Four platforms where Algorithms don’t come between Musicians and FansTired of building an audience on social media only to have 2% of your followers ever see a post? Michael Brandvold and Jay Gilbert explore four music platforms that don’t play the algorithm game.....
The post Four platforms where Algorithms don’t come between Musicians and Fans appeared first on Hypebot.

Rythm music bot returns to Discord with full UI and ‘00s-style music visualiserRythm, the popular Discord music bot forced offline in 2021, has made a comeback, and this time it has a snazzy new UI.
In its original prime, Rythm allowed users on Discord servers to listen to music together. It did so by pulling audio from YouTube, and in September 2021 it told Rythm it needed to close. YouTube also shut down similar music sharing bot, Groovy.

READ MORE: Stability AI’s new open source text-to-audio generator was trained on free music libraries to “respect creator rights”

Now, Rythm is back in business, and is available within Discord as an activity app. Speaking to The Verge, Rythm creator Yoav Zimet says, “Unlike the previous bot iteration, this one actually has a full UI.”
He adds, “You have the same experience as you had before, so you can create a collaborative queue and listen along with your friends, but now there’s an actual full UI where you can add songs, control the music, and view the album art.” There’s additionally a music visualiser, which will throw some people right back to the early 2000s.
Users can now access 50 million songs through Rythm, and this will continue to expand. Zimet says there are some deals that he and co-founder Oliy Barrett are “still negotiating” for this to happen.
There are both paid and free options available, with the premium tier costing $4.99. This will allow subscribers to create a playlist of songs that up to 20 people can join and listen to. Revenue from premium subscriptions is shared with labels and publishers.
Free users will still be able to join these listening sessions or listen to curated radio stations without a premium user in a Discord voice call. There is also no ads, though this may change later down the line. As for royalty payments, if a song is played in a session with 20 listeners it counts as 20 streams, according to Music Ally.
Standalone versions of Rythm for iOS, Android, and desktop PCs are currently in the works. Zimet says its plan “isn’t really to compete with Spotify or Apple Music”, due to its core sentiment of group listening, rather than solo playback.
Find out more over at Rythm.
The post Rythm music bot returns to Discord with full UI and ‘00s-style music visualiser appeared first on MusicTech.

Glastonbury and Spotify team up to launch an official Glastonbury festival appIf you’re at Glastonbury this year or watching at home with the BBC, you can curate your experience with the Spotify-integrated Glastonbury 2024 app.
The festival and the streaming platform are joining forces this year for Vodafone’s official Glastonbury app, available on iOS and Android. The app aims to make planning the festival experience easier, with all the crucial info about artists, stages, and set times, so fans can create their own personal festival calendar.

READ MORE: Spotify claims it’s enabling musicians to make a living: “More than 25,000 European artists are now generating over €5,000”

And, with Spotify integration, the app will recommend artists to check out based on their listening habits.
Glastonbury organiser Emily Eavis says, “It’s great to launch this integration with Spotify to help festival-goers discover artists playing this year. There are so many amazing acts on the line-up and we’re really happy that the app will now help guide people towards the ones they’ll love.”
Meanwhile, Spotify vice-president of global marketing and partnerships Marc Hazan explains, “Spotify reflects and celebrates music culture so this partnership with Glastonbury is the perfect fit. We want to forge deeper connections between artists and fans, and what better way to do that than by teaming up with the world’s greatest music festival?
“The integration with Vodafone’s official Glastonbury app combines Spotify’s hugely popular personalisation and discovery tools so that users can really elevate their Glastonbury experience to a new level.”
Can’t wait for the festival? Head to Spotify for the official Glastonbury 2024 playlist, one part of the platform’s Glastonbury 2024 hub.

Glastonbury takes place on 26-30 June with Coldplay, Dua Lipa, and SZA headlining, while Shania Twain takes the legend’s slot. Among the other artists are Little Simz, Jungle, Jamie xx, Justice, and LCD Soundsystem.
Tickets for this year’s festival sold out in under an hour. After going on sale at 9am on 19 November, all tickets were bought by 10.
The post Glastonbury and Spotify team up to launch an official Glastonbury festival app appeared first on MusicTech.

