My Forever Studio: Sharooz wants the synths software can’t recreateThis week, we welcome into the Forever Studio Sharooz Raoofi, a DJ, producer, synth hoarder and serial music entrepreneur, who has founded the likes of Sample Magic, Principle Pleasure Studios in downtown LA, and more recently, beats and sounds marketplace Wavetick.
During the episode, Raoofi talks about the early stages of his career, which really began to take off when he unexpectedly received a cheque for £28,000, after he had his music placed on a Japanese TV show where it was played on rotation. His mum called him as he was preparing to move out of London saying he’d received a cheque for nearly £3,000, before she checked again and realised it was 10 times that amount.
The producer also dives deep on his impressive collection of vintage synths, which some commenters have accused him of “splurging money” on. He says, though, that he bought most of his gear 20 years ago when it was cheap and uncool.

The My Forever Studio podcast – created in partnership with Audient – sees artists, producers and engineers create their dream fantasy Forever Studio, wherever they want in the universe. However, there are strict rules in the Forever Studio. 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!
Last week, we spoke with award-winning Nigerian producer and WizKid/Skepta collaborator Sarz, who discussed why producer tags are now more important than ever, and the time he lost a job with a top Nigerian recording artist because he used Fruity Loops and not Pro Tools.

Subscribe to My Forever Studio on Apple Podcasts and Spotify and check out all episodes so far via MusicTech.

The post My Forever Studio: Sharooz wants the synths software can’t recreate appeared first on MusicTech.

IK Multimedia introduce iLoud MTM MkII IK Multimedia have announced the launch of the iLoud MTM MkII, a new and improved version of their hugely popular compact nearfield studio monitors.

Opinion: AI won’t replace music producers anytime soon — but many need to adaptSimon Hestermann is the co-founder and CTO of Masterchannel, a company offering AI mastering services.
The music industry is on the brink of an AI transformation. Despite this, AI is mostly seen as a ‘nice-to-have’, optional tool for artists and producers, or an existential threat that requires heavy regulation. The reality is that AI represents a paradigm shift that will revolutionize how the industry operates by taking over myriad human tasks. It is not an existential threat to human-made music, but it will require profound adaptation from producers to remain successful.

