Rob Stringer talks Queen, Michael Jackson, and Pink Floyd deals – plus TikTok – at Bloomberg eventStringer spoke to Lucas Shaw at Bloomberg's event in Los Angeles on Thursday
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Limp Bizkit are suing Universal Music over alleged unpaid royaltiesLimp Bizkit are all the rage again thanks to nu metal’s post-pandemic revival – except, according to a new lawsuit, they allegedly hadn’t seen a cent from it until recently.
The band and frontman Fred Durst are suing Universal Music Group for $200million (£152.7m), having filed the lawsuit in Los Angeles federal court 8 October, according to Billboard.

READ MORE: Limp Bizkit’s Wes Borland launches digital amps and effects suite in partnership with STL Tones

Lawyers for Durst and the band claim that Limp Bizkit and “possibly hundreds of other artists” have “unfairly had their royalties wrongfully withheld for years” under a “fraudulent” system created by Universal Music. They further allege that UMG  “deliberately designed” this policy to hide royalties from artists so that the label could “keep those profits for itself”.
“Despite this tremendous ‘come back,’ the band had still not been paid a single cent by UMG in any royalties until taking action against UMG, leading one to ask how on earth that could possibly be true,” say Durst’s lawyers.
“UMG’s creation of such a system, while holding itself out as a company that prides itself on investing in and protecting its artists, makes plaintiffs’ discovery of UMG’s scheme all the more appalling and unsettling.
“Durst explained that he had been informed by UMG that he had not received any royalty statements because UMG told him over the years that it was not required to provide them since his account was still so far from recoupment. Durst’s representatives, suspicious that UMG was wrongfully claiming Plaintiffs’ accounts were un-recouped, suggested investigating further.”
After questioning UMG’s accounting and payment practices, Durst’s lawyers claim they have discovered that Limp Bizkit’s accounts held over $1million and the label “failed to alert” the band about the money.
The filing went on: “UMG’s failure to issue royalty statements in particular from 1997-2004 – the height of the band’s fame and during periods in which they made record-breaking sales – with respect to its most popular albums suggests that UMG was intentionally concealing the true amount of sales, and therefore royalties, due and owing to Limp Bizkit in order to unfairly keep those profits for itself.”

 
In response, UMG say that Limp Bizkit had been paid $43 million in recoupable advances over the years, which was apparently why the royalties had only just begun entering the accounts.
Durst’s lawyers added that UMG eventually released $1.03 million to the band, and $2.3 million to Durst’s label Flawless Records. However, they claim that they are still owed much more money.
UMG has not yet responded further to the lawsuit.
The post Limp Bizkit are suing Universal Music over alleged unpaid royalties appeared first on MusicTech.

Fracture Sounds release FREE Blueprint: Gentle Brass for Kontakt Player.
Developer Fracture Sounds has released Blueprint: Gentle Brass, and it is free for Kontakt Player. The Fracture Sounds Blueprint series has been so consistent since its debut that it’s fair to say I automatically expect high quality from every new release. While it’s OK to expect high quality based on past releases, we mustn’t let [...]
View post: Fracture Sounds release FREE Blueprint: Gentle Brass for Kontakt Player.

Beyond the obvious: Building future-focused strategyBusiness strategy has long been demarcated across sustaining and disruptive innovation. In the digital realm, the latter has had the upper hand, but now, as digital enters a slower growth phase, sustaining innovation is back in favour. Yet, this is also a period of dramatic value chain shifts, and is therefore exactly the period when companies should be pursuing disruptive, future-focused strategy instead. Future-focused strategy is a strategy superpower, the way to plot a path that few others have seen. And, in what will be a decade of disruption and change, it has never been more important.

Strategy takes many forms, from functional to conceptual, and the differing ways it is pursued both define and reflect companies’ cultures. The ideal outcome of strategy is to remain on the front foot, setting the agenda rather than following it. However, at some stage or another, all companies find themselves having to react rather than act and to follow rather than lead. Though the catalysts are most often external factors (e.g., changing marketing conditions, responding to competitor activity), the effectiveness of a company’s response, and even the frequency with which it is forced into response-mode, are shaped by its underlying strategy. In a sense, this exemplifies good strategy by continuously keeping up with market dynamics and being prepared to implement new initiatives – i.e., combining strategy and execution into one concerted effort. 