“The end of an era”: MasterSounds to build final units of its DJ mixers and more ahead of journey in “different direction”MasterSounds is building the final units of its DJ mixers, FX units, ISO4s and LinearPOWER supplies, of which it will soon cease production.
The end of this chapter has been announced by founder Ryan Shaw in a statement shared on the MasterSounds website and social media channels. It will continue to offer aftercare support for all of its products now and in the future, and all is not lost as there is an “exciting road ahead”.

READ MORE: Ryan Shaw, head of MasterSounds: “When you mix on a rotary, it’s an experience…like it’s your first mix at Café Mambo every single time”

Shaw founded MasterSounds in 2008. He then formed a partnership with Andy Rigby-Jones of Union Audio in 2016 to launch a range of rotary DJ mixers and other products across the years. Shaw says that MasterSounds and Union Audio will continue their journeys of discovery “in different directions” following the final sales of these products.
Shaw’s statement reads, “As we hit mid 2024, I wanted to give everyone reading this a heads up, to let you know that we are currently building our final units of MasterSounds DJ mixers, FX units, ISO4s and LinearPOWER supplies, once these are gone, we won’t be producing or selling any more of the above products, which I truly believe will become classics of the future.”
He continues, “From our chance meeting in 2016, myself and partner Andy Rigby-Jones [Union Audio founder] set out on a mission to create and sell truly wonderful esoteric audio products. Our vision was to create equipment that is truly world class, with our esoteric principles of sound and simplicity at the fore. A vision that turned into an amazing reality, creating products and friendships that will last a lifetime.
“It’s been an amazing journey of discovery, and one MasterSounds and Union Audio are continuing to make in different directions. Here at MasterSounds, we will continue to offer our first rate aftercare to all products now and in the future, and look forward to an exciting road ahead.”
Shaw also offers his thanks “for the unrivalled support” given to MasterSounds over the past eight years, and to “Andy and his amazing team of true lifelong friends at Union Audio for one hell of a ride”.

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A post shared by MasterSounds (@mastersounds)

Find out more and purchase the final run of products over at MasterSounds.
The post “The end of an era”: MasterSounds to build final units of its DJ mixers and more ahead of journey in “different direction” appeared first on MusicTech.

Replay Box re-amper from United Studio Technologies United Studio Technologies latest release sets its sights on re-amping, and draws inspiration from a design that was never available as a commercial product. 

The best DAWs for music producers in all genres, styles and workflowsThe digital audio workstation – or DAW, as it’s affectionately known – is the backbone of modern music production. If you’ve ever wanted to compose or record music, there’s a strong chance you’re at least somewhat familiar with what this piece of software does.
Put simply, DAWs provide musicians, producers, and sound engineers with a comprehensive set of tools to create, mix, and master music and other audio projects.

READ MORE: Best MIDI controllers for creating music in your DAW

And today, there are more options than ever. While heavyweights like Logic Pro, Ableton Live, and FL Studio remain the most popular choices, we’re seeing countless innovative upstarts offer fresh and innovative approaches to making music.
To a certain extent, selecting a DAW is a question of personal preference rather than one of functionality. As time has gone by, we’ve seen greater parity of features across DAWs. For example, Ableton finally received comping in Live 11 – a capability Logic Pro and other DAWs have had for years. Meanwhile, Logic Pro’s 10.5 update aped Live’s iconic Session View with its Live Loops feature.
Instead, the software you choose comes down to how it fits into your creative process – whether that’s in terms of workflow, interface, instruments and effects, or simply if it inspires you to create music.
With that said, modern DAWs do still have their own strengths and weaknesses. In this guide, we show you the best DAWs based on a range of musical applications to help you pick the perfect tool for the job.
Best DAWs at a glance:

Our pick: Ableton Live
Best mobile DAW: BandLab
Best free DAW: UA Luna
Best for sampling and beatmaking: FL Studio
Best for scoring and soundtracking: Steinberg Cubase Pro
Best for DJs: DJ.Studio
Best for mastering and post-production: Steinberg Nuendo
Best for sound design: Reason
Best for mixing and arrangement: Logic Pro

