Are messy files getting in the way of your music-making? Manage your DAW projects for free with dBdoneOverwhelmed by the chaos of managing countless music projects and tired of the endless search for that one elusive DAW file? Here’s a new plugin that could do it all for you — completely free of charge.

READ MORE: North Carolina musician charged over “brazen” AI music streaming fraud scheme that allegedly faked billions of plays

With deadlines looming and multiple projects in the works, keeping track of files, tasks, and collaborators can quickly become overwhelming. That’s where dBdone comes in, offering a comprehensive solution to streamline your music production workflow.
dBdone works with most digital audio workstations, allowing you to manage all of your DAW projects and links in one place. It also comes with a bunch of useful features to help you stay on top of your music-making process.
One of the standout features of dBdone is the ability to open projects directly from the dashboard without the hassle of clicking through numerous folders. You can listen to your projects without the need to open large DAW files, saving you both time and effort. Simply record a key part of your DAW project and preview it directly in the dBdone app.
The intuitive tagging and sorting system in dBdone also allows you to find your files and projects much faster, eliminating the frustration of searching through messy files. The plugin allows you to create tasks and deadlines, helping you stay organised and ensuring that your projects are completed on time. You can even generate unique project names and artworks to replace those pesky “cool-guitar-beat” files.
But that’s not all! With dBdone, you can create your artist page in seconds. Get your custom my.dbdone URL for free and showcase links and songs instantly imported from dBdone to your audience.

Learn more at dBdone.
The post Are messy files getting in the way of your music-making? Manage your DAW projects for free with dBdone appeared first on MusicTech.

IK Multimedia’s T-RackS 6 packs over 60 analogue-modelled plugins, with a free version availableIK Multimedia has introduced T-RackS 6, the next generation of its acclaimed mixing and mastering library, adding new processors, a “supercharged” mastering console, innovative new modules, sidechaining capabilities and more. The best part? IK promises there’s a bundle for everyone, from the free version up to T-RackS 6 MAX.
Offering 60 mixing and mastering processors created using industry-leading analogue modelling technology – which are available individually in any DAW, as an all-in-one plugin or as a standalone mastering console – T-RackS 6 comes loaded with a wealth of presets covering a range of instruments and genres, so users can “minimise time spent tweaking” and “get their hits done”.

READ MORE: Sony targets music creators and sound engineers with its new MDR-M1 Reference Closed Monitor Headphones

There are eight new processors included in T-RackS 6, including an upgraded version of IK Multimedia’s referencing plugin Master Match. Dubbed the “next generation of intelligent mastering”, Master Match X is able to analyse your favourite reference songs and match their EQ, balance, compression, limiting and more.
There’s also an upgraded version of the T-RackS Channel Strip, which offers EQ, de-essing, dynamics processing and transient shaping in a single “lightning-fast” unit.

Elsewhere, new modules include Bass ONE, a “multi-algorithm” processor designed to tighten and polish the low end of a mix or master, and Lo-Fi Punch, which adds or alters audio texture via a harmonics and dynamics multiprocessor.
Additionally, T-RackS 6 features a new spring reverb, Dual Spring, which “pushes the concept” of spring reverb by adding “never-before-seen” parameters, like the ability to select the spring material, whether to use a stereo or mono single reverb, reverb length, reverb stretch and more.
And rounding things off in the new module department are Delay Lab, a modern delay unit with the ability to play with bit reduction and downsampling, Pusher, a saturation unit driven by a four-band processor delivering five different saturation types per band, and Filter Fusion, a “do-it-all” filter processor which offers five unique filter types, including a model of the Moog transistor ladder.
Credit: IK Multimedia
T-RackS 6 also boasts a redesigned GUI built for speed and functionality, “providing a faster, more responsive experience and offering resizing to adapt to users’ workflow preferences”. As IK explains, each plugin can now be resized on the DAW screen, so users can create and design any workflow they wish.
An all-new Mastering Console is included in T-RackS 6, and allows users to use T-RackS’ mastering processors outside of a DAW, set custom mastering chains and utilise instant total recall of a whole song’s chain and parameters on playback.
T-RackS 6 is fully compatible with both macOS and Windows computers, and supports AU, VST 3 and AAX plugin formats.
Price-wise, there are four tiers to choose from, offering an ascending volume of plugins. They are:

T-RackS 6 Intro Free – 3 plug-ins, T-RackS Plug-in, Mastering Console ∙
T-RackS 6 $/€99.99 – 19 plug-ins, T-RackS Plug-in, Mastering Console
T-RackS 6 Pro $/€199.99 – 40 plug-ins, T-RackS Plug-in, Mastering Console
T-RackS 6 MAX $/€299.99 – 60 plug-ins, T-RackS Plug-in, Mastering Console

For more information, head to IK Multimedia. Pick up your copy of T-RackS 6 at Plugin Boutique.
The post IK Multimedia’s T-RackS 6 packs over 60 analogue-modelled plugins, with a free version available appeared first on MusicTech.