Ever wondered why some companies seem to be less prone to responsiveness? Beyond the usual culprits of uncertainty, complacency, and resistant culture, this often occurs because those companies build strategies that prioritise long term objectives, even if that means limiting the potential of current products and revenue, sometimes even hastening their decline. This is future-focused strategy. However, to be effective, the approach requires operational capabilities that go far beyond a slick slide deck. It often requires a laser-focused leadership team overseeing a company culture that revolves around innovation, risk taking, and challenging accepted wisdoms.

All industries have companies that set the narrative with market-shaping strategy. The rule particularly applies to digital entertainment because: a) it is in relatively early stages, and b) it is shaped by technology.  The companies that have set the pace in digital entertainment have most often been those with future-focused strategies, initiatives that were put into motion before full market fit was present. Here are some examples:

So, how do successful companies spot what lies ahead when others cannot? A common strategy failing is to try to emulate other companies’ success. This approach focuses on the effect of the other company’s strategy rather than the causal principles that underpin it.  Future-focused strategy entails a similar thought process to that employed by chess grandmasters, visualising the game board with multiple potential future moves and counter moves.  It requires looking beyond the current trend or challenge, by mapping out future multiple-order consequences. Through the process of identifying multiple knock-on effects, a company can build a future-focused strategy that not only plans ahead of the competition but is also able to quickly flex to different scenarios. Anticipating the future is both art and science, but operating within a defined methodological structure that maps each occurrence as a consequence of the last pulls in the guard rails, reducing the risk of error.

You will probably not be surprised to learn that MIDiA has developed a framework designed to systemise this process. We call it the multiple-order consequences framework. In this framework, we map out not just what comes next, but also the multiple potential consequences that could emerge, and then from each of those, the multiple consequences that could develop, and so forth. What you end up with is akin to a genealogical tree that maps out a multitude of future scenarios. The task is then to stress test each branch of possibilities and narrow it down to one or two most likely outcomes.

It is an approach that we use widely in our analysis work but also frequently in our consulting work, when we help companies identify future threats and opportunities, and the solutions to pursue. 

Of course, there are no facts about the future, but there is (usually) a relatively narrow set of likely futures in consumer markets. The multiple-order consequences framework is an effective way of being able to see those futures before others, and then build future-focused strategy to act upon them before they even manifest. This is the kind of approach that allowed a DVD rental company to become the leading streaming video player (Netflix); a desktop social network to become the leader in mobile social apps (Facebook), and a computer software company to become a leader in cloud, AI and games (Microsoft).

If you would like to learn more about MIDiA’s approach to future focused strategy, how our consulting team can help you build one or would like to learn more about our future focused strategy report then email businessdevelopment@midiaresearch.com

“The rules regarding the right way to do it – none of those are real. You can discard all of them”: Rick Rubin says there’s no “right” way to make musicProducer extraordinaire Rick Rubin says there is no “right way” to make music.
The 61-year-old, who’s produced everybody from Slayer to Adele across his 40-plus-year career, offers the insight during a new interview with YouTuber Rick Beato.

READ MORE: “Professors and mastering engineers were like, ‘What the fuck were you smokin’ man?’”: RZA on his Wu-Tang Clan production style