Our Pick: Ableton Live 12
Live 12 Meld plugin
Ableton Live is among the most popular DAWs, and it’s easy to see why. It’s incredibly versatile, catering to a wide range of uses across both music production and live performance. A major hallmark of Live is its Session View, which provides a clip-based, non-linear workflow for music creation and improvisation.
But make no mistake, Ableton Live is an incredibly powerful workhorse that’s a capable centrepiece of any setup. It includes some fantastic built-in plugins, like the Operator FM synth, the self-explanatory Wavetable, and more experimental synths like Tension and Collision that offer physical modelling. There’s a full roster of studio-grade effects that let you mix and master your productions too.
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Live’s pitch-shifting and time-stretching features are highly regarded, ideal for chopping samples and remixing audio. And through the Max for Live platform, you can even build your own devices and extend Live’s capabilities, almost infinitely.
With the release of Live 12 in March 2024, Ableton has further cemented its position as one of the best all-round DAWs. New MIDI generation features are sure to spark creativity – as is the new MPE-enabled synth Meld, which is perfect for creating intricate textures and drones. The update brings with it workflow improvements too, letting you tag samples, mix from Arrangement View, and further fine-tune Live’s interface.
Learn more in our review of Ableton Live 12.
Best Mobile DAW: BandLab
Image: BandLab
Our vote for the best mobile DAW goes to BandLab, the perfect choice if you’re making music on a phone or tablet. Its cloud-based approach offers two significant benefits.
First, it means you can make music anywhere. On the go and sketching out an idea on your phone? Simply log into your BandLab account on desktop and finish things off in the browser.
Secondly, BandLab is great for collaboration. Recording a vocalist? Want input from your band members? Send them an invite to Fork your track and you’ll be able to work together on the project in real time. You can collaborate across iOS and Android devices, plus any computer that can run Google’s Chrome browser. The social media side of BandLab also lets you share tracks, connect with other artists, and discover new music production techniques.
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Other features of the BandLab DAW include a royalty-free sample library of over 100,000 sounds (including many made by MusicTech), stem separation tech, and an AI-powered idea generator, all seamlessly integrated within the platform. The icing on the cake? It’s entirely free to use.
However, BandLab is so much more than just a DAW. It also offers a range of services to help you distribute and promote your music, letting you release on DSPs, earn money from your fans through a tip jar, and submit your music to exciting industry opportunities.
Find out more at bandlab.com.
[Editor’s note: BandLab and MusicTech are both part of Caldecott Music Group]
Best free DAW: UA Luna
Image: Universal Audio
Universal Audio is best known for its powerful audio interfaces and sophisticated analogue-style plugins. But in 2020, the company surprised us with the launch of its brand-new DAW, Luna. Previously only available to owners of Universal Audio hardware, the software is now free for all macOS and Windows users.
Despite its lack of price tag, Luna provides a high-quality recording and mixing environment on par with the best-paid DAWs. And, unlike some other free DAWs, the track count is unlimited — you can record or play back as many as your machine can handle. You can also run AU and VST plugins, which greatly expands your capabilities.
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Another major selling point is the focus on analogue emulation – both in terms of sound and workflow. In fact, Luna might just be the closest you can get to an in-the-box mixing desk thanks to advanced summing algorithms modelled on classic consoles from Neve and API.
On top, Luna’s tight integration with other UA products means it works flawlessly with your favourite UAD plugins while providing low latency and high fidelity.
Learn more in our review of Universal Audio’s Luna.
Best for sampling and beatmaking: FL Studio 21
Image: FL Studio / Image-Line
Long affiliated with the hip-hop world – although perfectly capable of handling any genre you throw at it – FL Studio is our pick if you’re looking for a DAW for sampling and beatmaking.
Renowned for its pattern-based workflow and intuitive step sequencer, FL Studio is especially popular with those new to music production. But don’t let its user-friendly appearance deceive you – this DAW is just as suitable for audio pros, offering plenty of advanced features and functionality. The 21.2 update even brought native stem separation to FL Studio, a fantastic tool for remixing content or simply finding new sources of inspiration.
