical odyssey.

   Joining Robby and John are a host of contributors, with a foreword by Nirvana bassist Krist Novoselic, and afterword by maestro Gustavo Dudamel. The anthology is presented in a limited-edition of only 2,000 numbered box sets, each hand-signed by Densmore and Krieger. Each set includes the 344-page signed edition, a 7” vinyl record with rare demos of “Hello, I Love You” and “Moonlight Drive,” and other assorted historical memorabilia. Available for pre-order now.

I went to a Doors concert at the Fabulous Forum in Inglewood, California, on December 14, 1968.

     On the bill were Jerry Lee Lewis, Sweetwater, and Tzon Yen Luie, who performed with a Chinese stringed instrument, the pipa. I am still recovering from that rendition of “Celebration of the Lizard,” and the Doors performing with a string and brass section with Curtis Amy.   

    In 1973 I coordinated two accredited upper-division English and music curriculum courses conducted by Dr. James L. Wheeler, assistant professor in the School of Literature at California State University, San Diego. A story in the April 14, 1973, issue of Billboard magazine reported the department’s academic aim as “the world’s first university level rock studies program.”  I placed Jim Morrison’s The Lords and the New Creatures on the required book list.

    Ray Manzarek heard about our classes and was very complimentary about students seriously studying Jim as a poet, along with the musical works of Jimi Hendrix, Bob Dylan, the Rolling Stones, the Impressions, Leonard Cohen, The Band, Jefferson Airplane, the Beatles, Donovan, and Laura Nyro.

    One evening, Ray and associate Danny Sugerman made arrangements for me to screen the existing print of Jim Morrison’s Feast of Friends movie on campus.

      Ray penned the Foreword to my 2009 book Canyon of Dreams: The Magic and the Music of Laurel Canyon.  

     “I knew Jim was a great poet, Manzarek told me in 20004. "That’s why we put the band together in the first place. It was going to be poetry together with rock ‘n’ roll.  Not like poetry and jazz. Or like it, it was poetry and jazz from the ‘50s, except we were doing poetry and rock ‘n’ roll. And our version of rock ‘n’ roll was whatever you could bring to the table. I loved his poetry. The fact that he was doing ecological poetry. But don’t forget in late 1967, and the potheads were aware. That’s what was so great about marijuana opening the doors of perception. The pot heads were the first mass ecological movement. I hope they continue on and continue it into future because it’s our obligation to save the planet.  We were working in the future space. And many things have come to fruition that Jim Morrison wrote about.” 

       In 2016, I spoke with Robby Krieger.  

       ‘“Wild Child’ from The Soft Parade is one of my favorites because it’s live. That one didn’t need strings or horns.

    “When we did the first Doors’ album Jim was totally un-experienced in the studio as far as recording his vocals. He had a year with his voice playing live every night. He had never done anything in the studio. And I think by the time The Soft Parade came around his voice had matured a lot as far as low notes and range. I don’t think he could have sung ‘Touch Me’ nearly as good if that was on our first album.”

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. In2021 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.

   He is currently writing a book Screen Gems: (Pop Music Documentaries and Rock ‘n’ Roll Television Moments) for 2025 publication.    

        Kubernik is in several book anthologies, most notably, The Rolling Stone Book Of The Beats and Drinking With Bukowski.   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 Harvey spoke at the special hearings initiated by The Library of Congress held in Hollywood, California, discussing archiving practices and audiotape preservation. In 2017 Kubernik appeared at the Rock and Roll Hall of Fame in Cleveland, Ohio, in their heralded Distinguished Speakers Series.The post Kubernik: The Doors 60th Anniversary, Record Store Day Releases first appeared on Music Connection Magazine.

Crypto events turn to regulation and politics as US election loomsSome executives at crypto and blockchain firms have suggested prioritizing US congressional races over the presidential election.

PJ Harvey Welcomes L.A. Into Her WorldPhotos by Natalie Somekh

Sometimes a concert is more than a concert. Yes, it's easy to get heavy with the grandiosity at moments like this, to engage in music-critic-bullshittery and word-salad-wankery. But an evening with PJ Harvey really is a very special affair. Not since this writer saw Leonard Cohen over a decade ago has an artist had the ability to fully transport the audience into their artistic vision. No crazy pyro or props; rather, Harvey's methods are musical, enhanced by subtle lighting and smoke. Her words and melodies, movements and musicality, carry us away with her.

That's massively because of the first part of the set, which sees Harvey perform last year's I Inside the Old Year Dying album in its entirety. Despite the critical praise that was heaped upon the album, it still feels like to crept under the radar a little, at least in terms of mainstream acceptance. Because the album is a masterpiece. Elements of folk and classical music interweave with prog rock and the '90s alternative rock scene that she emerged from three decades ago. It's a whirly-spin of emotions, Shakespearean in its tail-flick from tragedy to calm.

So her sound has as much to do with Vivaldi, the Fairport Convention and Clannad as it does Tori Amos or any of her other contemporaries. It fully immerses itself in a grounded-yet-fantastical old world that Taylor Swift drove at with Folklore and Evermore, Melanie Martinez with Portals. Harvey's fans may balk at those comparisons, but they shouldn't. Despite Swift's and Martinez's clear desire to stretch limbs and explore these new worlds, there's the nagging feeling that they're still beholden to "pop" -- that something is holding them back. PJ Harvey doesn't have these issues.

Perhaps it's telling that I Inside the Old Year Dying is her first album on an independent label (Partisan) since her Dry debut in '92. She's only answering to herself. Then again, that might be a touch unfair; it's not as if the eight albums she released on Island/Universal felt hampered by corporate influences. She's really always played the game her way anyway.

To pick out tracks from the new album performed in the first part of the set would be a redundant exercise. The whole thing flows so beautifully, orchestrally, peaking and troughing as we find ourselves floating on a carpet of Harvey's words. Surrounded by the trees up at the Greek Theatre, it's hard to imagine a more appropriate venue for this music (maybe Red Rocks in Denver).

The second part of the set began with the folk-stomp of "The Colour of the Earth" from 2011's Let England Shake, Harvey letting her band run through that one without her. She reemerged for "The Glorious Land" and "The Words That Maketh Murder" from the same album, then she pulled out the classic "50ft Queenie" from 1993's sophomore, Steve Albini-produced Rid of Me. That song injected some welcome crunch into the evening, highlighting the dynamics that Harvey is capable of.

We also get "Dress" from Dry, and three songs from 1995's incredible To Bring You My Love. When the end comes, the vibe from the audience is one of waking from a dream. Somehow, we all have to give our heads a shake and find our way home. But this is an experience that will live with us for some time to come.

The post PJ Harvey Welcomes L.A. Into Her World first appeared on Music Connection Magazine.

Eric Schmidt’s SandboxAQ aims for $5B valuation for its AI/quantum Google moonshotSandboxAQ began as Alphabet’s moonshot AI and quantum computing and now has an impressive roster of projects.
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