Ultimate Guide To A Healthy And Successful Career in Music [Exclusive Book Excerpt]Sound Advice: The Ultimate Guide To a Healthy And Successful Career in Music will be published later this year, but Hypebot has an exclusive book excerpt.
The post Ultimate Guide To A Healthy And Successful Career in Music [Exclusive Book Excerpt] appeared first on Hypebot.

How to Save Instagram Songs to Spotify to streamline playlist creationSave Instagram songs to Spotify with this simple trick and streamline your playlist creation across both platforms effortlessly.
The post How to Save Instagram Songs to Spotify to streamline playlist creation appeared first on Hypebot.

Waves V-Comp is FREE for Bedroom Producers Blog readers! 🎃
Waves Audio offers the V-Comp (typically $149) vintage compressor VST plugin as a free download for all BPB readers. The offer ends on November 1st at 9 a.m. EST. As most BPB readers know by now, my birthday is on Halloween. 🎃 So, every year, I try to give something back to BPB readers as a [...]
View post: Waves V-Comp is FREE for Bedroom Producers Blog readers! 🎃

“For him, reverb was green, distortion was red”: Eddie Kramer says Jimi Hendrix saw music as coloursIconic rock ‘n’ roll producer Eddie Kramer has reflected on his working experiences with Jimi Hendrix, revealing that the famed guitarist had chromesthesia – the ability to see music in colour.
Kramer’s production career kicked off in the 1960s, and saw him work with artists such as Led Zeppelin, The Beatles, David Bowie, and the Rolling Stones across the decades. He was also instrumental in the creation of Electric Lady Studios, which was commissioned by and constructed for Hendrix.

READ MORE: Alex Van Halen has reached out to OpenAI in the hopes of creating new Eddie Van Halen guitar riffs and solos

Speaking of his time working alongside Hendrix in an interview with The Globe And Mail, Kramer recalls, “Jimi and I had this instinctive connection. He didn’t talk about music in technical terms; he used colours. He’d say, ‘I need more purple,’ or, ‘Let’s add some green here.’ For him, reverb was green, distortion was red and each song had its own palette.
“It wasn’t just about notes or chords – it was about creating a feeling, painting a picture in sound. I haven’t really found that same language with anyone else. With Jimi, I’d just know what he meant. It was a kind of shorthand that made our sessions incredibly dynamic,” he states.
Kramer also shares that Electric Lady was Hendrix’s “creative home”, and in turn it reflected his ideas and his colourful visions of music: “The studio became an extension of his mind. He’d say, ‘I want the studio to be a place where the walls inspire music’… It wasn’t just about recording; it was about creating a space for music to happen.”

Earlier this year, a documentary about the studios was released titled Electric Lady Studios: A Jimi Hendrix Vision. It explores the creation of the studios from a Greenwich Village nightclub to the iconic recording facility it went on to become.
You can buy Electric Lady Studios: A Jimi Hendrix Vision digitally now, or find out if it’s heading to a cinema near you.
The post “For him, reverb was green, distortion was red”: Eddie Kramer says Jimi Hendrix saw music as colours appeared first on MusicTech.

Apple announce M4-powered Mac Mini, MacBook Pro & iMac Apple have announced the upcoming launch of new Mac mini and iMac models equipped with the latest generation of their M-series processors.

Could the Novation Launchkey MK 4 become the new heart of your studio?£279.99, novationmusic.com
Novation’s family of Launchkey MIDI controllers has reached its fourth generation, the company striving to further streamline the way users perform and control their DAWs without constantly switching attention between two devices, as they recently told us.
Having already put the smallest model through its paces we were keen to experience the other end of the spectrum, the 61-key model that’s designed to be a more permanent fixture in your studio setup, and find out how and if it might be a better fit for some producers.

READ MORE: Novation on the future of MIDI control and why Launchkey MK4 is “a big step forward”

