Recovering An Agilent 2000a/3000a Oscilloscope With Corrupt Firmware NAND FlashEveryone knows that you can never purchase enough projects off EBay, lest boredom might inadvertently strike. That’s why [Anthony Kouttron] got his mitts on an Agilent DSO-X 2014A digital oscilloscope that was being sold as defective and not booting, effectively just for parts. When [Anthony] received the unit, this turned out to be very much the case, with the front looking like it got dragged over the tarmac prior to having the stuffing beaten out of its knobs with a hammer. Fortunately, repairing the broken encoder and the plastic enclosure was easy enough, but the scope didn’t want to boot when powered on. How bad was the damage?
As [Anthony] describes in the article, issues with this range of Agilent DSOs are well-known, with for example the PSU liking to fry the primary side due to soft power button leaving it powered 24/7 with no cooling. The other is corrupted NAND storage, which he confirmed after figuring out the UART interface on the PCB with the ST SPEAr600 ARM-based SoC. Seeing the sad Flash block decompression error from the Windows CE said enough.
This led him down the rabbithole of finding the WinCE firmware images (nuked by Keysight, backed up on his site) for this scope, along with the InfiniiVision scope application. The former is loaded via the bootloader in binary YMODEM mode, followed by installing InfiniiVision via a USB stick. An alternate method is explained in the SPEAr600 datasheet, in the form of USB BootROM, which can also be reached via the bootloader with some effort.
As for the cause of the NAND corruption, it’s speculated that the scope writes to the same section of NAND Flash on boot, with the SPEAr600’s Flash controller documentation not mentioning wear leveling. Whether that’s true or not, at least it can be fixed with some effort even without replacing the NAND Flash IC.

How to make a lo-fi house track in 10 minutes
Get a firsthand look into the basics of arranging lo-fi house rhythms, chord progressions, and basslines in Ableton Live.

Panorama Guitars from Sonora Cinematic Sonora Cinematic have announced the launch of the second Kontakt Player instrument to be developed using their Aria engine.

Judges call Live Nation arbitration ‘Crazy,’ ‘Nuts’ & ‘Unconscionable’A California District Court removed a ticket buyer class claim from arbitration because the fine print that accompanied each ticket purchase was “drafting malpractice,” “cockamamie,” and “just nuts,” according to. Continue reading
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Stories of EPIC FAILS by Musicians and How To Avoid ThemThe names have been withheld, but the stories are 100% true! Michael Brandvold and Jay Gilbert share some mistakes musicians they have worked with have made in the past… ..
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“Streaming incentivises songs to be consumable over and over again”: St. Vincent says “excellent” music is missing out on streaming payouts because it doesn’t fit the mouldSt. Vincent has voiced her opinion on the current state of streaming, saying the current model “incentivises songs to be consumable over and over again”, and music which holds emotional value but is not constantly replayed is unfairly missing out on royalties.
In a new interview with Billboard, the guitarist and songwriter – real name Annie Clark – also says AI is only as “interesting as its holder”.

READ MORE: “I must say, I’m impressed with it”: Original MPC creator Roger Linn tests out Akai’s MPC Live II