READ MORE: Why Wolfgang Gartner used custom-trained AI vocals on Automatic

By embracing this shift instead of shying away from it, producers can leverage the huge creative and strategic upsides available with the implementation of AI. Producers can save time, create more tracks, and explore more musical variety than otherwise possible.
Drawing from my experience as a mastering engineer and computer scientist, I recognized years ago that technology was poised to bridge the final gaps in mastering and music production. Confronted with this prospect at the close of 2019, I made a conscious choice: if AI was going to supplant my role, I would ensure it did it well.
With AI’s rise, producers face a critical juncture but they have the power to chart an encouraging trajectory. Not only can producers use AI to improve efficiency, but also to enhance their creativity.
Masterchannel’s Simon Hestermann
The future of music production
AI will automate many established processes in music production, providing producers with abundant opportunities to redefine their roles. Traditionally, being a ‘skilled’ producer meant mastering the art of arranging the instrumentals and vocals of a song, taking a song from an idea to a polished product.
Today, AI models have started to perform all those steps convincingly, and producers need to take on much more of a conductor role integrating those models into their workflow. This doesn’t mean they shouldn’t know their craft, but it does mean that performing their craft alone no longer gives them a competitive advantage over AI. The modern producer’s focus will be on orchestrating and harmonizing the AI technology at their disposal to create music that resonates with audiences. This requires producers to develop a solid understanding of AI technology.
As a mastering engineer myself, I’ve witnessed how AI has already transformed the way my fellow artists and producers work. A prime example is an artist friend who tours extensively, but who also produces music in the studio between tours. To streamline this process, they employed a voice clone tool to re-record parts of their tracks that needed improvement. Not only did this expedite their creative process, but it also reduced their hours of studio time, giving them the flexibility to focus on writing, performing, and taking rest.
The pivot to AI is already happening in the visual arts space, and these artists are being celebrated for their innovation. Take Refik Anadol’s AI-generated living paintings, for example. In these artworks, credit goes to the artist for the composition, not the execution.
However, the same attitude is not so prevalent among music creators, apart from some notable exceptions, such as Grimes’ futurist approach to AI.
If producers want to remain relevant, they need to reevaluate where their value lies. The producers that are truly going to stand out are the ones that embrace new technologies ahead of everyone else. That way, they can become the source of knowledge of music tech production for their peers and stay relevant in discussions regarding the future development of AI tools.
Image: M Stock via Getty Images
Embracing market pressures
The ongoing debate about AI in music production tends to be polarized, which potentially oversimplifies the issue.
On one hand, there is a prevalent fear among artists about AI’s impact: a recent survey indicates that 73 per cent of music producers are concerned that AI may replace them, with another 30 per cent worried that AI could undermine creativity and originality. Others believe that AI is just a tool intended to augment the creative process. Indeed, 53 per cent of artists hesitate to disclose their use of AI, suggesting a stigma associated with its use.
However, the reality is more nuanced. A middle ground is emerging, led by a new generation of producers who skillfully integrate AI with human creativity, from simple things like sampling in the case of Deadmau5, all the way to vocal generation in the case of David Guetta. The bottom line is that producers need to challenge their preconceived notions about AI because those who master its potential will undeniably shape the future trajectory of the music industry.
Image: Drablenkov via Getty Images
Artists tend to look for producers who can integrate cutting-edge technologies into their production process. My expectation is that artists will soon expect AI integration to be as standard a component of a producer’s toolkit as knowing the ins and outs of a DAW. It’s no surprise that DAW-makers themselves have therefore started betting on that development, too.
Producers must also consider what they believe constitutes the intrinsic value of their work. The resonance of music with audiences is predicated on the artists’ narratives, and the ability to evoke human emotion. Therefore, automating routine processes will free up resources and time to cultivate artists’ distinctive brands and personas, aspects of artistry where AI cannot readily compete. This strategic use of technology in music production echoes historic shifts in other creative industries, such as the advent of filmmaking technology on storytelling.
The challenge and opportunity lie in harnessing AI to enhance the art of music production, potentially reshaping the music industry as fundamentally as cinema did for storytelling.
Image: Kosamtu via Getty Images
Harmonizing AI with Music Production
Finding harmony between technological innovation and the human touch is the path forward.
I believe there are huge upsides to this new era of music production. Acknowledging and embracing it will not only prepare us for the change in the industry, but also position us to navigate the future of the industry. In this new era of music production, an artist’s skill in mastering and shaping AI-powered music technology is pivotal, positioning them as a source of expertise and innovation.
The post Opinion: AI won’t replace music producers anytime soon — but many need to adapt appeared first on MusicTech.

Argentina’s Milei meets top tech CEOs to boost business relationsLibertarian Argentina has “enormous possibilities” under his leadership, Milei tells Sam Altman.

Luke Hemmings: Rockin’ at the RivieraLuke Hemmings: Rockin’ at the Riviera

By Lila Fierek

Luke Hemmings’ aura shone brightly during his first solo concert in Chicago, and it wasn’t due to his signature sparkly blue eyeshadow. The 2500-capacity venue – The famed Riviera –  teemed with enthusiastic showgoers. Hemmings, lead singer of 5 Seconds of Summer, opened the North American leg of his tour, “Nostalgia For a Time That Never Existed,” at the Riviera Theatre on Tuesday, May 21.  

Fans were eager to see the six-foot blonde after waiting several hours in 86-degree heat. The audience was attired largely in blue in homage to “Baby Blue,” from Hemmings’ debut When Facing The Things We Turn Away From. 

It was many fans’ first time seeing the Australian singer solo. While some questioned his ability to perform without the support of his three bandmates, the Sydney-native’s personality carried the day, silencing concerns. He brought a sarcasticyet powerful vigor to stage that could make any venue feel special. 

The Aussie artist launched the show shortly after 8:30 with “A Beautiful Dream.” As spotlights illuminated the crowd with rays of angelic white light, some whispered that the beginning of the concert must be what heaven feels like. The energy heightened as strips of confetti fluttered from the ceiling during his second song “Motion.” 

Hemmings, who is known for his slow, heavy ballads, joked that fans came to the concert for a good cry. His voice was rawer and more emotional live than on his records. The lights morphed to a dark blue during the slower segment of the show. Fans were disappointed tolearn that “Slip Away” had been omitted from the setlist. 

