ACE Studio 2 review: Next-gen AI features, stone age workflowsArtist: $398 / Artist Pro: $528 / Subscription rent-to-own available, acestudio.ai
AI is slowly creeping into DAWs. A chatbot here, stem separation functions there. Yet while others merely nibble around the edges, ACE Studio goes straight for the jugular as an all-in-one AI audio workstation.
It’s a genuinely ambitious piece of software that aims to package a host of next-gen features into a single platform. There’s AI virtual instruments, AI vocal synthesis, and a suite of generative AI audio tools. In fact, ACE Studio injects artificial intelligence into just about everything in the hope of streamlining familiar tasks and perhaps even creating some brand new production paradigms.

READ MORE: I swapped Ableton Live for Fender’s Studio Pro 8.1 DAW – but is it compelling enough for the change to stick?

What’s more, ACE says it’s taken an ethical approach to training its AI models. The company claims each model is built on performances of real musicians with licensing and royalties included in its partnership with artists.
It’s an all you can eat AI buffet, but can it satisfy my creative appetite?
The first feature to catch my eye is the AI vocal synth. Easily loaded by creating a new region and choosing an AI model, simply input some MIDI notes in the clip view and press the playback button to render and listen to the results.

Out of the box, the vocal engine does a stellar job of producing realistic and usable performances that sound polished. The bank of vocal models are well developed, with over 140 voices to choose from in eight languages. The ability to blend different vocal models to create new voices is a useful and interesting idea to play with. Additionally, any lyrics that you type are automatically arranged across the MIDI phrase, making it a breeze to produce a vocal line.
The virtual instruments, however, are less impressive. There are 36 included AI virtual instrument models spanning strings and brass. They operate in much the same way as the vocal engine: choose an AI model, write a MIDI line, and then the engine will render a performance of the instrument, automatically choosing the best performance techniques to suit your arrangement.
In theory, bypassing the trouble of manually programming MIDI expression, style and dynamics—as you would with a traditional virtual instrument—is an alluring shortcut. But sadly, the results aren’t convincing enough for my ears. The instruments share a strange breathy timbre and are noticeably lower in quality when compared even to free virtual instruments and sample libraries already available on the market.
ACE’s generative audio tools don’t fare any better. The Add a Layer feature, for example, will analyse your session and render an instrument track that fits with the arrangement. This tool uses a text prompt interface that asks you to describe what kind of track you want to generate. This was my first experience using plain language to write music, and, honestly, I enjoy it even less than I thought I would. Reduced to broad words like ‘jazz’ or ‘samba’, and vague phrases like ‘laidback groove’, I feel like I’m back in English class rather than making music. Surely it would be easier to plug in a MIDI keyboard and jam something out instead?
Music Enhancer tool. Image: Press
The deeper I dig into the generative tools, the further I drift from the fun of making music. The Music Enhancer tool is one of ACE Studio’s newer production concepts which allows you to highlight a track or arrangement and ‘enhance’ it. Once again, it uses a text prompt interface to steer the transformation. The result is an entirely AI-generated song based on the melodies and harmonies in your session, plus the input prompts.
Rendered out as one stereo track, the results make a fun party trick, but once again suffer in quality – noticeable artefacts in the audio render it unusable for professional projects. More importantly, however, is the feeling that this tool is robbing me of the fun that comes with producing new music. It is incredibly boring waiting a minute or more at a time to render each new version, and by the end I feel little connection to the music that has been produced.
Another major drawback is the rendering time required to use any of the AI features in ACE Studio. Whether I edit a single MIDI note, or tweak a setting in the AI model, the engine takes anywhere from three seconds up to 10 seconds to render. The more tracks that need rendering, the longer it takes. For the Add a Layer or Music Enhancer feature, this can take a minimum of a minute, or even longer.
I’m testing the software on a powerful M4 Pro Mac Mini using the Turbo Boost feature in ACE Studio – this means the audio is rendered locally, theoretically with faster render speeds. Alternatively, the software can be run on their servers using an internet connection. Technically, ACE Studio achieves extremely fast processing speeds for AI. But compared to the speedy workflows producers and musicians have grown accustomed to, it’s like stepping back in time to the era of tape recording. Having to stop and wait to render every new idea I have is hugely frustrating. My inspiration suffers death by a thousand loading screens.
Vocal clip view. Image: Press
It is while I wait for things to render that I make an unfortunate discovery. My CPU is clocking in at around 70-80% for a six-track session with a scant eight bars of music. By comparison, a full-length song with 80 tracks and multiple instruments in Logic Pro uses 40-50% of processing power. Out of interest, I add a couple of third-party plugins onto the two AI instrument tracks, and it tips the M4 Pro over 100%. Whether ACE Studio is poorly optimised or the computing power needed for AI audio software is extremely high, this is a big red flag.
Ultimately, while ACE Studio has a capable AI vocal synth, it faces stiff competition from long-running VOCALOID6 by Yamaha, and the more recent Synthesizer V by Dreamtonics, both of which use AI to help craft more realistic results.
The remainder of the AI features on offer in ACE Studio are hardly selling points. In my experience, these tools actually slow down the production process, and making music via text prompts is, for me, far from fun. Add in the extreme processing power to produce results of questionable quality and it’s difficult to recommend this software to anyone.
The final nail in the coffin is the price. ACE Studio costs $528 for a lifetime copy of the Artist Pro software, or you can subscribe with a rent to buy option. Additionally, if you buy the Artist/Artist Pro copy you will receive 2,500/5,000 AI credits per month for the first two years — a requirement for rendering audio. Following this period, you will need to get a subscription to receive more credits. Not counting the long-term cost of AI credits, this puts it in the same range as fully-featured professional DAWs like Logic Pro or Ableton Live Suite, which come with a huge library of virtual instruments, loops, samples, effects and tools for generating music beats, melodies, or chords. If ACE Studio aims to make it easier, faster, or even cheaper to create music using AI, it’s got a long way to go.
Perhaps AI-centric DAWs will eventually deliver the goods, but ACE Studio left me starving for hands-on creativity.

