Noise Engineering introduce Dystorpia Dystorpia is Noise Engineering's first foray into guitar pedals and is said to offer an entirely unique approach to digital distortion and drive.

Top Streaming Statistics of 2024: Music, Video, Gaming & MoreBobby Owsinski covers the top streaming statistics of 2024 across multiple industries, from gaming to music to video and more...
The post Top Streaming Statistics of 2024: Music, Video, Gaming & More appeared first on Hypebot.

“I didn’t know anything about how the gear worked – I learned it all from reading magazines”: Rick Beato on becoming a producer at 37In an age where headlines are dominated by the youngest prodigies and award-winning musicians who seem to spring fully formed from the ether, it’s easy to forget that success doesn’t always come early.
Enter Rick Beato, the multi-talented music producer and YouTube host who says he only started producing at the age of 37, having never had prior experience before.

READ MORE: Shure’s new SM4 Home Recording Microphone captures “professional-quality recordings regardless of setup, environment, or experience”

“At age 35 I started my first band, at age 36 we got signed and at age 37 we got dropped. That’s the year that I started producing,” says Beato in a new video titled ‘I only have myself to blame’.
The producer cites himself as an example of a late bloomer who’s able to not only catch up but also thrive in an industry that often values youth over experience, saying “the idea that you have to do things when you’re young is not true”.
“I didn’t know anything about how any of this gear worked… I learned it all from reading magazines at a Barnes & Noble and asking questions to people that knew more than I did,” Beato explains.
He notes that his first platinum record as a producer came when he was 41, and that he earned his first number one song as a writer in 2013 at the age of 51 – hardly the age one would associate with a burgeoning career in the music industry.
“I’ve rethought my one premise of ‘you need to do things before you’re 30 because that’s when you’re able to really learn’ because when I was 54 I started on YouTube and YouTube didn’t even start till 2006 but people didn’t even have music YouTube channels till about 2010 or so,” he says.
“The thing that I’m doing now didn’t even exist!”
“So the idea that you have to do things when you’re young is not true,” Beato continues. “I could start this channel again now at 62 from scratch and I still think I would be successful at it.”
While it’d be “more difficult because it takes a lot of energy and I’m glad I did it when I was 54”, says the producer, “it can be done and you could do it too if you’re willing to work hard enough.”

Rick Beato currently boasts 4.4 million subscribers on YouTube. Head to his channel now to subscribe.
The post “I didn’t know anything about how the gear worked – I learned it all from reading magazines”: Rick Beato on becoming a producer at 37 appeared first on MusicTech.

“Apple leaked it so I can say it”: Flying Lotus confirms he made two of Apple’s iPhone ringtonesGrammy-winning producer, DJ and rapper Flying Lotus confirms he is the mastermind behind a pair of Apple’s iPhone ringtones.
The Never Catch Me hitmaker – real name Steven Ellison – revealed that he composed Daybreak and Chalet, two tracks that have been available since the 2019 launch of iOS 13.

READ MORE: Download over 100,000 free loops, sample packs, breaks, one-shots and synth sounds for all genres

The revelation arrives in the latest episode of Twenty Thousand Hertz, a podcast series about “the world’s most recognisable and interesting sounds”.
“Apple leaked it so I can say it,” Flying Lotus wrote on X, quoting a post promoting the episode. “I wrote some ringtones that have been in your iPhone since iOS13. ‘Daybreak’ + ‘Chalet.’”

Apple leaked it so I can say it. I wrote some ringtones that have been in ur iPhone since ios13. ‘Daybreak’ +‘Chalet’ https://t.co/HHReqvxUgf
— FLYLO (@flyinglotus) August 21, 2024

During the podcast, FlyLo shares how the ringtone-making gig came about and the mixed feelings he harboured initially, saying: “At first, I didn’t know how to feel. I was like, ‘What? They want me to be a ringtone maker now? What is that all about?’”
“The one thing that was in my benefit was that I actually had made ringtones for myself before,” he continues. “So, I kind of feel like I knew what was pleasing to hear as a loop, over and over and over and over and over again. Something that alerts you, but isn’t abrasive. Something that’s musical, but isn’t cheesy. Just finding that balance where it’s a bit ambient, but also something that cuts through.”
Of the two tracks he created, FlyLo describes Chalet as having “some kind of longing in the sound”: “I wouldn’t say it’s a sad thing, but there is some kind of memory, like you’re listening to an old cassette.”
“It’s nice to have these tones that I can associate with people who give me this warm feeling. If my girl calls me, and I hear the ‘Chalet’ ringtone, it’s like, ‘Awww,’” he adds. “There’s something really nice about it.”