“In some ways, I’m more concerned about artists sounding like Al than I am [about] Al sounding like artists,” she says.
She says that greater than her concern for AI is her concern about the current state of music streaming and the way big companies make payouts to artists.
“If you are a big pop artist, streaming is fine,” she says. “But there is some music that reaches you very deeply but isn’t music that you put on every single day. I’m not going to listen to John Coltrane’s A Love Supreme every day. It’s one of the most pivotal records of my life, but I’m not going to stream it over and over.”
She goes on: “Streaming incentivises songs to be consumable over and over again. Now, certainly there’s great music you want to consume like that – but there’s a lot of music that’s excellent and doesn’t fall into that category. And those artists, because of streaming, are wilting on the vine.”
It’s widely reported that Spotify, for example, pays between $0.003 and $0.005 per stream on average, though the company claims it does not pay on a ‘per play’ rate.
CEO Daniel Ek recently drew the ire of a whole community of musicians and creators when he compared music to professional football. “Football is played by millions of people,” he said, “but there’s a very small number that can live off playing full time.”
In other news, St. Vincent recently got producers talking when she spoke about the importance of committing ideas to tape, instead of allowing yourself to constantly go back on your decisions.
“I like committing the sounds, because instead of building a house on sand, you’re building a house on a firm foundation of an idea. It would make me too crazy, I think, with unexplored possibilities, to record everything dry and then put a bunch of plugins on them,” she said. “That would make me crazy – because you’ve made no decisions.”
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The Power of Royalty-Free MusicAs disputes between labels and social media platforms like TikTok continue, it may be time to reembrace the sounds that have soundtracked the internet since its early days: royalty-free music.. Continue reading
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Reason 13 is here, bringing vast improvements for “everything you need to sound like you”Reason 13, the latest version of Reason Studios’ DAW software, officially lands today with a brand new bunch of workflow improvements.
All Reason+ subscribers, and those who purchased or upgraded to Reason 12 from 1 January 2024, can now freely upgrade to this brand new iteration. The software update was teased back in May, when the company boasted the update would bring “a huge improvement on Reason 12, making it so users can focus on the creative process”.

READ MORE: The best DAWs for music producers in all genres, styles and workflows

Reason 13 now hosts a brand-new browser, so users can scan through patches, samples and loops, all in one place, and apply filters to search by names and categories.
There are also thousands of new patches, samples and loops and new Rack services, such as a Sidechain Tool, a Gain Tool and Stereo Tool to experiment with your stereo width. Reason has also improved its sequencer and editing process, with improved zooming and layout changes.

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Reason says the update “has everything you need to sound like you”: “You can use it as a plugin or a full-blown DAW with recording, sequencing, mixing, and everything else you’d expect. Fast, fluid, and fun, Reason is all about making music – however you make music,” it explains.

 
Last year, MusicTech spoke to Reason Studios CEO Niklas Agevik, who said the company’s mission is to “turn music dreamers into music makers”. He explained, “It should be inviting to make music. The competition isn’t other DAWs or plugins; the competition is actually Netflix or Steam – nothing to do with making music at all. When we say ‘turn music dreamers into music makers,’ it’s actually about making it so that you want to come home and start up Reason. It’s about making music-making as fun as it can be.”
Reason 13 is priced at £499. Those who did not purchase or upgrade to reason 12 from 1 January 2024 can upgrade for £199. There is also currently 20 percent off Reason+. Head to Reason Studios for more information.
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Audiomovers launch Omnibus 3.0 Omnibus 3.0 sports a revamped user interface and introduces a whole host of new features that include AVB and NDI networking capabilities.

Paul Spencer of Dario G has passed away aged 53Paul Spencer, the producer behind huge hits Sunchyme and Carnaval De Paris as Dario G, has passed away at the age of 53.
Spencer was diagnosed with stage four rectal cancer last year. His family have since shared the news of his death online, which has been met with tributes from other artists and fans.
In a statement on his Instagram, his family writes, “It is with great sadness that we announce the passing of our beloved Paul Spencer earlier today. He was positive until the end but this was one battle he could not fight anymore. He leaves behind a wonderful musical legacy and many happy memories for many people. He will be sadly missed by everyone who loved him. Shine bright our big star.”

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Spencer originally formed part of Dario G alongside Scott Rosser and Stephen Spencer (who shared the same last name, though they were not related). They later left the trio with Paul Spencer continuing as a solo artist under the same name.
Their 1997 dance track Sunchyme became a colossal hit selling over 600,000 copies in the UK. It utilised a sample of Dream Academy’s Life In A Northern Town.
The group were named after Dario Gradi, who managed Crewe Alexandra FC at the time, so it was fitting that their 1998 song Carnaval De Paris became a huge success among football fans. The track landed at the time of the World Cup in Paris that same year, and is still an instantly recognisable classic today.