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Starting at £89, FL Studio pricing is highly accessible, but users get free lifetime updates too – we think that’s incredible value for a fully-fledged DAW. Looking for beatmaking software with a tighter focus? Give Serato Studio or MPC Beats a try.
Learn more in our review of FL Studio.
Best for DJs: DJ.Studio
DJ.Studio 2.0
If you’re a DJ or tastemaker focused on crafting mixes and playlists, you likely know the struggle of doing so in a general-purpose audio workstation. Thankfully, DJ.Studio offers an alternative – a DAW aimed specifically at disc jockeys and tastemakers.
Get started by picking tracks from your existing library through integration with popular software like Rekordbox, Serato, and Traktor, and open up new creative possibilities with DJ Studio’s native stem separation.
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Then, easily create your mix in the intuitive timeline-based editor, dialling in precise transitions with built-in effects. You can also leverage DJ Studio’s automix technology to arrange your playlist based on tempo, key, and energy level.
Sharing mixes is simple, with export options including WAV and MP3, Ableton Live projects, and direct publishing to YouTube or Mixcloud. We particularly love the visualiser feature for creating engaging video mixes.
Learn more in our review of DJ.Studio. 
Best DAW for sound design: Reason 12
Reason 12
Reason is a little different to other DAWs – in fact, it nearly transcends the label entirely.
It’s built around the Rack, an emulation of a real hardware rack which users can stock with instruments and effects, and then connect them up in all sorts of different ways. This modular approach makes Reason the sound designer’s best friend. Once you’re done crafting a sound, you can bake it into a single rack unit with a custom faceplate, or even bring it into another DAW by using Reason as a third-party plugin.
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However, it works just as well standalone thanks to the Studio which provides recording and sequencing functionality, audio editing tools, and even a mixing desk modelled on the famous SSL 9000k.
While Reason is available as a one-off purchase, those opting for the monthly Reason+ subscription also get access to a plethora of samples and audio packs along with additional Rack devices and the latest updates.
Learn more in our review of Reason
Best for mixing and arranging: Logic Pro 11
Credit: Apple
Another heavy hitter, Logic Pro remains near the top among audio hobbyists and professionals alike – and it’s available at a single, affordable price.
The user-friendly interface makes it easy to take a project from an initial sketch to a release-ready master. Comping tools allow for smooth selection of the very best audio takes, while powerful MIDI editing lets you dial in detail when working with soft synths and sample libraries.
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Logic Pro’s mixer offers plenty of advanced bussing and routing options, along with an ever-expanding selection of high-quality effects, whether you’re looking for a surgical EQ, an unwieldy distortion, or an immersive reverb.
Of course, focusing solely on mixing and arrangement is selling this DAW short, and this all-in-one music production suite regularly receives inspiring new features. Recent updates include stem separation, AI-powered pitch correction, smart Session Players, and new hardware emulations that can enhance your mix with some analogue colour.
Learn more in our review of Logic Pro.
Mastering and audio post-production DAW: Nuendo 12
Steinberg Nuendo 12’s Netflix import feature
Nuendo from Steinberg offers a truly comprehensive suite of audio post-production tools, making it an excellent choice of DAW for those working with film, TV, game audio, and virtual reality.
The high price tag reflects Nuendo’s long list of features. Automated dialogue replacement (ADR), video cut detection, and content organisation are just a few of its utilities. Sound designers and composers get access to a vast range of high-quality effects and processing. There’s support for surround sound formats like Ambisonics, Dolby Atmos, and Hamasaki 22.2 along with VR head tracking too.
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Nuendo is most definitely overkill if you’re simply looking for a DAW in which to create music – but for industry professionals, its rich functionality is likely worth the higher cost.
Learn more in our review of Steinberg Nuendo.
DAW for soundtracking/scoring: Cubase 13