Rubin explains that he’s never one to write off particular equipment or a way of recording, explaining that what works for one artist may not work for another. “I think, in general, all of the philosophical ideas of, like, ‘It’s better to make music with a click track, it’s better to make music without; it’s better to record on tape than digital’ – whatever they are, it’s always case-specific,” he states.
“There are no right answers. Sometimes, it’s nice to record on tape, sometimes it’s nice to record digitally.”
The producer later adds: “There’s a real freedom in knowing that none of the rules about ‘the right way to do it’, none of those are real. Those are all made-up rules. You can discard all of them. You can use them if they’re helpful but, as soon as they get in the way, discard them. There truly is no right way to do any of it.”
Rubin continues by citing Linkin Park as an example. Rubin produced the nu metal stars’ third studio album, Minutes to Midnight, which came out in 2007. The album topped charts around the world and spawned such fan-favourite singles as What I’ve Done and Bleed It Out.
“I remember, when I produced Linkin Park the first time, the idea of them playing together as a band was so alien to them,” he remembers. “I think they’d made three records before that [sic]. Not only had they never played together on any of their records – they never played their songs together until they played them onstage! They were always made in the studio. That’s how they worked.”
Rubin set out to challenge the band, and was curious to see if it would yield any new or interesting ideas. “We tried playing together in the studio and it was interesting sometimes, but it didn’t have to be that way. It’s always interesting to test the way you’ve done it before. Is there a new way?”
Elsewhere in the interview, Rubin admits he still doesn’t know “the right way” to program an 808 drum machine. “I still don’t really know the right way to program it,” he says, “I know how I programmed it, because I didn’t have the instruction manual, so I just found a way to make the sound come out.”

See more from Rick Beato via his official YouTube channel.
The post “The rules regarding the right way to do it – none of those are real. You can discard all of them”: Rick Rubin says there’s no “right” way to make music appeared first on MusicTech.

Marketing music with Short Videos: Latest UpdatesYouTube Shorts are getting longer and Spotify Wrapped video clips are timed to take off again as important tools for marketing music with short videos. Michael Brandvold and Jay Gilbert. Continue reading
The post Marketing music with Short Videos: Latest Updates appeared first on Hypebot.

Italian Band Nu Genea Revives Neapolitan Funk and DiscoFrom Naples to the global stage, Neapolitan funk band Nu Genea is bringing Italy's disco-funk legacy out of the shadows.
The post Italian Band Nu Genea Revives Neapolitan Funk and Disco appeared first on Hypebot.

Music Tech Startup Finalists named in ASCAP Lab, Music Ally contestsTwo of the top startup contests focused on music have named their 2024 music tech startup finalists.
The post Music Tech Startup Finalists named in ASCAP Lab, Music Ally contests appeared first on Hypebot.

So, I decided to share a very interesting article, which in fact laid out what I have been saying for a very long time: not fans, but creators...and [#TikTok -owned pocket] music distributor to [their] own platform and to [other] DSPs as well... Now #MusicBusiness #MusicIndustry #majorlabels Warner starts a search to get its own #indie music distributor too

SPL announce P8 & Pre One preamps SPL's latest high-quality preamps both employ a discrete design that utilises individual transistors with no ICs. 

Native Instruments’ KOMPLETE Synthesizer Collection is $49 On Plugin Boutique
Plugin Boutique is currently running a great sale on a Native Instruments bundle. Until the end of October, you can grab the KOMPLETE Synthesizer Collection for only $49 and save 89%! The KOMPLETE Synthesizer Collection bundle includes 4 powerful synthesizer plugins that can be used in various music styles. Let’s take a closer look. Massive [...]
View post: Native Instruments’ KOMPLETE Synthesizer Collection is $49 On Plugin Boutique

“It’s like having a seasoned engineer in a classic analogue studio”: Universal Audio’s Topline Vocal Suite is a $399 vocal production plugin packed with pro presetsUniversal Audio has released Topline Vocal Suite, a one-stop-shop vocal production plugin that marries classic analogue effects with modern vocal tuning.
Released as part of the brand’s Constellations launch (featuring the new Apollo X Gen 2 audio interfaces), the plugin gives you all the tools necessary to record and mix professional vocals from a wide range of genres.