Key Features

AI-based DAW
AI vocal synth
140+ AI vocal models in 8 languages
36 AI virtual instruments
Stem separation
Stem generation
Song generation
AI rendering can run locally or via internet connection
Subscription rent-to-own option available
Supports VST/AU plugins

The post ACE Studio 2 review: Next-gen AI features, stone age workflows appeared first on MusicTech.

The complete guide to getting the best acoustics in your home studioAcoustic treatment of your studio is an incredibly important part of any aspect of music production, whether that be recording, mixing or mastering. And yet it often remains one of the most misunderstood and neglected.

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In this guide, we’ll walk you through the ins and outs of acoustic treatment: what it is, how to go about doing it, and where room correction figures into the equation. We’ll also outline why acoustic treatment is so important.
What is acoustic treatment?
Put simply, acoustic treatment is the process of changing your studio environment from a muddy and reverberant space into one where the sound is balanced, predictable, and suited towards your music-making and production goals, whatever those may be.
Acoustic treatment takes into account things like room shape, size, and other aspects of the environment with the ultimate goal of reducing unwanted sonic behavior. When sound leaves your speakers, it bounces around the room, interacting with the physical space in myriad ways. These interactions can cause reverb, echoes, and buildup of frequencies that can make it difficult to hear the music properly. By treating the physical environment, you tame the undesirable sounds.
Acoustic treatment usually takes two forms: soundproofing and sound treatment. With soundproofing, the goal is to stop sound either entering or leaving the room. This guide will focus on the treatment side, that of changing the characteristics of the sound.
Do you need acoustic treatment?
Anyone working with sound can benefit from some amount of acoustic treatment. You naturally want accuracy in your music production, with what you record and mix translating to what the listener hears. If there’s a build up of bass frequencies in your room, you’re likely to reduce bass by that amount based on what you’re hearing, even though there may not be an issue with those frequencies in the song itself.
While the most obvious application for treatment is in mixing and mastering, it’s also important for recording. You want to capture a vocal or acoustic instrument performance cleanly and without the ugly sound of the room.
“I’ve seen so many producers (who’ve used acoustic treatment), and it has done more for them than any mixing course or plugin they’ve bought,” says mixing engineer and plugin developer Michael Wynne on why treatment is important. “It’s so effective for people.”