The post “Apple leaked it so I can say it”: Flying Lotus confirms he made two of Apple’s iPhone ringtones appeared first on MusicTech.

Audient ORIA — the best audio interface for spatial audio production?£2,520
£599 optional factory-/retro-fit AoIP card (available Autumn 2024)
audient.com

ORIA is Audient’s new immersive audio interface and monitor controller, engineered with Dolby Atmos firmly in mind. Priced lower than its nearest competitor, Avid’s $5,000 MTRX Studio, ORIA prioritises ease of use, with multichannel Sonarworks SoundID integration, simple setup, and intuitive software control to appeal to both creative- and technically-minded users.

READ MORE: Audient’s ORIA is the Atmos interface that engineers have been waiting for

What inputs and outputs does ORIA have?
ORIA has 16 analogue line outputs, covering speaker arrays of up to 9.1.6, all handily labelled so you don’t need to manually configure them. In addition to the 16 analogue outputs, ORIA also has 16 AES outputs for speakers with digital inputs, carrying identical signals to the analogue ones. Using Profiles in the software you can easily switch between, say, an Atmos array plugged into analogue outs and a set of stereo monitors connected to the Left and Right AES outputs.
There are also two pairs of analogue stereo outs which mirror the Left and Right signals from the surround array, so you can check mixes on different sets of stereo monitors. Dual headphone amps carry separate mixes that can be set up using mixer software, similar to Audient’s EVO and iD ranges.
ORIA. Image: Simon Vinall for MusicTech
To keep ORIA as versatile as possible, there’s a variety of input options. Firstly, two digitally-controlled versions of their console preamps are located around the front, set up for microphones, line ins or instruments. Secondly, two banks of ADAT ins allow users to expand the number of inputs by adding mic preamps for recording, or even to pass on 16 channels from an external interface to use ORIA purely as a monitor controller. While ADAT carries up to eight channels per port, the channel count reduces to four once you exceed 48 kHz, so users need to bear this in mind. If you need to feed in 16 channels at higher sample rates, an optional, factory-fit network port will soon be available to add Dante compatibility.
Additional, independently-addressable outputs are harder to come by, unfortunately. We can’t help but wish for ADAT outs as well as ins. Most Atmos workflows will stay in the box and use plugins to provide the likes of reverb, compression and EQ, but this isn’t true for everyone. And when working in stereo, many will have a favourite analogue outboard chain they’d like to incorporate when mixing or mastering. Hardware inserts aren’t really possible in an immersive mixing context with ORIA, and for a stereo session would require some frustrating head-scratching and re-patching. The Avid spatial interface does have the edge here, with 16 channels of ADAT in/out and Dante out of the gate.
ORIA rear panel
What is ORIA like to use?
Once speakers are plugged in, setup can begin. If you’ve already taken measurements of your studio for acoustic purposes, ORIA’s system panel allows you to manually configure channel EQ, time alignment and a high-pass crossover frequency for bass management. However, the Sonarworks integration means that you don’t have to go through all this pain. Audient includes a calibrated measurement microphone in the box to get you started, plus a 60-day trial of the software (you’ll need to invest in the €499 multichannel version to keep using it beyond this point). Just plug the microphone into a preamp on the interface, follow the simple instructions and within an hour you’ll have a calibration profile covering all the speakers in your room that can be loaded straight into ORIA’s DSP memory.
If you’ve experienced the striking difference a speaker calibration system makes to stereo setups, then you’re in for a far bigger ‘wow’ moment with an immersive array.
We audition a number of Atmos mixes on high-end speakers. With Sonarworks off, everything is phasey and muddled, with individual speakers seeming to poke out of the mix at points. With Sonarworks on, it’s infinitely better. High frequencies are less hard-edged, there’s no muddled midrange, and bass sounds are punchy yet tightly controlled; the multitude of speakers start to work as a single entity. Once loaded in, the Sonarworks calibration profile is translated into per-speaker EQ and time alignment settings that can be viewed within ORIA’s software panel.
An intuitive software interface allows users to match what they’re hearing with on-screen graphics representing the speaker array, rather than a more traditional (and potentially overwhelming) mixer form. Muting and soloing speakers are done with simple mouse clicks and modifier keys, including a Group function for soloing sections of the speaker array such as Front, Sides and Heights.
We wish there was an option to include bass management when soloing channels or groups. Currently, you have to solo a channel or Group and then manually add the sub to the solo, which is fiddly. Otherwise, some of what you’re hearing in solo will be high-passed, and so doesn’t give a full impression of that speaker or Group’s contribution to the mix. Perhaps this could be addressed in a future update.
ORIA software panel
Minor issues aside, Audient has made otherwise impenetrable concepts accessible with its smart graphical interface. During testing, we get lost in a world of stunning playback quality from the onboard converters on a perfectly calibrated large array, frequently using Groups to deconstruct mixes we’re listening to to gain an insight into the production approach – Atmos nay-sayers ought to try this at some point!
By setting up different Profiles, we’re also able to switch to a stereo speaker set and different Sonarworks profiles. Frustratingly, there’s no trim function per profile to calibrate levels when switching between surround and stereo sets (this could be tricky on speakers that don’t have variable input gain).
ORIA really looks slick installed in a rack, with its black case, backlit buttons and clear metering on its display, plus a small set of hardware controls to supplement the software experience. It’s a boon to have digital, recallable gain for each preamp but also an input mute function at the press of a button (this cannot be achieved in the software). Lovely.
ORIA. Image: Simon Vinall for MusicTech
Meters toggle between the various output and input banks, with the most common view being the surround outputs. This is far clearer than interfaces that attempt to display all ins and outs simultaneously in minuscule detail.
To the right of the meters, there are further buttons for monitor controls. Volume reverts the control wheel’s function to master output volume and there’s a handy Profile button to toggle between configuration profiles you’ve set up. A programmable Function button (like those found on EVO and iD interfaces) accesses controls like dim, talkback and Return to Reference, which restores the master output to a pre-set reference monitoring level.
Finally, a Downmix button interacts with Dolby’s Atmos Renderer, if it’s being used, to switch between different down-mixed speaker configurations. A neat touch, but it would be far more useful to have an extra function button instead that could be programmed to follow this behaviour; a single function button is limiting on such a complex interface (the iD44 has three, plus three further monitor control buttons, after all). What’s more, many DAWs have an integrated, free-of-charge Atmos renderer, or many are forced to explore third-party renderer/panners such as Dolby Atmos Composer because their DAW of choice doesn’t support 3D object track-widths.