John Summit’s advice to producers? “Do not be afraid of rejection”John Summit, one of EDM’s biggest rising stars, has offered a piece of advice for aspiring producers: do not be afraid of rejection.
The Chicago-based DJ and producer, known for hits like Where You Are and Shiver, says in a new interview with MusicTech that it’s important to put yourself out there and ignore the haters.

READ MORE: “You see me living my best life – it’s easy to say, ‘F**k that guy’”: John Summit on dealing with haters

Having sent countless demos to labels in his early years in hopes of getting his music picked up by one, Summit is no stranger to rejection.
“Do not be afraid of rejection. Everybody sees how I just tweet at the people to collaborate with — you don’t lose anything by putting yourself out there,” Summit argues.
“And no one really gives a fuck,” he adds. “People get too in their heads about this stuff too, but you don’t lose anything from putting yourself out there. And it does come with some hate and stuff but if you don’t give a shit, then anything is possible.”
As a musician, Summit says he’s also a “huge believer in collaboration”, even if it’s just having someone to bounce ideas off of.
“Every single song I’ve ever put out, I bounced off my manager asking, ‘What’s your thoughts on this?’, and I’ll show my mom a track and see what she thinks. It’s just about getting new perspectives.”
Elsewhere in the chat, Summit says he frequently listens to demos from young producers in his label and how their inexperience often leads to the creation of great ideas.
“On my label, Experts Only, I listen to demos from young producers all the time; they’re not technically great — you can tell that they don’t really know what a proper mixdown is — but when you don’t have any rules [to follow], you can create great ideas.”
The post John Summit’s advice to producers? “Do not be afraid of rejection” appeared first on MusicTech.

Register a .MUSIC domain Free: Just 5 days left!Musicians, labels and music related companies have until Tuesday, September 10th to register a .MUSIC domain name free.
The post Register a .MUSIC domain Free: Just 5 days left! appeared first on Hypebot.

AI Targets Top Musicians: Bieber, Blackpink, Ye and moreCreators are using AI to target top musicians and their songs. Learn the impact of machine-made tunes and what it means for royalties for all artists and the future of the industry.
The post AI Targets Top Musicians: Bieber, Blackpink, Ye and more appeared first on Hypebot.

Today is Bandcamp Friday supporting Independent MusicToday is Bandcamp Friday and two more of the popular indie artist and label promotions are scheduled before the end of the year.
The post Today is Bandcamp Friday supporting Independent Music appeared first on Hypebot.

Release details
Release title:
Follow The Illusion
Main artist name:
ALIENCE
Release date:
26th Sep, 2024
https://publme.lnk.to/FollowTheIllusion
#newmusic #Release #Music #indepedent #artist #Electronic #alternative

IK Multimedia unveil T-RackS 6 IK Multimedia have announced that the latest version of their flagship mixing and mastering software plug-in suite is now available.

Celestia unveils roadmap to 1-gigabyte blocksThe roadmap comes amid fierce competition in data availability among rivals such as EigenDA and Avail.

OSOM is shutting down on FridayOSOM always had a difficult road, with plans to launch a privacy-focused handset.
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Sony Electronics Launches Closed Monitor Headphones Sony Electronics Inc. today announced the MDR-M1 Reference Closed Monitor Headphones, designed for music creators and sound engineers to produce music in any environment, heard as intended. The headphones host a closed acoustic structure with high sound isolation, exclusively developed driver, and a lightweight and comfortable design that allow users to create in their own environments, as if they were in the studio. The MDR-M1 headphones combine studio sound quality with extreme comfort and reliability, suitable for a wide range of music production and high-resolution audio applications.

Sound Characteristics

The MDR-M1 offers studio sound quality with a carefully tuned acoustic structure to support a wide range of music production, all while offering high-resolution audio. At the core of the sound quality is a uniquely developed driver unit that achieves ultra-wideband playback (5Hz – 80kHz), featuring a combination of a soft edge shape to reproduce low frequencies with sufficient volume and low distortion, and a hard dome shape to accurately reproduce ultra-high frequencies. 