Types of acoustic treatment
Broadly speaking, there are two main types of treatment, absorbers and diffusers. Each solves a different problem. Let’s look at these in turn.
Absorbers do what they sound like: they absorb sound. Within this category there are two main types. The first is acoustic paneling. Acoustic panels are designed to catch early reflections and prevent echoes, which can make mixing particularly difficult. “That immediate delay you hear makes mixing, mastering, and production almost impossible in rooms with bare walls because you’re hearing this phased, delayed version of your track,” explains Michael. “You cannot set reverbs accurately (and) it’s really difficult to phase align drums. Just those panels alone get rid of pretty much all the meaningful slap back.”
Then there are bass traps. Like panels, these also absorb sound, but instead of delays, they’ve meant to prevent standing bass waves that can build up and throw off your perception of a track’s low end. “Bass traps start at a lower frequency than acoustic panels,” says Dave Shevyn, head of GIK Acoustics Europe.
Diffusers are a different type of acoustic treatment. Rather than sucking up sound, they scatter it, breaking up reflections and spreading the sound around. “This enables you to keep a room lively without losing the energy of those higher frequencies,” says Dave. “Great in a live room scenario or for making a small room sound larger than it actually is.”
There are also products that combine elements of both types, such as GIK Acoustics’ Amplitude panels. “What makes these unique is that they diffuse and absorb at the same time,” says Dave. “This combines elegance, diffusion and absorption into one panel or corner trap.”

Should you hire an acoustics company or do it yourself?
You’ve decided that it’s time to treat your studio space acoustically. The question that you now face: should you do it all yourself, or hire a specialist company to assist you? The answer will likely come down to how much money you can comfortably spend on the project.
At one end of the spectrum is bringing in a company to create an entirely new room for you, one that will solve acoustic problems before they even start. “If one has millions of dollars and loads of time, then the way to do it is hire professionals that really know what they’re doing,” advises Michael.
The next rung down the expense ladder is to bring in a company like GIK Acoustics, who can look at the room that you’ve got to work with and design treatment that fits the environment.
If you do decide to do the work yourself, you can either buy ready-made absorption and diffusion panels, or build them yourself. Although there are many things to keep in mind, the process is actually less daunting than it may sound. “It’s simply about improving the sound of the room,” assures Dave, “and there are lots of ways to approach it.”
How to DIY: Getting started
Before you even start putting nails in the walls, there are things you can do to make sure you’re getting the most out of your room. Avoid cuboid-type rooms and try to choose one with a rectangular shape. Next, place your mixing desk along one of the short walls. “You don’t want to be putting your setup against the longest wall,” stresses Michael. “It just introduces more problems.” Michael also recommends putting your monitors on stands.
There are other, basic ways to start treating your studio. Mixer company Mackie suggests heavy rugs, thick curtains, and even a large, fully stocked bookshelf stacked floor to ceiling as types of DIY absorbers. Of course, these are not ideal, but something is better than nothing.
Also, you shouldn’t feel like you have to do everything at once. Monitor company ADAM Audio recommends going with the best treatment that you can afford, a little at a time: “Once you have more money, you can continue adding additional acoustic panels and bass traps.”
Another piece of advice: don’t aim for total coverage. The goal is not a 100-percent dead room but a natural-sounding one. “You want to get pretty good coverage,” Michael says. “If at least 20-30 percent of the wall surface is covered with panels, they’ll take care of so many problems.”
As for where to put the panels, that will depend on your specific space. Acoustics companies like GIK Acoustics offer room designers to help with this, but a good rule of thumb is to place panels at so-called mirror points. Sit at your desk and have an assistant hold up a mirror at eye level at various places around the room. If you can see a speaker in the mirror, you need a panel on that wall. And don’t forget the ceiling!
How to DIY: Making absorption panels
There are plenty of blueprints and plans for building acoustic panels available online. While diffusers are more difficult, given the mathematics involved to properly scatter the various frequencies, absorbers are relatively easy to make – and extremely affordable.
Absorption panels generally comprise of some kind of insulation, a wooden frame to contain it, and fabric to cover it and hold the insulation in. There are different kinds of insulation that you can try, with some common types including rock mineral and glass fiber wool as well as recycled foam slabs, recycled denim and hemp or wood fibre insulation. Note that Michael, in his YouTube video on building DIY panels, cautions against rock mineral and glass fiber wool because of the health risks. If you do go with one of these, be sure and wear proper protective clothing and use a mask.