Who should buy Audient’s ORIA?
ORIA has an impressive combination of features for its relatively modest price point. Its shortcomings are few, but integrating analogue outboard gear could be a challenge, if that’s your thing.
For studios with an in-the-box mixing workflow, small post-production outfits and creative composers wanting to get started with immersive mixing, ORIA offers an intuitive, impeccable-sounding and highly capable entry point. It’s pretty much a ‘must-buy’ if you’re in one of these camps.
Key features

USB-C audio interface and monitor controller for immersive audio
Multichannel Sonarworks integration
D/A converter dynamic range: 126.5 dB
16 analogue surround speaker outputs
16 digital AES surround speaker outputs
2 pairs of analogue stereo outputs
2 independent headphone outputs
2 mic/line/instrument preamps
2 ADAT in ports
Wordclock in/out
Hardware monitor controls
Optional AoIP card for 16 Dante input channels
Sonarworks calibrated measurement microphone included in box
iPad remote control app coming soon

The post Audient ORIA — the best audio interface for spatial audio production? appeared first on MusicTech.

Audio interfaces for studios, bedrooms and podcasters: Best audio interfaces and how to choose one that’s right for youMost music production setups include a laptop or a computer — but these don’t usually come with the dedicated inputs and outputs required by those working with sound. That’s where an audio interface enters the picture.
At its core, an audio interface is essential hardware that converts analogue signals into digital audio. Among other uses, the digital audio can be recorded by your DAW while providing low-latency monitoring through outputs for your monitor speakers or headphones.