Steinberg Cubase may lack the aesthetic appeal of DAWs like Ableton Live or FL Studio, but it remains an audio production staple – particularly for those working with moving image.
Off the bat, Cubase integrates well with video, allowing users to accurately sync music with visual content. The platform touts advanced MIDI capabilities too, letting you get the most out of today’s detailed multi-sample libraries to create highly expressive compositions that match the emotion of the scene.
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One drawback? Many features TV or film composers require – such as the Advanced Score Editor, Time Warp, and support for Dolby Atmos – are locked behind the highest pricing tier.
Learn more in our review of Cubase 13.
The post The best DAWs for music producers in all genres, styles and workflows appeared first on MusicTech.

Fundraiser launched to support Endlesss founder Tim Exile as he recovers from cancer treatment amid business collapseA GoFundMe has been launched in support of Tim Exile, the founder of Endlesss, as he recovers from cancer treatment amid the collapse of his business.
Endlesss was an app for collaborative online music-making, and at its launch amid the COVID-19 pandemic, MusicTech gave it a glowing review. It shut down on 31 May 2024 following a statement which thanked its loyal following.
Tim dedicated seven years of his life and all his wealth to building Endlesss. The fundraiser’s target of £40,000 was surpassed within just three hours of its launch. Currently, over £64,000 has been raised to support Tim and his family at this very difficult time.
In a statement on the GoFundMe Page, it explains, “Tim Exile and his family need urgent support as they recover from Tim’s cancer treatment and the knock-on collapse of Endlesss, the music software business he founded. This has left Tim and his family with no savings or income. Due to Tim’s recent major surgery it will be months before he is able to return to work. His partner cares full time for their twin daughters.”
It continues, “Tim’s symptoms started in March last year, three months after his twin daughters were born. He was diagnosed with aggressive bladder cancer in July and underwent two surgeries in the following months to remove tumours. Tim worked tirelessly and fearlessly throughout this rollercoaster to make sure Endlesss kept providing value to its community and an income for its team, alongside learning the ropes of being a father to twins.
“In November, as his dad was taking his last breaths, he learned that the only chance of a cure was major surgery to remove his bladder, prostate and a section of bowel to create a urine conduit on his stomach. This procedure would take six months to fully recover from.”
It further explains, “Knowing he’d be unable to work for so long after the surgery, he looked for a buyer to take over the business. He didn’t take a salary for six months and delayed his surgery date by six weeks to do this. With a buyer finally found, he went for surgery at the end of April. Devastatingly, the deal collapsed a couple of weeks later, forcing the company to be placed into liquidation.”
Anna Shaw, the fundraiser’s organiser, has since shared Tim’s immense gratitude for the money raised. With the goal reached, he wants to start helping the Endlesss team who have worked without pay through the difficult last few months, so all further donations will continue to go to a good cause.
You can read both full statements and continue to donate via GoFundMe.
The post Fundraiser launched to support Endlesss founder Tim Exile as he recovers from cancer treatment amid business collapse appeared first on MusicTech.

The EU AI Act and what it means for music producers and artistsJonathan Coote is a music and AI lawyer at Bray & Krais.
AI music tools might be controversial right now, but almost two-thirds of young creatives are embracing AI in their music making, according to a recent study. While AI music generation software has led to innovative creative opportunities, the legal landscape is still hotly contested with new disputes arising almost every week.

READ MORE: Opinion: AI won’t replace music producers anytime soon — but many need to adapt

On May 21, 2024, the EU Council approved the EU AI Act, which could have a significant global impact on the music industry. Below, we set out some of the key legal questions raised by AI for the music industry and how different jurisdictions are dealing with them, before flagging the biggest risks from a legal perspective when using AI to make music, particularly for music producers and engineers.
There are three main legal questions raised by the use of AI in the music industry:

Should AI tools be trained on huge catalogues of music for free or should they get a licence first?
Is there a way to stop deepfakes and voice clones like the “Ghostwriter” track which replicated the voices of Drake and The Weeknd so effectively?
Is there actually any copyright in music created by an AI tool?