Since news broke of his passing, Sigala was one of many artists to share their condolences. He wrote in response, “That’s so sad. A true inspiration, he brought joy to so many people and will live on forever through his music.
“Paul told me many times over the last year ‘Go get yourself checked’ so I’m passing on that message to anyone reading this, as I’m sure he would want me to. Our health should be more of a priority! He will be missed greatly. Sending love to his family, rest in peace buddy xx.”
You can read further tributes below:

We are deeply saddened to learn of the passing of Paul Spencer, who was a part of the dance group, Dario G.
Our thoughts are with Paul’s family and friends at this difficult time. #CreweAlex pic.twitter.com/Legu8aPnpP
— Crewe Alexandra (@crewealexfc) June 17, 2024

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Just heard that Paul Spencer aka Dario G has passed away at the tragically young age of 53.
His 1998 hit ‘Carnaval de Paris’ was the soundtrack of that barmy summer and has been played at football grounds around the world ever since.
R.I.P. Paul.pic.twitter.com/a8qBqW5Seu
— 𝙒𝙊𝙍𝙇𝘿 𝘾𝙐𝙋 𝙍𝙀𝙒𝙄𝙉𝘿 (@WorldCup_Rewind) June 17, 2024

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Iconic music shop Manny’s returns with digital pop-up store in partnership with BandLabFollowing the acquisition of iconic New York music store Manny’s by Vista Musical Instruments in January, Manny’s is returning as a digital pop-up store in collaboration with BandLab.
BandLab is currently the world’s largest social music creation platform, with over 100 million users as of March 2024. Now, this new partnership is designed to bring Manny’s to BandLab’s vast community of creators, offering special discounts and exclusive access on musical instruments from brands like Harmony and Heritage Guitars, with more to come soon.

READ MORE: BandLab’s Meng Ru Kuok: “I think there will be over 1 billion music creators by 2030, potentially even sooner”

Founded in 1935, Manny’s holds a storied history in the world of music retail, having sold instruments to legendary names including Jimi Hendrix and Bob Marley. The store, located on New York’s 48th Street, was acquired by retail giant Sam Ash in 1999, before closing 10 years later in 2009.
A brick-and-mortar store for decades, this new partnership with BandLab marks a new – and to some, unexpected – chapter in the Manny’s story.
“We are thrilled to partner with BandLab to bring Manny’s legendary stories and unparalleled service to a new generation of musicians,” says David Nam Le, General Manager at Vista Musical Instruments.
“This collaboration represents a perfect synergy between two brands who share a passion for supporting and inspiring emerging talent. Together, we look forward to fuelling the creative spark within every musician and helping them realise their full potential.”
Upon the acquisition of Manny’s from Sam Ash by Vista Musical Instruments, VMI CEO Meng Ru Kuok said: “Manny’s is an incredible brand with a rich storied history since it was founded on 48th Street, New York City in 1935.
“From supporting beginners buying their very first guitar to legends like Jimi Hendrix and Bob Marley, it’s unquestionable the impact Manny’s has made on the world of music. We’re proud and grateful to have the opportunity to shape its next chapter to ensure its legacy remains meaningful to future generations of musicians.”
For more information, and to check out the new Manny’s digital pop-up store, head to mannys.com.
Editor’s note: Vista Musical Instruments and Guitar.com are both part of Caldecott Music Group.
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Music Expo San Francisco: Speakers announced Music Expo San Francisco have announced the first round of speakers for their upcoming event for music creators. 

From Kraftwerk to AI – Berlin’s love affair with music technology is stronger than everLike zuckerguss on a zimtschnecken, Berlin and electronic music are perfect companions. For decades, the city has been synonymous with multi-day raves, synth savants, and software start-ups. Hell, the city’s techno culture has been inducted into UNESCO’s cultural heritage list.
Unsurprisingly, Berlin’s musos have been out in front when it comes to AI. There’s Holly Herndon with her ground-breaking Holly+ vocal model, Hildur Guonadottir with her AI-inflected soundtrack to Battlefield 2024, Endel’s adaptive music engine, and DADABOTS’ infinite death metal generator. Something is clearly happening here — and we want to know what.

READ MORE: EU AI Act explained: What does it mean for music producers and artists?