READ MORE: Best Spotify alternatives in 2024 for music listening and discovery

Introducing an interface into your setup unlocks a world of possibilities, whether you’re recording vocals and instruments, processing tracks with external hardware effects, or simply want to hook up your speakers when crafting beats.
With countless options available, finding the right audio interface for your needs can be a daunting task. But don’t worry — our expert reviewers have tested countless audio interfaces over the years. Here are the best ones we’ve found.
Best audio interfaces at a glance:

Our pick: Focusrite Scarlett
Best interface for beginners: Audient Evo 4
Best high-quality interface: MOTU UltraLite-mk5
Best DSP-powered interface: Universal Audio Apollo
Best interface for spatial audio: Audient ORIA
Best interface for guitarists: Universal Audio Volt
Best interface for podcasts: RØDECaster Duo
Best interface for electronic music producers: Arturia AudioFuse 16Rig

How to Choose an Audio Interface
There’s an enormous variety of audio interfaces on the market, catering to a range of budgets and requirements. Here are some key factors to consider when choosing an audio interface:

Number of inputs – Think about how many microphones, instruments, or other gear you’ll need to connect at the same time. For many cases, one or two inputs is enough, but you might want at least four if you’re recording a drum kit, for example.
Number of outputs – Consider your needs for monitor speakers and headphones, and whether you’re planning to connect any external gear using sends and returns.
Connectivity – Whether it’s USB-C, Thunderbolt, or something else, make sure your interface matches your computer’s ports.
MIDI support – If you want to use MIDI keyboards and controllers, check the interface includes MIDI in and out, whether via 5-pin DIN or USB.
Latency – Consider your latency requirements. For example, very low latency is important if you’re using your interface in a recording or live context, but may not matter as much for tasks like mixing and mastering.
Future expansion – If you think your studio setup might grow in the future, it might make sense to choose an interface with more capabilities than you currently require.
Budget – Find a balance between what you need and what you can spend. Sometimes, a little extra cash goes a long way.