READ MORE: “Professors and mastering engineers were like, ‘What the fuck were you smokin’ man?’”: RZA on his Wu-Tang Clan production style

Topline Vocal Suite is like having a seasoned engineer in a classic analog studio, says UA. The interface is intuitive and modern, and you get more than 150 professional presets crafted by the engineers of Beyoncé, The Weeknd, U2, and more, letting you create radio-ready vocal mixes instantly.
The plugin boasts a powerful vocal tuner, which offers everything from “subtle, transparent correction” to bold robotic effects. With the integrated Topline Key Finder, users can quickly identify the key and scale of their tracks, streamlining the tuning process.
Universal Audio has also included a low-latency Live Mode which enables near-real-time processing, allowing artists to record pro-quality vocals on the fly or even use the plugin for live performances.
Image: Universal Audio
The suite doesn’t stop at pitch correction though; it also boasts a rich array of production tools and effects that give vocals an authentic, record-ready sound. Users can take advantage of vintage-style mic preamps, tape saturation, and a studio-grade compressor to add warmth and character to their recordings. The built-in EQ, meanwhile, includes an “Air” band for adding clarity without harshness. Classic reverb, delay, and modulation effects are also included in the multi-effects section.
At $399, the Topline Vocal Suite is most certainly not a budget option, though users who fancy UA’s latest “all-in-one vocal chain” can purchase it at a special introductory price of $199 from now till 31 December.

Learn more at Universal Audio.
The post “It’s like having a seasoned engineer in a classic analogue studio”: Universal Audio’s Topline Vocal Suite is a $399 vocal production plugin packed with pro presets appeared first on MusicTech.

“Everyone likes to hear the human voice – even if it’s a vocal chop or just a texture”: Why Ninajirachi loves experimenting with vocal elements in songsElectronic DJ and producer Ninajirachi has opened up about her production process and her love for including elements of the “human voice” in songs.
The 25-year-old musician speaks in the latest MusicTech digital cover, where she takes us through her new full-length release, girl EDM – disc 1, and the creative philosophies that underpin her work.

READ MORE: “In high school, I was making songs on my laptop that sounded fully professional”: Ninajirachi on the democratisation of music technology

Explaining her process, Nina says that she’s all about treating her vocals with a light touch: “It sounds really basic, but I love to use delay in interesting ways. Having the delay kind of pitch bend and then resampling that can often yield really interesting results,” she explains. “I also love to fully reverb out vocals and resample that.”
“I find having some element of vocal in every song makes it feel more familiar,” she adds. “Everyone likes to hear the human voice — even if it’s a vocal chop or just a texture.”
As a songwriter, Nina constantly draws inspiration from the world around her, capturing snippets of everyday life to infuse into her music.
“I’m voice memo-ing all the time,” she says. “I like to be surprised by stuff that I hear just going about my day. It’s so much fun.”
The musician also enjoys sampling her own tracks and breathing new life into familiar sounds. A prime example is Ninacamina, a collaboration with British-American producer Izzy Camina, which samples Tiankeng, an ambient cut from her 2022 release Second Nature. This track itself samples a snippet from a YouTube documentary about China’s Xiaozhai Tiankeng sinkhole.
“Sampling is so fun, because samples are so frequency rich,” she says. “You kind of put a whole song in one little bit of audio. And by doing that from my own discography, I also avoid any copyright problems.”
Also in the chat, Ninajirachi talks about her disappointing encounter with AI music generators in the studio, saying “we didn’t get anything good.”
The post “Everyone likes to hear the human voice – even if it’s a vocal chop or just a texture”: Why Ninajirachi loves experimenting with vocal elements in songs appeared first on MusicTech.

African nation of Eswatini releases design for tokenized retail CBDCThe tiny kingdom, formerly known as Swaziland, is looking at better domestic accessibility and cross-border trade with a proposed CBDC.

FTX’s Ryan Salame posts jokes on LinkedIn as he heads to prisonAfter the criminal implosion of the crypto exchange FTX, many of the company’s executives have been found guilty on various counts of fraud or conspiracy to commit such acts. Ryan Salame, the former co-CEO of FTX Digital Markets, is starting his seven-and-a-half-year fraud sentence today, but not before posting an all-time absurd LinkedIn post (and […]
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