“It took me a long time to be comfortable using synths at all”: Producer Djrum admits he “couldn’t stand the idea of using presets” at firstDjrum’s new album Under Tangled Silence is now out, and it’s a swirling blend of fractured rhythms, ambient washes, and warped acoustic textures. But for all its intricate sound design, the producer’s relationship with the tools of electronic music hasn’t always been so intuitive.
“It took me a long time to be comfortable using synths at all,” Djrum – real name Felix Manuel – admits in a new interview with MusicRadar. “When I first started using them, I wasn’t very good at it and made sounds that were not great.”

READ MORE: Producer Djrum on why having “too much of a goal” in the studio can be “restrictive”: “I’m always starting up sessions and not finishing them, but I don’t see that as unproductive”

For a long time, presets were out of the question. “I couldn’t stand the idea of using presets,” he explains, adding that he found it “very frustrating to not know how a sound is made.”
“I would start using a preset, and I would want to change something about it, but then with a preset, you then have to figure out, like, what’s this all doing? Why is it making that sound? I found that so frustrating.”
These days, Djrum keeps his studio setup intentionally simple.
“My general setup is all focused around Ableton,” he says. “I think the built-in effects in Ableton are really good and you can do mostly everything with what’s there. I do use some iZotope and FabFilter stuff. I want a better reverb than the Ableton built in one.”
Hardware is kept to a minimum as well. One of the few pieces in his space is a Novation Peak, but even that gets limited use.
“I’ve got one hardware synth, the Novation Peak, which is really cool,” says the producer. “I got it because I felt like I should give it a go, as I’d never really used hardware before… but I don’t use it much.”
“It’s cool to jam and twiddle knobs but if I’m making a bassline or a melodic thing, I want to have it in the session and be able to tweak it and change it. That doesn’t really lend itself to integrating hardware. So the Novation is actually barely on this latest album.”
Instead, Djrum prefers to go deep with a few carefully chosen tools at a time: “My approach to synths is very much, like, one at a time,” he says. “Get to really know a synth before you get another one. I use very few. I use Massive and I like Arturia Pigments, Serum, that’s kind of it.”

The post “It took me a long time to be comfortable using synths at all”: Producer Djrum admits he “couldn’t stand the idea of using presets” at first appeared first on MusicTech.

Space Jams - The Funky, Futuristic, and Featherbrained Universe of Sci-Fi Dance MusicInspired by Mon Mothma cutting loose on the dance floor in the recent Star Wars series Andor, we revisit Buck Rogers, Tron, and (ug) The Matrix Reloaded among others in our interstellar list of good (and so-bad-its-good) sci-fi funky performances and space jams.

Uber and WeRide set their robotaxi sights on 15 more citiesUber and Chinese autonomous vehicle technology company WeRide plan to expand a commercial robotaxi partnership and bring the service to another 15 cities over the next five years. The expansion comes five months after the two companies launched a commercial robotaxi service in Abu Dhabi.  The companies said the expansion will include cities in Europe. Under […]