One important thing to keep in mind is the depth of the panel. ADAM Audio recommends going as deep as possible, as depth makes acoustic panels work better at low frequencies. You can also increase performance by ensuring a gap between the panels and the surface they are installed on.
You also want to make sure that your chosen fabric is not too dense. If air can pass through, so can sound waves. “They work by transferring sound energy to heat,” explains Dave of GIK Acoustics. “The gas flow resistivity of the materials is key to how these work.”
As for budget, Michael Wynne estimates that if you spend between $250 and $1000, depending on how many panels you want, “you can get your room from sounding like it’s absolutely terrible to sounding like a really nice, tight, almost dry room with a natural amount of reverberation.”
If buying panels sounds expensive, and making them is beyond your abilities, you may be tempted to tack up a bunch of egg cartons on the wall. This is not recommended.
“You could,” says Dave, “but as I used to say during the ‘myths section’ of our educational lectures, I hope you like eggs because you are going to need to eat a lot of them! But seriously, egg cartons would have a minimal effect on any sound; cardboard is absorptive. Where the whole myth originates from is foam pyramid-like products. They are shaped like this to increase the absorption surface area of the material. The shape alone is not the reason those products absorb sound.”
What about room correction software?
Image: Press
Room correction products, such as Audient’s ORIA Mini and IK Multimedia’s ARC Studio, can ‘listen’ to your room and help iron out sonic imperfections.
Andrew Allen, the Chief Product Officer (CPO) at Audient, explains how it works: “ORIA Mini measures what’s happening at your listening position using Sonarworks’ SoundID Reference and corrects for it, so you hear something much closer to neutral and the decisions you make hold up when the mix leaves the room. There’s also a really practical side to it: you can load profiles that mimic other systems, like a car or a phone, and check how a mix translates without getting up from the desk.”
However, room correction shouldn’t be thought of as an alternative to acoustic treatment but as an integral part of it. “We’d always recommend treating your room as best practice,” says Andrew, “but good treatment can be expensive and takes up space. Even a well-treated room has issues left over – particularly in the low end. ORIA Mini cleans up what the treatment can’t.”
Michael Wynne also recommends using room correction to address any pesky lingering bass issues: “I say use the panels, use some kind of software or hardware speaker correction like Sound ID Sonarworks or a Trinnov Nova like I’ve got, something to correct some of the bass problems in your room, and then just enjoy life.”
In conclusion, acoustic treatment is something that all musicians and music producers should consider doing. With just a little effort, you can likely achieve dramatic results. “Your room will probably allow you to hear at least 90 percent of the problems that are going to matter to listeners,” says Michael, “and that, combined with working on headphones, there’s not really going to be a whole lot holding you back.”
The post The complete guide to getting the best acoustics in your home studio appeared first on MusicTech.