Image: wundervisuals via Getty Images
Train in Vain?
There is a huge public debate at the moment about the use of music (and other content) in the training and development of AI tools. Put simply, most AI-generated music tools train and learn from existing human-made music. While some have secured licences to do so, there are various lawsuits against AI companies, alleging that they have trained their tools without getting a licence first. To make the matter more complex, the laws on this topic are different around the world.
In the EU, copyright law restricts training on copyright works for commercial purposes without a licence if rightsholders have simply ‘opted out’. Under the new EU AI Act, providers of so-called ‘general purpose’ AI models on the EU market will not only have to abide by these rules but must also demonstrate their compliance by providing transparency on their training process, seemingly even if the training was conducted outside the EU. This could have profound implications for AI companies worldwide – many of whom have trained their tools in countries with more lenient rules, such as the US.
In the UK, the government decided not to bring in the EU’s ‘opt-out’ approach post-Brexit, so the law currently appears to prevent all training on copyright works for commercial purposes without a licence. However, there is a major case going through the English courts at the moment (Getty Images v Stability AI), which would be the first time the law is actually tested in practice.
Before that reaches trial, though, the law may have already changed.
The UK government has been unable to update the law, and its attempts to set up a voluntary system led to failed talks between the tech industry and rightsholders. Prior to the calling of the general election, Culture Secretary Lucy Frazer suggested that change would be coming, although it now remains to be seen whether either of the main parties will commit to regulating AI should they form the next government.
In the US, there is no specific law on this issue and so there is even more uncertainty. Perhaps unsurprisingly, there are currently a large number of lawsuits on this issue involving AI tool providers such as OpenAI, Stability AI and Anthropic.
Image: M Stock via Getty Images
Fake it till you … take it down
Deepfakes and voice clones have taken the internet by storm in the past 12 months. However, this is a complex area of law with no specific right to protect artists and celebrities in most countries (unless used as part of a false endorsement). So far, online takedowns have been successful but the process isn’t as easy or straightforward as the music industry would like.
The EU AI Act is set to introduce a transparency obligation which requires deepfakes to be identified, including voice clones. This won’t stop their circulation entirely, but it should at least mean that consumers can clearly spot a deepfake when they happen across one.. However, there remain questions about the impact on more creative or parodic uses. There is therefore still a gap for a specific ‘digital representation’ right, as has been considered in the US and proposed by UK Music and the All-Party Parliamentary Group on Music in the UK.
Do androids dream of electric beats?
You may be surprised to learn that music created with AI tools might not actually be protected by copyright at all. This has been the position taken so far by the US Copyright Office, and is probably similar in the UK based on the current law — although there’s the added complication that, in the UK, sound recordings appear to be protected regardless of whether they are made by a human or an AI tool.
Though the output of an AI tool based on a minimal prompt may not be protected, if this is then edited or modified (e.g. AI-generated chords to which you add a melody and lyrics), it is likely that the final version will be protected.
Image: Drablenkov via Getty Images
What to think about when using AI tools in your music creation

Music created purely with AI from a basic prompt may not be protected by copyright. This is important as you may be asked to warrant in agreements with other parts of the industry (e.g. record labels, publishers or distributors) that you own all the rights to the music. To try and get some level of copyright protection, you should adapt and modify what the AI produced in a creative way.
Check to see what rights you have to use anything you create using an AI tool. Do you own it or do you license it? Are you limited to “non-commercial” use, unless you pay a fee? If so, this probably means that you can’t upload it to a streaming service, for example.
Avoid uploading or distributing unlicensed voice clones and deepfakes of real people — unless you would like a letter from their lawyers!
Many producers are increasingly using separation tools to extract stems to create new mixes or to find new samples. Remember that in almost every case, you still need a licence to use a sample (even if you’ve extracted the stem from an existing mix).

The post The EU AI Act and what it means for music producers and artists appeared first on MusicTech.

Alan Parsons Announces New ASSR “Music Production Workshop”After more than a decade of sold out Master Classes held in studios from Buena Park to Bogota, Alan Parsons wants to shake up the music production learning space with new hands-on Music Production Workshops where attendees get to be part of the recording and mixing process.

At the inaugural event being held at Parsons’ beautiful studio in the hills above Santa Barbara, students will be able to sit behind Alan’s Neve 5088 and try their hand at EQ-ing, processing using outboard gear including UnFairchild, DBX, SPL, Zulu and more plus the studio’s virtual basket of plug-ins. 

Alan and his assistant engineer Noah Bruskin will be ever present guides and advisors but the idea is for everyone can experience working with top quality equipment, even if it’s just pushing up faders to create a unique balance.

A variety of exciting musicians including American Idol star James Durbin will record using different instrumental and vocal recording techniques, taking advantage of Alan Parsons’ classic mic collection built from his days at Abbey Road. There’ll also be a field-recording sortie using 3Dio binaural mics!