Novation was keen to explain how basically all of the MK4’s MIDI functionality is baked into the firmware and this means that the keyboards’ ‘brains’ are essentially the same, even though they have some hardware differences. So like the Minis, the 61 key model can operate in standalone mode using its MIDI output though here it’s a full size 5-pin MIDI port on the rear panel so there’s no need to use an adapter.
It powers and sends data over its USB-C connection so in standalone mode any power adapter will do, and you hook up to drum machines, modular synths or other gear over the regular MIDI port. The various MIDI tools – of which more shortly – all work independently of a computer.
The controller also has a sustain pedal input, vital for most kinds of creative keyboard playing, and full-size conventional pitch and mod wheels, where the Minis use touch strips. Indeed the 25, 37 and 49 key versions also have these and these models also use full sized keys. While the 25 and 37 have a synth action, the 49 and 61 have semi-weighted keys. This provides a significantly more tactile response that’s closer to the feel of a piano.
Image: Simon Vinall for MusicTech
As any seasoned player will attest, it’s possible to play semi- or fully-weighted keys with more nuance since they behave in a more responsive way to synth action keys. They’re also somewhat heavier though. Even if these larger models are not particularly intended to be as portable as the Minis, the 61 still only weighs in at 5kg.
Like every member of the Launchkey MK4 family, the 61 works without drivers on the Mac and requires a simple download for Windows, then the controller can talk to your computer. There’s an app called Components that lets you upload and download configurations to the hardware and also create custom setups easily thanks to its graphical interface. Impressively, the system also works via a MIDI-compatible browser like Chrome so you can log in to access and tweak all your settings even if you are away from home.
Novation’s long association with Ableton means that the integration with Live is particularly tight here – it even comes with a copy of Live Lite – and the controller is automatically recognised by the software. With other DAWs – Logic, Cubase, Reason – you will need to download a script from the website and do a little setup in the DAW. By and large this is painless, with Cubase’s MIDI Remote editor in particular letting it tie in nicely to the hardware. If your DAW is a little more esoteric it will still work though there will initially be some playing around with the Mackie HUI controller protocol to make it go.
Image: Simon Vinall for MusicTech
The 61 fits an impressive selection of hardware controls onto its top panel. There are 16 RGB backlit pads with velocity sensing and polyphonic aftertouch, two pad page buttons, scene launch and function buttons. The eight continuous encoders also have two page buttons for extended functionality and unlike most of the smaller models, the 61 also has nine faders and buttons, ideal for mixer channel control. There are transport controls of course as well as tool buttons like undo, quantize and metronome, plus track navigation buttons. The vast majority can be customised and in many cases a control’s behaviour will update dynamically as you move between different features or tools in your DAW.
Another feature that only the two larger models have thanks to their more expansive keyboards is zoning. This allows you to assign key ranges to different destinations, splitting or layering two instruments or MIDI channels. There’s also a generative arpeggiator with step editor, Scale mode with 30 scales so you can’t play ‘wrong’ notes outside a particular scale, Chord modes that let you trigger preset or custom chords from single keys or pads and of course octave buttons, though these are less essential than on the smaller models.
The 61 has more physical space and more controls which means there’s less learning of sub-functions like pressing a button to change the behaviour of pads or encoders. The faders and fader buttons are a big plus especially for mixing. Though the display is the same small one from every model it’s still perfectly serviceable, with backlighting providing visual feedback. There’s still a learning curve initially but it’s not arduous. Since most people will be using one or at most two DAWs it’s not like you have to keep learning different layouts.
Image: Simon Vinall for MusicTech
In studios you often see a controller sitting between the computer keyboard and the screen, something on which the producer needs to play parts without getting up from their chair, but with more nuance than a synth action keyboard would allow. An 88-key beast is usually too big for this, but 61 or potentially even 49 keys is a sweet spot for many people. Throw in a bunch of DAW controls too and you have a convenient and powerful all-in one device that does its job without cluttering your space.
While the Minis are designed to be taken anywhere, the 61 is more at home front and centre in your setup, likely becoming something you play with muscle memory as you perform repeated actions – navigating a Live set, tweaking a favourite soft synth or programming beats.
The models in between represent differing trade-offs between portability and the full feature set, though admittedly, most of the core functions are common to the entire range. While a hardware controller is probably never going to be able to free you completely from a computer screen and mouse, Novation has done an excellent job here of integrating hardware and software, and also promises more software-based developments going forward. There’s a generous bundle of plugins to be had too.
Most producers need a tactile everyday keyboard hooked up permanently to their DAW and ideally some well-thought-out transport and control features too. The revamped Launchkey 61 delivers both, and at a sensible price.

Key features

61 semi-weighted piano style keys
USB data and power
16 RGB backlit pads with polyphonic aftertouch
8 continuous encoders
9 faders and buttons
MIDI out and sustain pedal input
Integration with all major DAWs
Components app and website for management
MIDI layering and zoning
Software bundle

The post Could the Novation Launchkey MK 4 become the new heart of your studio? appeared first on MusicTech.

Avid Pro Tools 2024.10 update now available The latest update for Pro Tools delivers a range of new features that cater to both music and post-production users.

How Partisan Records Markets ArtistsThis week, Ari is joined by Zena White, the COO of Partisan Records, to discuss how labels can support and market their artists effectively.

MDC is building a surgical robot that operates inside an MRIMRIs are an indispensable tool for surgeons, though the technology certainly has its limitations. Take, for instance, surgeons using the machines to guide their procedures. The current process entails putting the patient into a machine to get an image, before pulling them out to advance a needle one centimeter at a time. It’s a time-consuming […]
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US Treasury strategy for financial inclusion mentions digital assetsLael Brainard credited Vice President Kamala Harris, who is campaigning to be the next US President, with helping expand “access to capital, credit, and economic opportunity.”