So, we sought out some of the artists working at the grassroots level to find out what’s drawing them to AI, how they’re using the technology, and why Berlin is emerging as a hub for AI music.
For Portrait XO, it was the allure of software companies like Ableton and Native Instruments that first prompted the singer-songwriter to move her life from the US to Germany.
“I came to Berlin specifically because my favourite music tech brands are here,” she says. “I knew I’d be coming to a place where I can nerd out and meet the kind of people I wanted to connect with.”
A still from one of Portrait XO’s music videos
Always on the lookout for new tools and new ways of making music, Portrait XO says she first became aware of AI’s creative potential in 2017 after CJ Carr of DADABOTs shared some of his early research with her. A couple of years later, the pair undertook a joint art residency at Factory Berlin to train an AI model on the singer’s voice.
After providing an hour-long supercut of vocals, Portrait XO says she got back hundreds of “fascinating and eerie” audio clips. Featuring disjointed lyrics, fragmented melodies, and idiosyncratic vocal techniques, it was unlike anything the artist had heard before – and certainly unlike anything she would normally sing.
“The sound of AI was so new to me,” she recalls. “It felt like DADABOTS hacked my entire identity, my relationship to myself as a songwriter, my frustrations with my own voice, and shattered it all into a billion pieces.”
Picking up those pieces and trying to turn them into coherent music would have daunted many, but Portrait XO says she found it creatively energising. Adopting a technique she describes as “fill in the blank’ song-writing”, the artist’s 2022 debut album, Wire, is a collage of generated vocal clips, fleshed out with additional instruments and production.
A still from one of Portrait XO’s music videos
“It felt so inspiring to use AI as a collaborative sparring partner,” she reflects. “I think this is the most revolutionary way for an artist to reinvent themselves, if they wish to.”
Another Berlin transplant pushing the frontier of AI music is Moisés Horta Valenzuela. Originally from Tijuana, Mexico, he releases music under the pseudonym, Hexorcismos, and has produced a series of AI-powered albums since moving to Germany in 2016.
“There is an openness to the music scene here,” he says of his experiences in the city. “You’re meeting people from all over Europe and all over the world, everyone is sharing these very idiosyncratic approaches to making sound. There’s a willingness to try new things.”
His most recent project is Semilla AI, a neural audio synthesis engine that takes its inspiration from the traditional Mesoamerican divination practice of seed throwing. “Divination is a practice of uncovering meaning from randomness,” Valenzuela explains. “When you’re working with neural networks, you generate sounds by injecting random noise, essentially random ‘seeds’, into the network. My approach is to embed these ancient indigenous traditions into the instrument design.”
Turning the instrument over to his friends and peers, Valenzuela set to work on MutualismX, a compilation album made using Semilla AI. Each featured artist curated a dataset from their own musical back catalogue and then used the resulting AI model to write a track for the album. Throughout the process, Valenzuela says, it was important that everyone knew what data was going into the model, and that whatever came out was attributed back to the artists.
Album art for Hexorcismos’ ‘MutualismX’
“I’m very critical of text-to-music models,” states Valenzuela. “Not because they don’t have creative potential, they do, but because they obfuscate the artist and the music that went into the dataset – often using music that was taken without the artist’s consent. With this album, nothing is hidden and every artist is present.”
Semilla AI is notable not only for its unusual approach to instrument design but also because it actually is an instrument, with an interface not too dissimilar from a traditional synthesizer. “There are very few tools with a graphic user interface that allows you to directly interact with the algorithm,” Valenzuela says. “So, the idea was to democratise the technology and make it more accessible to musicians.”
Ktonal, a loose collective of freelance composers and coders set out with similar goals after connecting at university. Over the past few years, the group has published a selection of open-source tools and provided a series of free workshops for the Berlin School of Sound.
“We wanted to enable composers and artists not to depend on big, pre-trained models, but to be able to train their own data,” says the group’s chief programmer, Antoine Daurat. He cites an experiment the group carried out with a modal trained on the sound of medical equipment. “Google has no interest in training on such materials – but this is something that can have a lot of artistic value.”
Ktonal and Beethoven
Experimental sounds are only part of the attraction, says fellow Ktonal member, Genoël von Lilienstern: There’s this large variety of new editing techniques that are coming from AI. Stem separation, reverb removal, extending a sound indefinitely, timbre transfer…These are all things that were not possible five years ago.”
As exciting as all that is, the groups’ free workshops invited some pushback. “There was still a lot of scepticism and fear,” recalls Daurat. “Most of the debates around creativity and AI were very binary. There was no middle ground.”
These days, he says the people coming to the workshops are more likely to arrive with open minds, and big ideas. “They’re always very excited and then, perhaps, a little disappointed,” Daurat remarks. “Because they realise how much time it takes and how tricky it is to get something actually good.”
That struggle is “a little bit addictive”, adds von Lilienstern. “You’re always trying to find a good mix of parameters. It’s a bit like alchemy: you’re trying to synthesize gold and, mostly, you don’t get there, but it’s a lot of fun.”
A still from one of Portrait XO’s music videos
In that sense, Berlin’s AI experimenters are not so different from those electronic music pioneers messing around on synthesisers back in the 70s – tweaking parameters, trying to shape a sound, hoping to stumble across something exciting. As Daurat puts it: “The real promise of AI is not to give a prompt and get back a perfect piece of music – it’s the opposite. It’s feeding in a piece of music and getting back raw materials, new interpretations, new patterns, things I couldn’t reproduce.”
So, why is there so much creative activity happening in Germany’s capital city, even as most of the big-money R&D remains clustered in Silicon Valley?
Valenzuela ties it back to the country’s historic association with electronic music. “It might sound ridiculous but I think it’s because Germany had Kraftwerk,” he says. “Techno culture and club culture have been part of this place for a long time, it’s an embedded tradition.” Before Kraftwerk, of course, was Karlheinz Stockhausen — another key figure in pushing forward experimental electronic music.
In Portrait XO’s opinion, however, it’s the open and accepting culture that permeates the city: “There’s a space here for whatever you want to do. Experimental avant-garde performances, exhibitions, talks, workshops, refined contemporary art — it’s a city that has an audience for anything and everything.”
Tradition and an engaged public are surely part of it, but another key aspect is the country’s uncompromising commitment to the arts and its accessible artist visa program.