Best Audio Interfaces in 2024
Our pick – Focusrite Scarlett
Focusrite Scarlett 4i4. Image: Focusrite
Scarlett Solo: £139
Scarlett 2i2: £199
Scarlett 4i4: £274
The Focusrite Scarlett series has become a staple in home studios everywhere, and for good reason. These interfaces are reliable, easy to use, and offer fantastic sound quality up to 192kHz and 24-bit — all at an affordable price.
Features in the 4th Gen update include Auto Gain for automatically setting input levels, Clip Safe that adjusts gain on the fly to prevent tracks from clipping, and an Air Mode that adds a pleasing high-end boost to your signal.
If you’re looking for your first audio interface, the Scarlett 2i2 is a strong option, offering two input channels for instrument, line, or mic signals. For monitoring, there are two output channels for your speakers and a separate headphone output with independent volume control.
[products ids=”7rtt4qzuJpAWp0eF7ad585″]
Read our Focusrite Scarlett 2i2 4th Gen review or check out our Focusrite Scarlett buyer’s guide.
Best interface for beginners – Audient Evo
Audient Evo 8
Evo 4: £92
Evo 8: £145
Evo 16: £380
If you’re just starting out or working with a tight budget, the Audient Evo series is a real gem. Coming in three sizes with various input and output configurations, these interfaces are compact and user-friendly, while offering surprisingly high sound quality for the price.
All Evo interfaces feature the same transparent preamps found in Audient’s pricier gear, supplying 58dB of gain that’s plenty for most microphones. Other functions include Smartgain for automatic level setting, per-channel phantom power, and direct monitoring.
The 2-in/2-out Evo 4 is a great entrypoint, although for the extra £50, we’d recommend going for the Evo 8. With four XLR/TRS inputs, and four TRS outputs with mirrored headphone amps, this model suits a wider range of applications without a significant price increase.
[products ids=”6Wl34C47KYFUPHhNApaOwE”]
Read our Audient Evo 8 review.
Best high-quality interface – MOTU UltraLite-mk5
MOTU UltraLite-mk5
MOTU UltraLite-mk5: £599
MOTU interfaces have a strong reputation for quality, and the UltraLite-mk5 continues to deliver on this promise. Under the hood is ESS’ Sabre32 DAC technology providing crystal-clear conversion with incredible detail and 125dB of dynamic range. You’ll also benefit from sample rates up to 192kHz, near-zero latency, and built-in DSP for real-time effects processing.
With a half-rack form factor, the unit is small and lightweight — but don’t let that deceive you. Squeezed into the UltraLite-mk5 are two XLR/TRS combo inputs, six line inputs, ten line outputs, MIDI connectivity, a single headphone output, 8-channel optical I/O, and even LED metres for every single in and out.
All in all, the UltraLite-mk5 — along with its generous array of inputs and outputs, outstanding build quality, additional features, and reasonable price tag — is an interface that’s ready for anything from studio recording to live performances.
[products ids=”4SQfkmZDRc5ng2r1fUId7q”]
Read our MOTU UltraLite-mk5 review.
Best DSP-powered interface – Universal Audio Apollo Twin X Duo
Universal Audio Apollo Twin X
Apollo Twin X Duo: £769
Universal Audio’s Apollo interfaces are favourites among producers looking for onboard digital signal processing (DSP), and it’s common to find them in hobbyist and pro setups alike.
Apollo interfaces deliver pristine analogue-to-digital conversion through UA’s Unison preamps. However, thanks to the onboard DSP, these preamps can be transformed into emulations of classic channel strips, processors, or amp models that modify the behaviour of the analogue circuitry and simultaneously apply digital modelling — all of which can be printed to the audio in your DAW on the way in.
In addition, you’ll find a vast array of effects in the UAD plugin library, including recreations of legendary reverb units like the Lexicon 480L or delays like the Roland Space Echo. And given Universal Audio’s storied background in audio recording hardware, the accuracy and quality of these DSP-powered effects is no surprise.
The the Apollo Twin X features two mic/line inputs, four line outputs, and an optical connection, and is available in 2-core or 4-core versions based on how much onboard DSP you need.
[products ids=”5ggaG7ANt6IHHHzd7QzZAW”]
Read our Apollo Twin X review.
Best interface for spatial audio – Audient ORIA
Audient ORIA. Image: Simon Vinall for MusicTech
Audient ORIA: £2,445
For those working in spatial audio, the Audient ORIA is built for the job — but at a price point that makes it more accessible than most alternatives. Specifically designed for immersive audio, the ORIA supports up to 9.1.6 speaker setups, so it’s ideal for mixing in formats like Dolby Atmos.
The ORIA includes a range of purpose-built features. Built-in speaker processing makes it easy to calibrate your monitors to your room thanks to controls like individual trim, delay, and bass management. This calibration can be configured manually based on physical measurements, or made easy through ORIA’s close integration with Sonarworks SoundID Reference. In either case, the processing is handled by onboard DSP so there’s no performance hit to your CPU.
What’s more, the Down Mix button lets you instantly fold down an immersive mix into 7.1, 5.1, binaural, or stereo. Undoubtedly, these features — and a user-friendly design at a competitive price point — make ORIA the go-to for anyone serious about spatial audio.
[products ids=”3heQgTrvs6UoMw95aM9KTr”]
Read our Audient ORIA feature.
Best interface for guitarists – Universal Audio Volt
Universal Audio Volt
Volt 176: £149
Volt 276: £219
Volt 476: £268
Volt 476P: £350
Appearing for a second time in the list, Universal Audio is clearly doing something right with its interfaces. This time, it’s earned a spot thanks to its cheaper Volt interface line introduced in 2021.
Volt’s price range pits it against myriad competitors (for example, Focusrite’s Scarlett range that won our overall pick), but it does differentiate itself from the pack with a couple of extra tricks. In the standard units, users get a ‘vintage’ preamp mode that adds pleasing saturation based on the UA 610 tube preamp. But spend a bit more for the ‘76 edition and you’ll get an interface with a built-in analogue compressor inspired by the unmistakable UREI 1176.
These processing options are what make the Volt interfaces a top choice for guitar players, letting you inject some extra character into your tone for a fuller, more vibrant recording within the DAW. If you’re just recording guitar or bass, the single-input Volt 176 is incredible value for money, although the two- or four-input versions provide more flexibility for those who need it.
[products ids=”5HzxtQtY02CkhweEqY8SAB”]
Read our Universal Audio Volt review.
Best interface for podcasts – RØDECaster Duo
RØDECaster Duo
RØDECaster Duo: £399
Aimed at podcasters and content creators, RØDE’s series of RØDECaster devices combine mixing and recording functionalities into one slick console. The Pro model kicked the line off to much acclaim — but for many, the smaller RØDECaster Duo will be enough.
On the input side, two XLR/TRS combo connections feed into ultra-low-noise, high-gain Revolution preamps. There’s also a built-in wireless receiver for RØDE Series IV transmitters. Then, your signal can be processed with onboard effects like reverb, delay, and compression for a more professional touch.
Unlike many other audio interfaces, the RØDECaster Duo also features six programmable pads that can be used to trigger sounds, music, effects, transitions, and MIDI commands. Another killer feature? You can record straight to a memory card or external drive — no computer needed — so it’s an incredibly versatile option for all types of content creation.
[products ids=”7uXHwZXlE6Vrh4PigVRpNC”]
Read our RØDECaster Duo review.
Best interface for electronic music producers – Arturia AudioFuse 16Rig
Arturia AudioFuse 16Rig
AudioFuse 16Rig: £1,159
For electronic music producers, the AudioFuse 16Rig from Arturia is a powerhouse. It’s built to handle the complexity of modern electronic music setups, with 16 analogue inputs, 10 analogue outputs, and dual ADAT in/out to further expand the channel count.
This is complemented by MIDI in/out/thru plus word clock to keep all your devices perfectly in sync. You can also connect external devices through the USB MIDI port, and line outputs can even transmit CV signals.
Given the 16Rig’s connections are split between the front and back panels, you might expect repatching to be cumbersome, but that’s not the case. Where sockets on the front panel correspond to ones on the back, switching between the two is handled in software so you won’t have to unplug any cables — an elegant solution.
All in all, the AudioFuse 16Rig packs a tremendous amount of functionality into just 1U of rack space, and it’s an excellent choice for gearheads with extensive external hardware.
[products ids=”44AdyWF33Zn1ArTS4T6HHF”]
Read our Arturia AudioFuse 16Rig review.
Why You Can Trust MusicTech
MusicTech reviews hundreds of new products every year, from powerful synthesizers, DAWs and pro plugins through to everyday headphones and portable speakers. Our expert reviewers are producers, engineers and enthusiasts with hundreds of years of collective experience, with a keen ear to the ground on new trends and technologies.
Every guide on MusicTech is created by a producer, musician and tech enthusiast just like you. We understand what you’re looking for when searching for a new audio interface, and we want to ensure you purchase genuinely useful products for your craft. Other websites might show you products that have a big discount or a super low price, but you can trust that every product MusicTech recommends to you is a product we’d be happy to have in our studios.
Frequently Asked Questions
Do I need an audio interface for music production?
It depends. While you can produce music using just a computer and headphones, if you want to connect studio monitors or record instruments and microphones, you’ll generally need an audio interface.
How do I choose an audio interface?
Consider your requirements — how many inputs and outputs do you need? Any extra features? What’s your budget? Think about how your setup might grow in the future too, as it might be cheaper in the long run to spend a bit more now instead of upgrading down the line.
Do DJs need an audio interface?
A dedicated audio interface can greatly improve sound quality and give you the outputs you need for a professional DJ setup. However, many decks and controllers have audio interfaces built in so you won’t need a separate device.
Do more expensive audio interfaces sound better?
Generally speaking, more expensive interfaces are built with better components like converters and preamps, resulting in superior sound quality. Whether you’ll notice this quality difference in the context of a full mix is relatively subjective, however.
What is the difference between an interface and a sound card?
Typically, an interface is an external device that offers better audio conversion and more connectivity options. It’s designed specifically for recording and playing back audio. Conversely, sound cards are typically built into your computer and offer fewer features, designed for playing back audio in a casual context.
The post Audio interfaces for studios, bedrooms and podcasters: Best audio interfaces and how to choose one that’s right for you appeared first on MusicTech.