Unsigned Only Music Awards: Last Call for the Next Big TalentFor independent artists navigating the ever-changing music industry, one name continues to stand out as a launchpad for emerging talent: Unsigned Only. Known for championing musicians outside the grasp of major labels, the organization is once again calling on artists worldwide—but the clock is ticking.With only three days left to submit entries, the extended deadline for the Unsigned Only Music Awards is fast approaching. Artists have until midnight on May 7th to submit either an original or cover song for a chance at recognition, exposure, and a substantial career boost.This year, Unsigned Only is doing more than just opening the stage—it's changing it entirely. In a notable shift, the competition has transitioned into an all-digital format. A statement from the company discloses that the new online music awards format reflects its “ongoing commitment to recognizing and honoring exceptional talent of independent artists while encouraging creativity, innovation, and the pursuit of musical excellence.”Artists can now participate from anywhere, making the process more accessible and inclusive than ever. And while the format has evolved, the rewards remain as enticing as ever.The top honor? Artist of the Year—a title that comes with a $20,000 cash prize and an industry-respected accolade. Winners will also receive a custom-designed award from Society Awards, the team behind prestigious trophies like the Emmys and Golden Globes.What sets Unsigned Only apart is its dedication to talent over trend. All submissions are reviewed by a panel of music industry professionals—including well-known musicians, producers, label executives, and journalists. The panel ensures that “each category will have one winner, such as Best Rock Artist, Best Country Artist, Best Latin Artist, etc.”For unsigned artists seeking a platform that values artistry and potential over connections and contracts, Unsigned Only offers a rare and valuable spotlight.With just days to go, this is a final reminder for musicians to take the leap. Whether you’re a seasoned songwriter or a fresh voice waiting to be heard, this could be your moment to rise—no label required.Click HERE to enter!The post Unsigned Only Music Awards: Last Call for the Next Big Talent first appeared on Music Connection Magazine.

3D printed downspout makes life just a little nicerSometimes, a hack solves a big problem. Sometimes, it’s just to deal with something that kind of bugs you. This hack from [The Stock Pot] is in the latter category, replacing an ugly, redundant downspout with an elegant 3D-printed pipe.
As [The Stock Pot] so introspectively notes, this was not something that absolutely required a 3D print, but “when all you have a hammer, everything is a nail, and 3D printing is [his] hammer.” We can respect that, especially when he hammers out such a lovely print.
By modeling this section of his house in Fusion360, he could produce an elegantly swooping loft to combine the outflow into one downspout. Of course the assembly was too big to print at once, but any plumber will tell you that ABS welds are waterproof. Paint and primer gets it to match the house and hopefully hold up to the punishing Australian sun.
This is the first time we’ve posted work from [The Stock Pot] but we will be watching his career (and YouTube channel) with interest. The video, embedded below, is a good watch and a reminder than not every project has to be some grand accomplishment. Sometimes, it can be as simple as keeping you from getting annoyed when you step into your backyard.
We’ve seen raintwater collection hacks before; some of them a lot less orthodox. Of course when printing with ABS like this, one should always keep in mind the ever-escalating safety concerns with the material.

FTC warns speculative ticket sellers, clarifies fee rulesThe Federal Trade Commission last week issued an FAQ clarifying its "Rule on Unfair or Deceptive Fees." In it, the FTC warns speculative ticket sellers and clarifies fee transparency rules.
The post FTC warns speculative ticket sellers, clarifies fee rules appeared first on Hypebot.

The £1 ticket levy scheme has already raised £500,000 for grassroots venuesThey say every penny counts, and a low-cost UK ticket levy has proven that is very much the case. The voluntary scheme was first introduced last year and asked artists to pay forward just £1 from every arena or stadium ticket sale – and it has already helped raise £500,000 for grassroots venues.
According to a new statement from the LIVE Trust, the voluntary pledge of £1 per ticket has just amounted to half a million pounds. Plenty of artists have helped contribute towards the figure, with Enter Shikari being one of the first acts to push for the levy in 2023. Since its official introduction, a slew of artists have voluntarily supported the scheme, from Diana Ross to Pulp.

READ MORE: Two dance venues open in East London in quick succession – is the UK’s nightlife scene looking up?