The closed acoustic structure helps eliminate ambient noise and sound leakage from the headphones, making them suitable for use in a variety of production processes, so that each note can be carefully tuned and monitored to support accuracy and authenticity of the creator. A tuned port (Beat Response Control) acts as a ventilation hole to control low frequencies. By optimizing the operation of the diaphragm, there are improved low-frequency transient characteristics, making it possible to accurately reproduce sound with a very tight bass response.

Sony aims to create products that enhance both content creation and listening experiences for professionals and consumers. The MDR-M1 headphones were created in collaboration with some of the top sound engineers in the industry, including Mastering Engineer of Battery Studios, Mike Piacentini, and Recording and Mixing Engineer of Power Station at Berklee NYC, Akihiro Nishimura, to ensure an authentic and enriching music experience.

Mike Piacentini, Mastering Engineer of Battery Studios

"As engineers, we are often tasked to work in a variety of formats, which are all produced in different environments, on ever-changing speaker systems. Throughout the record production process, I believe it is important to have headphones that provide an accurate reference point, whether you are working on near-field monitors, mastering speakers, or an immersive speaker setup.  I've worked alongside the Sony's incredible Tokyo headphone design team, to help create a pair of headphones that are accurate across the frequency spectrum in a variety of use cases. MDR-M1 are a great entry point for any creator who wants to be sure that the sound they are hearing in the studio translates to the end user in the best way possible."

Akihiro Nishimura (Recording and Mixing Engineer of Power Station at Berklee NYC)

"The tonal balance of the MDR-M1 feels very close to the impression of Power Station's Studio A control room. In recording sessions, it is important to care what musicians or singers are listening to when they play or sing. MDR-M1 gives you the same impression of listening in a control room headphone, which makes it easier to create music by listening to each other. The comfort design also makes us focus on music in long sessions. I hope MDR-M1 will become the standard monitoring system for any recording sessions."

Comfort and Design

Engineered with comfort in mind, the MDR-M1 ear pads were carefully designed to achieve both fit and long wearing comfort. Thick, low resilience padding is used to ensure airtight listening, and a new lighter design makes for a precise fit and excellent comfort for long mixing and mastering sessions. The MDR-M1 includes two cables, one is a high quality replaceable, detachable cable with a stereo mini-plug and plug adapter (stereo mini-plug to stereo standard plug) and the second shorter cable is also included and can be used depending on the connected equipment and usage environment for ease of use in a professional setting.

The MDR-M1 will also work seamlessly alongside Sony's 360 Virtual Mixing Environment (360VME) 1 service to free creators from space constraints and heighten reproduction abilities from virtually anywhere.

Pricing and availability

The MDR-M1 headphones are available for $249.99 MSRP USD/ $349.99 MSRP CAD and available for pre-order today at Sony.com and other authorized dealers including Amazon, B&H, Sweetwater and Guitar Center.

For US pre-orders, please visit: https://electronics.sony.com/audio/headphones/all-headphones/p/mdrm1 

For CAD pre-orders, please visit: https://www.henrys.com/sony-mdr-m1-headphones-pre-order 

For a full list of specs and information or to buy from Sony Electronics directly, please visit:  https://electronics.sony.com/audio/headphones/all-headphones/p/mdrm1 The post Sony Electronics Launches Closed Monitor Headphones  first appeared on Music Connection Magazine.

High-Speed Jelly Launcher Destroys ToastYou shouldn’t play with your food. Unless you’re designing some kind of portable cannon to fling it across the room. That’s precisely what [Backhaul Studios] did.
The first step of designing the condiment cannon was deciding what it should fire. Little low-profile tubs of jelly ended up being the ideal. They were stout enough to survive high-speed flight, while their low height was good for aerodynamics. The cannon itself is built from metal and 3D-printed parts. Multiple iterations eventually landed on a flywheel launcher design with big brushless motors and large 6-inch discs. It sounds positively awful in action and can fling jam (jelly) packets at immense speed. From there, it was simply necessary to design a magazine feed system to enable high-speed full-auto jelly delivery.
If you’ve ever hucked ketchup packets at a brick wall, you’ve understood the joy of splattering condiments everywhere. This cannon is just a way to do that faster and more hilariously. We’ve seen other fun builds along these lines before, too. Video after the break.