Custom Fan Controller For Otherwise Fanless PCsMost of us using desktop computers, and plenty of us on laptops, have some sort of fan or pump installed in our computer to remove heat and keep our machines running at the most optimum temperature. That’s generally a good thing for performance, but comes with a noise pollution cost. It’s possible to build fanless computers, though, which are passively cooled by using larger heat sinks with greater thermal mass, or by building more efficient computers, or both. But sometimes even fanless designs can benefit from some forced air, so [Sasa] built this system for cooling fanless systems with fans.
The main advantage of a system like this is that the fans on an otherwise fanless system remain off when not absolutely necessary, keeping ambient noise levels to a minimum. [Sasa] does have a few computers with fans, and this system helps there as well. Each fan module is WiFi-enabled, allowing for control of each fan on the system to be set up and controlled from a web page. It also can control 5V and 12V fans automatically with no user input, and can run from any USB power source, so it’s not necessary to find a USB-PD-compatible source just to run a small fan.
Like his previous project, this version is built to easily integrate with scripting and other third-party software, making it fairly straightforward to configure in a home automation setup or with any other system that is monitoring a temperature. It doesn’t have to be limited to a computer, either; [Sasa] runs one inside a server cabinet that monitors the ambient temperature in the cabinet, but it could be put to use anywhere else a fan is needed. Perhaps even a hydroponic setup.

Chris Brown and Drake sued for at least $5m over alleged copyright infringement on ‘No Guidance’'No Guidance' has been streamed more than 1 billion times on Spotify, and viewed more than 480 million times on YouTube
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Guitar Center and Martin Guitars to host “An Afternoon with Chris Martin | The Legacy of Martin & Co.”WHO: Guitar Center and Martin Guitars, hosting “An Afternoon with Chris Martin | The Legacy of Martin & Co.,” featuring Christian Frederick Martin IV, known as “Chris” (the executive chairman of the world-renowned C. F. Martin & Co.), in collaboration/conversation with artist and Martin brand ambassador Craig Thatcher.

WHAT: The event will showcase up to a dozen specially selected Martin Guitars from Chris’s personal collection at the Martin Guitar Museum in Nazareth, PA. Founded in 1833 in New York City, C.F. Martin & Co. has been making the world’s finest acoustic guitars for nearly 200 years. For this special talk in association with the Guitar Center, Chris will be sharing stories about Martin Guitar's deep history with Country Music, as well as personal anecdotes from his 35 years at the helm of this iconic American brand. Audience members will get to hear the priceless instruments played by Martin clinician and singer/songwriter Craig Thatcher, along with Q&A and autograph signing.

A few of Martin guitars that Chris and Craig will be showcasing during the event include Joan Baez 0-45JB, Jimmie Rodgers 000-45JR, Gene Autrey D-45S, Hank Williams D-28HW, D-11E Rock The Vote and many more!

WHEN: Sunday, Nov. 3, 2024, 3:00 p.m. CST

WHERE:           Guitar Center Nashville721 Thompson Ln, Nashville, TN 37204Nashville, TN 37204

Contact media@guitarcenter.com to RSVP and for additional media queriesThe post Guitar Center and Martin Guitars to host “An Afternoon with Chris Martin | The Legacy of Martin & Co.” first appeared on Music Connection Magazine.

HYBE’s CEO just issued an apology to K-Pop artists, fans and rival labels amid a torrent of controversies from leaked internal documents. What’s going on?Disparaging comments about certain K-pop stars have angered fans, while other revelations have piqued the interest of regulators
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Another Commodore Portable We Never (Quite) ReceivedThe story of Commodore computers is one of some truly great machines for their time, and of the truly woeful marketing that arguably spelled their doom. But there’s another Commodore computing story, that of the machines we never received, many of which came close enough to production  that they might have made it.
[Old VCR] has the story of one of these, and it’s a portable. It’s not a C64 like the luggable which did emerge, neither is it the legendary LCD portable prototype in the possession of our Hackaday colleague [Bil Herd]. Instead it’s a palmtop branded under licence from Toshiba, and since it’s a rare device even its home country of Japan the article gives us perhaps the only one we’ll ever see with either badge.
The Commodore HHC-4 was announced at Winter CES 1983, and since it was never seen again it’s aroused some curiosity among enthusiasts. The article goes to some lengths to cross-reference the visible features and deduce that it’s in fact a Toshiba Pasopia Mini, a typical palmtop computer of the era with not much in the way of processing power, a small alphanumeric display, and a calculator-style QWERTY keyboard. We’re treated to a teardown of a Toshiba unit and its dock, revealing some uncertainty about which processor architecture lurks in those Toshiba custom chips.
Looking at the magazine reviews and adverts it seems as though Commodore may have had some machines with their branding on even if they never sold them, so there exists the tantalizing possibility of one still lurking forgotten in the possession of a former staffer. We can hope.
If Commodore history interests you, you really should read [Bil]’s autobiographical account of the company in the 1980s.