The £1 pledge can be applied to any arena and stadium show with a capacity of over 5000, and the scheme has received mass support from artists and fans alike.
Just last week, a survey conducted by Music Fans’ Voice found that, of the 8,000 music fans surveyed, 93% of respondents supported the levy. 99% of respondents also agreed that live music is an important part of UK culture, and 30% said they visit a grassroots venue monthly.
Jon Collins, the CEO of the LIVE Trust, has praised the public’s support of the scheme. “This is a welcome milestone for the LIVE Trust and marks a very significant contribution to the grassroots live music sector,” he says.
“What this demonstrates is that there is a real appetite from performers and their teams to support the wider live ecosystem and we applaud and thank those that have already taken this initiative,” he adds. “Whilst this is an excellent start there is still much work to do if we are to convince government that a voluntary rather than statutory levy is both workable and sustainable.”
Alongside the levy, plenty of artists have been raising funds in support of grassroots venues. Singer Kate Nash has been particularly vocal as of late, speaking up about venue closures and the costs of being a touring musician.
“We’re almost at collapse,” she told NME last year. “It can only go on to be something we all complain about behind the scenes for so long until you start to see it crumble.”
“The reality is that touring is making losses, not profit. The grassroots is in absolute crisis. Venues are closing, festivals are being cancelled. People are thinking, ‘What’s the point in starting a band?’ and ‘How can I as an artist carry on?’”

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The post The £1 ticket levy scheme has already raised £500,000 for grassroots venues appeared first on MusicTech.

💬🔥 Weekly Deals & Freebies Thread
Welcome to the BPB Community Weekly Freebie Thread for May 5-12, 2025! 😊 Read the Thread Guidelines 💬 This section of our community is where BPB readers can share links to the latest freeware news and deals with fellow music producers in the comments. Thank you for contributing! To keep the discussion helpful and relevant, please [...]
View post: 💬🔥 Weekly Deals & Freebies Thread

Why It’s So Hard for Independent Artists to Break Through No one cares about you until you are already successful, For independent artists, that reality can be brutal. Anna Stephens of Decent Music PR looks at why breaking through is so hard and how artists can take back control.
The post Why It’s So Hard for Independent Artists to Break Through  appeared first on Hypebot.

Get Softube Bad Speaker or UVI Digital Synsations Vol. 1 for FREE with any Audio Deluxe purchase
This month, Audio Deluxe offers either Softube Bad Speaker ($59) or UVI Digital Synsations Vol. 1 ($149) with any paid purchase for free. Audio Deluxe offers this free-with-any-purchase deal until the end of May.  Softube Bad Speaker is a macOS and Windows release for AU, VST, VST3, and AAX.  The lo-fi distortion plugin requires an iLok [...]
View post: Get Softube Bad Speaker or UVI Digital Synsations Vol. 1 for FREE with any Audio Deluxe purchase

Heritage Audio HA240 Gold Foil Verb The Heritage Audio HA240 Gold Foil Verb is a native effect plugin that meticulously models a rare and storied vintage gold foil plate reverb unit from Heritage Audio's private collection. Thought to be non-functioning for years, this particular unit, serial number #0183, was discovered to be not only operational but possessing a unique and enhanced sonic character developed over years of storage. This plugin captures the distinct, dark, yet enticing spatial qualities of this one-of-a-kind studio classic, aiming to inject a fun and musically inspiring vibe into your mixes. Designed to impart a unique sense of space, the HA240 Gold Foil Verb is particularly well-suited for adding depth and atmosphere to vocals, guitars, strings, and synthesizers. Its characteristic tone provides a darker and perhaps slightly more diffused or "cloudy" reverb compared to brighter plate reverbs, offering an enticing alternative for shaping the spatial dimension of your tracks. By emulating the specific nuances of this aged and unique hardware unit, Heritage Audio brings a piece of analog history and its sonic individuality into the digital audio workstation environment. The development of the HA240 Gold Foil Verb plugin stemmed directly from the rediscovery and appreciation of this vintage hardware unit within the Heritage Audio facility. Rather than letting the unit be cannibalized for parts, its unexpected and sonically pleasing performance inspired the creation of a plugin that faithfully replicates its gorgeous sound and vibe. This allows modern producers and engineers to access the distinct character of this rare gold foil reverb without the need for the original, fragile, and hard-to-find hardware. The plugin is designed for native operation within your digital audio workstation, utilizing iLOK Native for authorization and offering both perpetual and demo licensing options. It is also notably included as part of the plugin suite that accompanies Heritage Audio's i73 Pro series audio interfaces, providing added value to users of their hardware. Features: Authentic emulation of a rare vintage gold foil plate reverb unit (Serial #0183) from Heritage Audio's private collection. Captures the distinct, dark, and enticing spatial characteristics of the original hardware. Ideal for adding a unique reverb character to vocals, guitars, strings, and synthesizers. Based on a specific hardware unit whose sound was uniquely enhanced by years of storage. Designed to provide a fun and musically inspiring reverb effect. Available as a standalone native plugin. Included as part of the plugin bundle with Heritage Audio i73 Pro series audio interfaces. Uses iLOK Native for authorization. Offers perpetual and 14-day demo license options. Compatible with major DAW formats (VST3, AU, AAX). Read More