The tempo escalated when the singer urged the audience to dance for his cover of The Cure’s “Friday I’m In Love.” He then surrendered to the song as he explored the stage while strumming his guitar.  

Hemmings noted that the next offering on the setlist  – “Garden Life” from his EP Boy – is his favorite song that he’s ever written. The tune is widely believed to be about his wife and fellow singer Sierra Deaton.

The energy spiked for the final three songs of the night. Fans displayed blue paper hearts illuminated by their smartphone flashlights during “Shakes.” Amidst “I’m Still Your Boy,” they held aloft posters that read, “You are Chicago’s boy.” Before he launched into the song, Hemmings spoke of his love for Chicago. The Windy City was referenced in the lyric, “You still ain’t Chicago, the things that I miss.” It deepened the song’s magic and the musician grinned as fans chanted the lyrics back to him. 

Contrary to the title, the vocalist closed the show with “Starting Line.” He capped it by opening his jacket to reveal a gray Illinois T-shirt, which prompted the crowd to erupt into woofs and hollers.

The North American leg of Hemmings’ tour continues through early June, after which the Aussie returns home for four last shows. His final US date will be at Los Angeles’ Hollywood Palladium on June 6, the second of his two-night stand.

Setlist:

A Beautiful Dream

Motion

Close My Eyes

Saigon

Comedown

Diamonds

Place in Me

Benny

Mum

Bloodline

Promises

Baby Blue

Friday I’m In Love (Cover)

Garden Life

Shakes

I’m Still Your Boy

Starting Line 

Tour Dates:

May 27 - Washington D.C. - 9:30 Club

May 28 - Brooklyn, NY - Brooklyn Paramount

May 30 - Ontario, Canada - History

May 31 - Royal Oak, MI - Royal Oak Music Theatre

June 4 - Oakland, CA - Fox Theater

June 5 - Los Angeles, CA - Hollywood Palladium

June 6 - Los Angeles, CA - Hollywood Palladium

June 12 - Melbourne, Australia - Palais

June 13 - Newton, Australia - Enmore Theatre

June 14 - Sydney, Australia - Enmore Theatre

June 16 - Brisbane, Australia - The Tivoli
The post Luke Hemmings: Rockin’ at the Riviera first appeared on Music Connection Magazine.

Win $1,000 and a chance for an official release via Technique Recordings’ remix contest
Remix "Jungle Tekno" by Drumsound & Bassline Smith for the chance to win $1,000 and an official release via Technique Recordings.

Is Apple planning to ‘sherlock’ Arc?With the release of iOS 18 later this year, Apple may again borrow ideas third-party apps. This time it's Arc that could be among those affected.
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Pixel Graphics From an HD44780, By Cutting Wires[Felipe Tavares] wasn’t satisfied with the boring default fonts on an HD44780-based display. And while you can play some clever tricks with user-defined characters, if you want to treat the display as an array of pixels, you’ve got to get out your scalpel and cut up a data line.
The hack builds on work from [MisterHW] who documented the bits going from the common display driver to the display, and suggested that by cutting the data line and sending your own bits, you could send arbitrary graphics. The trick was to make sure that they’re in sync with the display, though, which means reading the frame sync line in user code.
This done, it looks like [Felipe] has it working! If you can read Rust for the ESP32, he has even provided us with a working demo of the code that makes it work.
We can’t help but wonder if it’s not possible to go even lower-level and omit the HD44780 entirely. Has anyone tried driving one of these little LCD displays directly from a microcontroller, essentially implementing the HD44780 yourself?
Any way you slice it, this is a cool hack, and it opens up the doors to DOOM, or as [MisterHW] suggests, Bad Apple on these little displays . If you do it, we want to see it.
If your needs aren’t so exotic, the classic HD44780 display is a piece of cake to get working, and an invaluable tool in anyone’s toolbox.

The DoJ is suing to break up Live Nation. What exactly does the lawsuit aim to achieve – and could the concert giant win?The DoJ has its work cut out for it, if it wants to see Live Nation and Ticketmaster broken up
Source

Sony Music in talks to acquire Queen catalog in potential $1bn deal (report)Potential deal would become one of the biggest single-artist music catalog sales in history
Source

Ticketmaster Hacked: Personal info of 560M users is for saleOn Tuesday, the notorious ShinyHunters hacking group claimed to have breached Live Nation-Ticketmaster and stolen the personal data of 560 million users, including payment details. As of Wednesday, Live Nation-Ticketmaster. Continue reading
The post Ticketmaster Hacked: Personal info of 560M users is for sale appeared first on Hypebot.