This new accessible Xbox nunchuck controller has 3D-printable joystick partsMicrosoft demonstrated its leadership in accessible gaming hardware again on Wednesday with the announcement of a new one-handed joystick controller for Xbox and PC. The Xbox Adaptive Joystick works with the company’s already robust accessibility hardware stack, and even includes support for custom 3D-printed parts. The Adaptive series of devices and controllers has been around […]
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Picking winners in the next cycle — Wyoming Blockchain Symposium VC panelCrypto startup companies attracted $2.7 billion in venture capital funding during the second quarter of 2024.

The Immediate Family Q&A at The Village StudiosHistoric recording studio The Village hosted a special intimate screening, Q&A, and performance with the Immediate Family last night. The Immediate Family is composed of legendary session guitarists Waddy Watchel and Danny ‘Kootch’ Kortchmar, bassist Leland Sklar, drummer Russ Kunkel who were the go to session players in the 70’s along with guitarist/vocalist Steve Postell (David Crosby). The film was released in December of last year and included a special premiere at the Chinese Theater in Hollywood, CA. This documentary takes you into the lives of the Immediate Family members, how they became musicians, how they formed a band together, and interviews with the icons they performed with like James Taylor, Jackson Browne, Phil Collins, Warren Zevon, Linda Rondstandt, Carole King, David Crosby, Don Henley and more. 