“There’s a disposable attitude to making music that’s prevalent these days”: Producer Danny L Harle says musicians must take time to reflect on their workBritish producer Danny L Harle is shining a light on what he considers an “undervalued” skill among musicians today: taking the time to listen and reflect on one’s own music.
Harle, who co-produced Dua Lipa’s 2024 hit album Radical Optimism and worked with the likes of Charli XCX and Caroline Polachek, is currently lending his expertise to the Amex Unsigned initiative — a mentorship program offering six unsigned artists the chance to work with him at London’s iconic Metropolis Studios.
In a new interview with MusicRadar, the producer opens up about the creative mindset he hopes to pass on to young talents and why mentoring matters to him on a personal level.

READ MORE: “Everybody thinks that it gives them a professional edge… however, you are somehow a villain if you use it”: New study reveals widespread use of AI among music producers, though most “do not want to publicly talk about it”

“I’m very reluctant to get involved with these sorts of processes unless I feel like I can actually contribute something that’s of worth,” Harle explains, “but this exact form of mentoring is a process that I’ve personally benefited from in my past.”
“It’s so helpful to take the time to listen to your own work in a studio and reflect back on your entire project — that’s an undervalued thing,” he adds. “There’s a disposable attitude to making music that’s prevalent these days, whereas I think that for young people, there needs to be a sense of respect to one’s own development that should be projected by older people as well.”
According to Harle, artistic growth rarely happens in isolation. Creative breakthroughs don’t just come from long hours alone, he argues, but from sharing, dialogue, and accountability.
“It’s very hard to do that on your own, just to sit down and listen to everything you’ve done. You almost need the discipline of someone else in the room to properly do that. Listening in the room with someone else, you know what’s wrong with the music, if there’s something wrong. You know if it’s really good almost before you’ve played it.”
Sometimes, he says, it’s less about feedback and more about giving encouragement when it matters most.
“When you’re making your own thing, sometimes it’s quite a lonely process, and it can be really helpful for someone to just listen to what you’re making and be like, ‘this is really good’,” Harle says. “When someone’s making amazing stuff, it can be really valuable to just tell them: ‘Just keep doing that — you’re doing your thing, that’s all one can do.’”
Still, the producer acknowledges that honesty is just as crucial, particularly when it comes to keeping artists from becoming complacent.
“Sadly, it can be really useful to hear someone tell you that you can do better,” he says. “I wouldn’t just say that to anyone; I’d make sure that they’re somebody who’s in a position to take it, or somebody that knows me well enough. But that’s an important thing for some people to hear as well, because some people that achieve a certain level of success can start to rest on their laurels.”
“They need someone to come in the studio and say, ‘you could be pushing a bit harder here’. That’s what me and my friends are like, we push each other in a really good way.”
Learn more about the Amex Unsigned initiative at American Express.
The post “There’s a disposable attitude to making music that’s prevalent these days”: Producer Danny L Harle says musicians must take time to reflect on their work appeared first on MusicTech.