“Berlin has always been very welcoming to artists, going back 30 or 40 years,” Daurat says. “Nowadays, every artist comes to Berlin and there’s always more coming.”
Duarat, who grew up in France, says he likes the lack of cultural centralisation in Berlin. “In Paris there are some really strong institutions that kind of set the agenda,” he says. “It’s much easier here to find a topic that interests you, to make it your own, and to capitalise on it as an artist.”
The counterweight to this is that, while there’s significant funding for the arts generally, there isn’t a centralised focus on AI music specifically. This lack of targeted funding can be both positive and negative, in Daurat’s opinion. “There is no official structure to support and accelerate this development in AI music,” he points out. “On the other hand, there is a strong sense of individual freedom and liberty here.”
It’s a paradigm that has led to a loose and at times disjointed network of creatives across the city; everyone exploring the contours of AI technology in different ways. Can that network build itself into a genuine music scene? Perhaps, but maybe that’s not the point.
The sheer variety of technological approaches and musical styles is what makes this all so exciting – Berlin’s decentralisation may be a feature, not a bug. “The scene is in splinters right now and we don’t really have a centre,” von Lilienstern ponders. “But that is not necessarily a bad thing.”
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Howard Jones Discusses Synth Pop, Playing at Live Aid, Classic TunesBefore his upcoming tour with ABC and Haircut One Hundred, synth pop pioneer Howard Jones spoke with AllMusic about the genre he is most associated with, his groundbreaking use of synths way back when, and modern day artists he admires.

Crypto Super PAC spends $2M on attack ad targeting NY lawmakerDemocratic Representative Jamaal Bowman in New York’s 16th Congressional District has voted against three pro-crypto bills in the last 30 days.