 Following the film legendary producer Jimmy Jam moderated a Q&A with the band and filmmaker Denny Tedesco who also made the world-renowned Wrecking Crew documentary. The band and crowd would move into the “Moroccan Room” down the hall from the screening room to perform several songs featured in the movie including Warren Zevon’s “Werewolves of London” and Jackson Browne’s “Somebody's Baby.” In attendance were Browne, session bassist Bob Glaub, Elton John keyboardist Kim Bullard, song-writer Diane Warren, Guitar Center Foundation President David Helfant, keyboardist/producer CJ Vanston, producer Dave Reitzas, Capitol Records studio manager Paula Salvatore, Judith Owen, engineer Ross Hogarth, Get Together Foundation's Kevin Wachs, and Jefferson Starship’s Jude Gold.

The post The Immediate Family Q&A at The Village Studios first appeared on Music Connection Magazine.

Atari Announces the Atari 7800+ Nostalgia ConsoleFollowing the trend of re-releasing every single game console as some kind of modern re-imagining or merely an ARM-SBC-with-emulator slapped into a nice looking enclosure, we now got the announcement from Atari that they will soon be releasing the Atari 7800+.
It’s now up for pre-order for a cool $130 USD or a mega bundle with wired controllers for $170 and shipping by Winter 2024. Rather than it being a cute-but-non-functional facsimile like recent miniature Nintendo and Commodore-themed releases, this particular console is 80% of the size of the original 7800 console, and accepts 2600 and 7800 cartridges, including a range of newly released cartridges.
On the outside you find the cartridge slot, an HDMI video/audio output, a USB-C port (for power) and DE-9 (incorrectly listed as DB-9) controller ports, with wireless controllers also being an option. Inside you find a (2014-vintage) Rockchip RK3128 SoC with a quad core Cortex-A7 that runs presumably some flavor of Linux with the Stella 2600 emulator and ProSystem 7800 emulator. This very likely means that compatibility with 2600 and 7800 titles is the same as for these emulators.
Bundled with the console is a new 7800 cartridge for the game Bentley Bear’s Crystal Quest, and a number of other new games are also up for pre-order at the Atari site. These games are claimed to be compatible with original Atari consoles, which might make it the biggest game release year for the 7800 since its launch, as it only had 59 official games released for it.
Given the backwards compatibility of this new system, you have to wonder how folks who purchased the 2600+ last year are feeling right about now. Then again, the iconic faux-wood trim of the earlier console might be worth the price of admission alone.

Kiive Audio release M5133 Mastering Equalizer plug-in Kiive Audio’s latest plug-in promises to bring mixes to life with its combination of musical-sounding EQ and three distinct types of saturation.

FLOSS Weekly Episode 797: Coreutils — Don’t rm -r Up the TreeThis week Jonathan Bennett and Dan Lynch chat with Pádraig Brady about Coreutils! It’s been around since the 90s, and is still a healthy project under active development. You’ve almost certainly used these tools whether you realize it or not! What’s the relationship with the other coreutils implementations? And why is GNU Coreutils the most cautious of them all?

https://www.pixelbeat.org/contact.html
http://www.pixelbeat.org/docs/coreutils-testing.html
http://www.pixelbeat.org/docs/coreutils-gotchas.html
http://www.pixelbeat.org/programming/avoiding_large_buffers.html
https://www.gnu.org/software/coreutils/rejected_requests.html
https://www.gnu.org/software/coreutils/quotes.html
http://www.pixelbeat.org/docs/coreutils_i18n/

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Full details confirmed of NVISION Latino Film and Music Festival following acquisition and expansion by NTERTAINLeading Latin culture event includes music artists, executives and panel sessions for first time
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On… Elliot Grainge, major labels, megastars, and a new era at Atlantic Music GroupMBW founder Tim Ingham on the most talked-about music biz story of the past few weeks
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Taylor Swift v. Donald Trump: AI Images and Legal ConsequencesIf this were to go to court, the docket might read Taylor Swift v. Donald Trump. Swift "clearly has credible causes of action against Donald Trump for his false and misleading social media posts," writes entertainment and intellectual property attorney Wallace Collins.
The post Taylor Swift v. Donald Trump: AI Images and Legal Consequences appeared first on Hypebot.