BARRY MANILOW TO CELEBRATE LOCAL MUSIC EDUCATORS ACROSS THE U.S.Manilow and Mario Banks, the Manilow Music Teacher Award winner in Newark, NJ. Photo Credit: Mark Ashe 

When the apparently ageless Barry Manilow returns to the road in late July to continue his U.S. arena tour, news today revealed that "he'll once again use the spotlight to recognize the people who inspire the next generation of musicians. At every stop, the GRAMMY®, TONY®, and EMMY® Award-winning icon will present the Manilow Music Teacher Award, honoring an outstanding local music educator whose passion and dedication have made a lasting impact on their students and community."

Manilow with Kenneth Luckey and team in Wilkes-Barr, PA. Photo by Justin Topa.

Manilow will present a whole lot of giant checks to a whole lot of deserving educators, as he did on the last leg of the tour.

"Created through the Manilow Music Project, a program of the Manilow Fund, the Manilow Music Teacher Award recognizes educators whose passion and dedication bring music to life for their students," a statement reads. "Ten outstanding high school music teachers in each tour market are nominated before the public votes to select the local recipient. Each winner receives a $10,000 grant, with $5,000 awarded directly to the teacher and $5,000 designated for new instruments and equipment for their school's music program. The winning educator is presented with the award during a private meet-and-greet with Manilow before the show and is also recognized onstage during the concert."

"Founded after Manilow learned that music programs across the country had been devastated by budget cuts, the Manilow Music Project has donated more than $10 million in instruments and scholarships to high school and college music students, teachers, and music programs nationwide."

Manilow with Trevor Prutsman and team in Buffalo, NY. Photo by Joseph Hrycych

"While Barry continues his extraordinary career with arena shows this summer, he has chosen to share the spotlight with those he believes truly deserve it: music educators," said Matt Parrish, President of the Manilow Fund.

Manilow with Philip Pandori and team in Albany, NY. Photo by Claude Sawyer

According to the statement, the upcoming recipients of the Manilow Music Teacher Awards are:

Charleston, SC (July 30): Ronnie Ward, Westview Middle School

Nashville, TN (August 1): C. Allen Kennedy, Hume-Fogg High School

Columbus, OH (August 2): Gretchen Wyder Zunic, Upper Arlington High School

Lexington, KY (August 4): Robert Bishop, Lafayette High School

Cincinnati, OH (August 5): Kyle Phillips, Princeton High School

Baltimore, MD (August 7): Christopher Gnagey, Catonsville High School

Norfolk, VA (August 8): Emily Wolcott, Oscar F. Smith High School

Greensboro, NC (August 10): Eddie Deaton, Walter Hines Page High School

Duluth, GA (August 11): Quentin Goins, Stephenson High School

Jacksonville, FL (August 13): Alexander Washington, Jacksonville Classical Academy

Manilow with Thérèse Mannino and team in Elmont, NY. Photo by Mark Ashe

Manilow's arena tour resumes July 30 at North Charleston Coliseum in Charleston, SC before continuing to Nashville, Columbus, Lexington, Cincinnati, Baltimore, Jacksonville, and more. For a complete list of tour dates, visit barrymanilow.com/the-last-concerts. 

The post BARRY MANILOW TO CELEBRATE LOCAL MUSIC EDUCATORS ACROSS THE U.S. first appeared on Music Connection Magazine.

Introducing Spitfire Audio Originals, Craft, and more on Splice INSTRUMENT
The latest update to Splice INSTRUMENT brings breathtaking sounds from Spitfire Audio Originals, new sample transformation capabilities via Craft, and more.

Big Man Labs Big ListenBIG LISTEN. Big Listen is a referencing and A/B tool for mixing and mastering. Load up to six tracks you know well and keep them one button away from your own mix. Hit MATCH and it trims the selected reference to your mix's loudness, so the louder track doesn't win the comparison. Flip between MIX and REF on one button with both sets of meters live the whole time. Full metering when you want it: LUFS, true peak, LRA, crest, PLR and PSR, a dual analyzer with the reference overlaid, goniometer, correlation, and mono, side and difference monitoring. Poser shows all of it, Pro strips back and switches the analysis off for lower CPU. VST3, AU, AAX and CLAP on Windows, macOS and Linux. $32 one-time, 14-day free trial. Read More

Tesla driver in fatal Texas crash pressed accelerator 100%, NTSB confirmsThe safety board confirmed Tesla's account of the crash, which the company shared days after it happened last month.