TOKiMONSTA: “The more satiating it is for the musician to create, the better the music is”Should producers and beatmakers be calling more upon sounds heard in everyday life when making music? TOKiMONSTA does, and it’s a key part of her artistic process.
In a new episode of MusicTech’s My Forever Studio podcast – in which we sit down with producers and have them select gear for their fantasy Forever Studio – the veteran DJ and producer dives into her approach to using field recorders to source sounds for her beats.

READ MORE: My Forever Studio: TOKiMONSTA nabs a historic synth

Asked about her process using real-world samples, she explains: “If I go out and I use my field recorder to [record a] twig snapping, you know, maybe a car door shutting, stepping on rocks or sand, whatever, all those sounds are [a] nice texture, so it’s using those to layer. Then you have an unlimited amount of samples in that way.”
She adds that another benefit to capturing her own samples for beats is that they are completely unique.
“I’ll always know that those are my sounds,” she says. “And so if I have stock kicks and I like the body of it, but maybe it’s not fuzzy enough or it doesn’t have the tack I want, there’s always a way to manipulate real life. Something from real life that’s recorded to give it that umph. 
“And if I have a good field recorder, it’s. It’s unlimited. I can keep making sounds and manipulating sounds, I guess, with my stock Ableton plugins.”
She recalls: “I made a bass line that I recorded playing something that wasn’t real. Like I had tapped on this really interesting surface, and then I pitched that sound into a bass line. It required a lot of work, but those are just the little, little things. And people might not notice. It may not matter to anyone else, but for me, it’s fun in the process of creating stuff like that.”
Speaking more broadly on the importance of enjoying the creative process, TOKiMONSTA concludes: “The more fun the musician has, or the more satiating it is for the musician to create, the better the music is. That’s sort of where I’ve landed on my journey.”
The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio. However, hosts Chris Barker and Will Betts impose some strict rules. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles!
You can subscribe to My Forever Studio on Apple Podcasts and Spotify and check out all episodes so far via MusicTech.
The post TOKiMONSTA: “The more satiating it is for the musician to create, the better the music is” appeared first on MusicTech.

Is Duolingo the face of an AI jobs crisis?Duolingo announced plans this week to replace contractors with AI and become an “AI-first” company — a move that journalist Brian Merchant pointed to as a sign that the AI jobs crisis “is here, now.” In fact, Merchant spoke to a former Duolingo contractor who said this isn’t even a new policy. The company cut […]

All-Band Radio Records Signals, Plays MP3sIn these days of everything-streaming, it’s great to see an old school radio build. It’s even better when it’s not old-school at all, but packed full of modern ICs and driven by a micro-controller like the dsPIC in [Minh Danh]’s dsMP3 build. Best of all is when we get enough details that the author needs two blog posts — one for hardware, and one for firmware — like [Minh Danh] has done.
This build does it all: radio, MP3 playback, and records incoming signals. The radio portion of the build is driven by an Si4735, which allows for receiving both in FM and AM — with all the AM bands, SW, MW and LW available. The FM section does support RDS, though because [Minh Danh] ran out of pins on the dsPIC, isn’t the perfect implementation.
Just look at that thru-hole goodness.
The audio section is a good intro to audio engineering if you’ve never done a project like this: he’s using a TDA1308 for headphones, which feeds into a NS8002 to drive some hefty stereo speakers– and he tells you why he selected those chips, as well as providing broken-out schematics for each. Really, we can’t say enough good things about this project’s documentation.
That’s before we get to the firmware, where he tells us how he manages to get the dsPIC to read out MP3s from a USB drive, and write WAVs to it. One very interesting detail is how he used the dsPIC’s ample analog inputs to handle the front panel buttons on this radio: a resistor ladder. It’s a great solution in a project that’s full of them.
Of course we’ve seen radio receivers before, and plenty of MP3 players, too — but this might be the first time we’ve seen an electronic Swiss army knife with all these features, and we’re very glad [Minh Danh] shared it with us.