The second of this two-day event focuses on mixing, with look at the current state of spatial / immersive audio with ASSR Immersive Audio course author and expert David Reyes. Throughout the day attendees will not only be able to mix music recorded the previous day, Alan promises to have some truly classic recordings - now being mixed in Dolby Atmos - for everyone to not only experience but literally get their hands on. 

Ticket prices include gourmet food and wines and the chance to hang with one of the most iconic music producers of the past fifty years, both in the studio and at the event’s after-party where you’ll be able to take photos and get memorabilia signed.

Early booking is advised to ensure a place at these perennially sold-out ASSR events. For full details and ticketing visit the website at www.artandscienceofsound.com/mcts/July2024 or call ASSR at 1-800-852-2570. 

ASSR’s Music Production Workshop: www.artandscienceofsound.com/mcts/July2024

ASSR’s online recording courses: www.artandsienceofsound.teachable.comThe post Alan Parsons Announces New ASSR “Music Production Workshop” first appeared on Music Connection Magazine.

Biden administration looks to give Rocket Lab $24M to boost space-grade solar cell productionIn addition to the federal funding, the state of New Mexico — where SolAero is based — committed to providing financing and incentives that value $25.5 million.
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CBDCs' threat to freedom put under the microscope at Oslo conferenceAttendees of the 2024 Oslo Freedom Forum were united in addressing the threat that central bank digital currencies (CBDCs) pose to freedom around the globe.

BikeBeamer Adds POV Display to Bicycle WheelsUnless you’re living in a bicycle paradise like the Netherlands, most people will choose to add some sort of illumination to their bicycle to help drivers take note that there’s something other than a car using the road. Generally, simple flashing LEDs for both the front and the rear is a pretty good start, but it doesn’t hurt to add a few more lights to the bicycle or increase their brightness. On the other hand, if you want to add some style to your bicycle lighting system then this persistence of vision (POV) display called the BikeBeamer from [locxter] might be just the thing.
The display uses four LED strips, each housed in their own 3D printed case which are installed at 90-degree angles from one another in between the spokes of a standard bicycle wheel. An ESP32 sits at the base of one of the strips and is responsible for storing the image and directing the four displays. This is a little more complex than a standard POV display as it’s also capable of keeping up with the changing rotational speeds of the bicycle wheels when in use. The design also incorporates batteries so that no wires need to route from the bike frame to the spinning wheels.
This is an ongoing project for [locxter] as well, meaning that there are some planned upgrades even to this model that should be in the pipe for the future. Improving the efficiency of the code will hopefully allow for more complex images and even animations to be displayed in the future, and there are also some plans to improve the PCB as well with all surface-mount components. There are a few other ways to upgrade your bike’s lighting as well, and we could recommend this heads-up headlight display to get started.

2024 Business Card Challenge: Make Them Shake Your HandiworkBefore COVID, people traditionally sealed their initial introduction to each other with a handshake. Nowadays, that activity seems kind of questionable. But you can still give them something to shake if you build this persistence of vision (POV) business card from [chaosneon] to show your credentials in blinkenlights form.
As you might have guessed, the input comes from a tilt switch. The user simply shakes the card back and forth, and the sensor detects the direction and cadence of the shake. Cleverly, the pattern plays forward-ways on the swing, and backwards on the back stroke, which just reinforces the POV effect. Don’t worry about how slow or fast to shake it, because the timing adjusts for your speed.
The first version used individual white LEDs, hand-soldered to an ATtiny2313. Now, in the updated version which you can see in the demo video after the break, [chaosneon] is using an RGB NeoPixel strip, which only needs one data wire to connect to the microcontroller. Thanks to this, [chaosneon] was able to to downsize to an ATtiny85.

Your NBA Finals listening party: 10 pro basketball players who also make music
Here are ten current and former pro basketball players who navigate both the court and the studio.

Sanujeet Bhujabal named Managing Director, Universal Music India and South Asia; Viral Jani appointed Chief Revenue Officer"We have been growing rapidly, through our groundbreaking, artist-first non-film music strategy..."
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