Another injection of optimism for music rights: Warner gets BBB long-term credit rating from FitchJust last week, prominent music industry analyst William Packer of BNP Paribas Exane upgraded Universal Music Group’s stock for the second time in a year. In a vote of confidence in UMG’s future value, Packer lifted his stock rating from “neutral” to “outperform”. That news came just a few days after we reported the confidence expressed … Continued
Source

YouTube is developing tools to detect AI-generated voices and faces in videosYouTube’s move is part of a growing effort by media platforms to rein in misuse of AI technology
Source

If Wood Isn’t The Biomass Answer, What Is?As we slowly wean ourselves away from our centuries-long love affair with fossil fuels in an attempt to reduce CO2 emissions and combat global warming, there has been a rapid expansion across a broad range of clean energy technologies. Whether it’s a set of solar panels on your roof, a wind farm stretching across the horizon, or even a nuclear plant, it’s clear that we’ll be seeing more green power installations springing up.
One of the green power options is biomass, the burning of waste plant matter as a fuel to generate power. It releases CO2 into the atmosphere, but its carbon neutral green credentials come from that CO2 being re-absorbed by new plants being grown. It’s an attractive idea in infrastructure terms, because existing coal-fired plants can be converted to the new fuel. Where this is being written in the UK we have a particularly large plant doing this, when I toured Drax power station as a spotty young engineering student in the early 1990s it was our largest coal plant; now it runs on imported wood pellets.

Wood Ain’t What You Think It Is
An active coppiced woodland, this one looks about half way through its regrowth cycle. Martinvl, CC BY-SA 4.0
The coal-to-wood story has a very rosy swords-into-ploughshares spin to it, but sadly all isn’t as well as it seems with wood biomass power generation. Nature has a feature expressing concerns about it, both over its effect on the areas from which the wood is harvested, and over the CO2 emissions it creates. The problem is that it produces so much CO2 with such a long renewal time of regrowing all those trees, that over the next century it’s likely to make the CO2 problem worse rather than better. The article has provoked a storm of criticism of the biomass industry from environmentalists, but in doing so do they risk tarnishing the whole biomass sector unfairly?
A millennia-old sustainable farming practice is that of coppicing. This is the repeated harvesting of wood from the same tree in a continuous cycle of cutting and regrowth of the same trees, and a typical coppiced woodland will contain trees at all stages of the cycle. This is a very practical example of carbon neutral biomass production, but the problem is that for a power-station scale operation it becomes one of replacing older trees with hew ones. While a coppiced tree will take in the order of a decade to replace its growth, a new full-sized forest tree takes many decades to do the same. The establishment of a coppiced forest is a slow process meanwhile, so there’s little prospect of their soon achieving the scale to replace the traditional forests harvested by the power industry.
The Answer Lies Down On The Farm
Fortunately, wood represents only one sector of the biomass industry. There’s an alternative model to that of the enormous former coal plant burning wood pellets, and it comes in the form of much smaller local plants running on biomass crops or crop waste from farms, usually in the form of straw. It’s worth looking at these plants in order to remind anyone tempted to dismiss biomass as a whole based on the wood pellet plants that there is a more sustainable alternative.
A straw-fired power station in Cambridgeshire, UK. Michael Trolove, CC-BY-SA 2.0.
A feature of growing up in rural England before the end of the 1980s was that at this time of year the land would be enveloped in a curious smog. We produced much more straw than we could use as a country, and the surplus used to be burned where it lay in the fields. The resulting ash would return what nutrients it contained to the soil, and the land being blanketed by smoke was just part of life.
When the practice was banned it became the norm for combine harvesters to chop the straw and distribute it across the field, where it would be ploughed in to break down naturally. Naturally this represented a significant biomass crop going to waste, so as the demand for green energy rose there appeared local plants all across the country. These typically have a capacity in the tens of MW, and buy their straw under contract from farms within an easy transport radius. This is usually surplus straw from feed crops, but is sometimes also ones specifically grown for biomass such as rye or elephant grass. It’s something of a mark of the season, when the contractors turn up with their huge high-speed baler to process the crop.
In the second half of the 20th century we concentrated on the economies of scale offered by very large coal-burning plants because it was relatively cheap to move a trainload of coal from the colliery to the power station. It’s unlikely that we’d now build similar plants to burn wood unless we already had them left over from the coal era, so it’s important to remind anyone put off biomass power by concerns similar to those in the Nature article that it doesn’t need to be done that way. There is an alternative, it relies on biomass that grows back on a yearly cycle with the harvest, and it could be coming to your county if it hasn’t already.
“Drax power station cooling towers” by [Andrew Whale], CC BY-SA 2.0.