Cut And Fold Your 3D Printer’s Next Cover[cmh]’s ultra-simple top cover for the Snapmaker U1 3D printer has a 3D model, but don’t let that fool you. There’s no 3D printing at all involved in this project. Rather, the model is a reference shape for making an effective top cover out of cardboard or corrugated plastic sheet (also known as Coroplast) which is what [cmh] used.
The pattern can be cut from a single sheet, or from multiple pieces taped together.
Corrugated plastic is a versatile option for things like printer enclosures. It’s cheap, a good insulator, easy to cut, and available from just about any plastics supplier. We’ve made the case that they’re a good alternative to acrylic sheets for printer enclosures, but [cmh] goes even further with a design that requires no additional hardware whatsoever. Assembly doesn’t even require more than tape, really.
He provides a cutout diagram for pieces that, when assembled, make a sort of hat that is just right to cover the top of the Snapmaker U1 without obstructing the extruders. One can even lift the front panel to access the inside without removing the cover, which is a nice touch. Should one wish to add a viewing window anywhere, just cut out a square and tape a sheet of clear plastic over the hole.
For a 3D printer, an enclosure and top cover helps retain heat, block drafts, and keep dust (or curious fingers) away from the printer’s build area. The cover doesn’t need to be completely sealed to deliver those benefits, but if you do prefer your covers completely enclosed, a carefully-chosen IKEA storage box makes a conveniently great cover for the U1.

UJAM and Rhodes offer UFX LOFI plugin for FREE
UJAM and Rhodes are offering UFX LOFI, UJAM’s retro degradation effect plugin, as a free download for newsletter subscribers. This is a separate Rhodes/UJAM giveaway page, and the process was a bit smoother than the V-Rack offer I covered earlier today. I entered my email on the promo page, and about a minute later, I [...]
View post: UJAM and Rhodes offer UFX LOFI plugin for FREE

Andi Arya Dwi Putra promoted to Head of TuneCore, IndonesiaHe will lead the Believe-owned distributor’s growth strategy, artist roster and partnerships in the market.
Source

Baby Audio SubCulture Baby Audio’s latest release has been designed to augment the low-frequency content of any monophonic input signal, allowing users to craft deep and powerful bass sounds from just about any source. 

This website turns any recorded guitar audio into MIDIThe US-based digital audio company Eldoraudio has added another tool to its arsenal: Guitar Audio to MIDI. Incredibly easy to use, simply drag an audio file into the portal on this website, set the proper BPM, and the guitar part will be converted to MIDI.
Without required software downloads, anyone can get their MIDI guitar lines in moments regardless of which DAW they’re using or where they may be physically located. As long as there’s an internet connection, it works.
Similar to Eldoraudio’s Piano to MIDI function, the Guitar to MIDI converter captures even the most complex passages. It can dissect dense chords, find the tiny little grace notes, and adjust the velocities to ensure accurate dynamic response. Then, once everything is in MIDI, users can make any subtle changes they need to in their chosen DAW.

READ MORE: BandLab Technologies acquires AI-powered music making platform Aiode

Currently, the converter is designed for clearer tones, such as steel-string, nylon-string, clean electric, and jazz guitar. A distorted version is coming soon, though, according to the website.
“Guitar is one of the hardest instruments to transcribe accurately, and most tools cut corners to get there,” says Daniel Johnson, founder of Eldoraudio. “Our piano converter has shown us that musicians notice the difference when accuracy is treated as non-negotiable, not an afterthought, down to details like pedal nuance. We held the guitar model to that exact same standard. Our mission is to turn audio into musical gold, and this is another step toward giving musicians full editable control over anything they play.”
Eldoraudio’s business model is about convenient ways to work with digital audio. Beyond the guitar and piano tools, the company has developed a stem splitter and vocal remover with the same website functionality.
Up next is an Audio to Sheet Music site for the more traditional players and an Audio to MIDI function for any type of recording. The latter mentions a “multi-instrument model,” but it could well be possible that even field recordings of the most random sounds could be converted to MIDI for some exciting creative results.
For more information, head to Eldoraudio.
The post This website turns any recorded guitar audio into MIDI appeared first on MusicTech.