PinkPantheress: “No song needs to be longer than 2 minutes 30 seconds”Generally, pop songs have always been shorter in length than their counterparts in more musically complex genres, like prog metal, or jazz, for example.
And British pop sensation and producer PinkPantheress is leaning fully into shorter tracks; four of her top five tracks on Spotify are under two minutes in length, and the other is just two minutes and 11 seconds.

READ MORE: “It was like a beam came out of heaven and dropped this beautiful song”: Vocalist Dan Tyminski reflects on Avicii’s Hey Brother as it hits 1 billion streams

And in a new interview with ABC News for its Prime Playlist segment, she asserts that no songs need to be “longer than two-minutes-30”.
“I was able to experiment, and making short songs was just a result of me experimenting,” the 23-year-old Bath-born singer explains. “A song doesn’t need to be longer than two-minutes-30, in my opinion.”
She continues: “We don’t need to repeat a verse. We don’t need to have a bridge. You don’t need it. We don’t need a long outro.”

PinkPantheress’s comments will no doubt ruffle some feathers, but they also speak volumes in terms of the generation from which she hails. The star – whose real name is Victoria Beverley Walker – can attribute much of her early success to TikTok, the video-sharing platform where short, attention-grabbing videos are the name of the game.
In the early days of her career, after enjoying little success posting songs to SoundCloud, she began sharing videos on the ByteDance-owned platform, including a 10-second snippet of her track Just a Waste, which went viral.

@pinkpantheress
Wow I’m bored #music #foryoupage #fyp
♬ just a waste pinkpantheress –

She has since enjoyed massive success as a musician, racking up hundreds of millions of plays on streaming platforms, releasing two studio albums – To Hell With It (2021) and Heaven Knows (2023) – and even being named Billboard’s Producer of the Year earlier in 2024.
PinkPantheress is set to head out on tour in the US in July. For tickets and full list of dates, head to her official website.
The post PinkPantheress: “No song needs to be longer than 2 minutes 30 seconds” appeared first on MusicTech.

Fab Factory Studios expand North Hollywood facility Fab Factory Studios have announced the addition of a newly remodelled state-of-the-art live room at their North Hollywood location

Printing a Replacement Case for the ThinkPad 701cEven among ThinkPads, which are nearly universally loved by hardware hackers and Linux tinkerers alike, the 701c is a particularly rare and desirable machine. Best known for it’s “butterfly” slide out keyboard, the IBM-designed subnotebook from the mid-1990s has gained a following all its own, with active efforts to repair and restore any surviving specimens still out in the wild.
[polymatt] has already taken on a number of 701c restoration projects, but the recent release of a 3D printable case for the vintage laptop is arguably the most impressive to date. After spending an untold number of hours with an original case and a pair of calipers, the final design has been released under the Creative Commons Attribution-NonCommercial license — in other words, you’re free to print one to spruce up your 701c, but don’t run off a stack of them and start trying to move them on Etsy.

Originally, [polymatt] just wanted to 3D print a replacement for the laptop’s display bezel. But as often happens with these sort of projects, things just sort of started rolling and pretty soon the whole case was modeled. As you might imagine, the printed case has some slight differences between the original. For example, the printed version is designed to use heat set inserts. There’s also certain components, such as the hinges, which need to be sourced from an original case.
The most obvious use of these files is to perform repairs — if a piece of your 701c case has broken, you might be able to use one of these files to create a replacement. But it also offers some fascinating possibilities for future modifications. If you were planning on replacing the internals of the 701c with something more modern, these files would make an excellent starting point to create a customized case to better fit more modern components.
Whatever you end up doing with these files, don’t be shy — let us know.

Today is the Last Day to comment on MLC RedesignationThe MLC's sometimes controversial first five years are almost up, and the US Copyright Office is asking for public comment by today, May 29th.....
The post Today is the Last Day to comment on MLC Redesignation appeared first on Hypebot.