Get Rhodes V-Rack for FREE via UJAM’s newsletter
UJAM is giving newsletter subscribers a free copy of Rhodes V-Rack, but there are a few hoops to jump through. The offer is available until July 19, so I’m posting this one literally minutes after getting the plugin so that BPB readers catch this on time. I received an email from UJAM with the subject [...]
View post: Get Rhodes V-Rack for FREE via UJAM’s newsletter

BandLab Technologies acquires AI-powered music making platform Aiode[Editor’s note: BandLab Technologies and Guitar.com are both part of the Caldecott Music Group.]
BandLab Technologies – the company behind BandLab, Cakewalk, ReverbNation and Airbit – has acquired Aiode, an AI-powered digital music studio that lets creators make music with fully-licensed audio by professional session musicians and producers.
Aiode now joins BandLab Technologies’ portfolio of music-making platforms, as the third entry alongside BandLab and Cakewalk.
Aiode essentially allows music creators to begin with a blank project or import their own audio, before selecting from a choice of musician and style-based models to play across the track. These performances can be directed section by section, with alternate takes generated for individual parts without affecting the rest of the song. Finished projects can then be downloaded as stems or a complete mix.

READ MORE: “We’ve learned what schools, teachers and students want – and we’ve gone further than ever to deliver”: BandLab for Education 2.0 brings new learning tools, streamlined project management and more

With a focus on ethical AI, 100% of the audio used to train Aiode’s proprietary AI models – including performances by professional musicians – is licensed and traceable to its source.
Aiode will continue to exist as a standalone product, with service uninterrupted for existing users.
“Aiode shares BandLab Technologies’ ethos of innovation and giving music makers every opportunity to find success,” says Idan Dobrecki, CEO and Co-Founder of Aiode.
“Since Aiode was founded in 2022, we’ve worked side by side with professional musicians to create technology that respects their artistry and keeps them involved in how their musical identity is represented. BandLab Technologies gives us the opportunity to bring that approach to more creators.”
Aiode COO and Co-Founder Blue Dobrecky also praises the perfect fit of Aiode and BandLab Technologies.
“For Aiode, joining a group that understands both accessible creation and professional production is a rare fit,” he says. “BandLab Technologies breadth of experience gives us a much broader foundation for where Aiode can go as the ways people make music continue to evolve.”
“What sets Aiode apart is that it was made hand in hand with musicians, who share in the value their work helps create,” says Drew Silverstein, Senior Advisor, AI, Innovation and Strategy at BandLab Technologies.
“That makes Aiode a natural fit for BandLab Technologies. We believe responsible technology and a product creators actually want to use should go together.”
Idan Dobrecki and Blue Dobrecky will continue to lead Aiode as CEO and COO, respectively.
Native audio recording and additional DAW functionality are planned for future versions of Aiode, and we’ll bring you more details on those as we have them.
The post BandLab Technologies acquires AI-powered music making platform Aiode appeared first on MusicTech.

Baby Audio releases SubCulture pitch-tracking bass enhancer plugin
Baby Audio has released SubCulture, a pitch-tracking bass enhancer plugin for macOS and Windows. SubCulture is designed to add low-end weight that stays in tune with a monophonic input signal. In other words, instead of boosting a fixed frequency or adding a static sub-layer, the plugin detects the incoming pitch in real time and uses [...]
View post: Baby Audio releases SubCulture pitch-tracking bass enhancer plugin

Peel Stems 2 from zplane Peel Stems 2 boasts improvements across the board, offering increased speed, audio quality and usability over the previous version.