#MusicIndustry trend goes to 'disintermediation'...
We need to be careful with that though - everywhere must be balance at #MusicBusiness

Music Industry is moving from middle-men to ‘disintermediation’New technology suggests that current music business models should be more artist-centric instead of including unnecessary middlemen. from ArtistVerified via Medium Disintermediation is a really long word for a really. Continue reading
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Get 50% off Native Instruments’ Komplete 14 Select bundle – featuring Massive, Monark and more – at Plugin BoutiquePlugins are kind of like cookies — you can never get enough of them, even more so when they’re available at a 50 percent discount, such as in the case of Native Instruments’ Komplete 14 Select instrument bundle.
From now till 12 May, you can pick up the Komplete 14 Select bundle over at Plugin Boutique for just $99.50, down from the original $199.

READ MORE: Watch “Synth God” Mike Dean play Moog’s highly anticipated new synth, the Muse

Said to offer “everything you need to spark new ideas and take your tracks to the finish line, from inspiring sounds and premium synths to top-notch effects, kits, and more,” the bundle features a slew of powerful synths, high-impact drums, studio-grade effects and an array of shapeable sounds to kick start your creative juices.
Most notably, it features Massive, Native Instruments’ flagship software synth. Massive is usually priced at $149 on its own, so to get it along with tonnes of other digital instruments and sounds is, quite frankly, an absolute steal. There’s also Monark, a monophonic synthesizer “capturing every sonic nuance of the king of analogue monosynths” – the Minimoog.
The pack includes NI’s Play Series instrument Soul Sessions – which costs $49 if purchased individually – as well as the latest Expansions Backyard Jams, Neo Boogie, and Mother Board.
For the uninitiated, there are four versions of the Komplete 14, with the Select being the most affordable of the lineup. At present, the bundle will get you 19 instruments including the Player editions of Kontakt and Reaktor as well as some core sound packs totalling over 15,000 sounds and a size of 34GB.
For more information about the plugins, check out our full review of the Komplete 14.

To grab Komplete 14 Select at a massive discount right now, head to Plugin Boutique.
The post Get 50% off Native Instruments’ Komplete 14 Select bundle – featuring Massive, Monark and more – at Plugin Boutique appeared first on MusicTech.

Musician points out microphone mishap in forthcoming Bob Dylan biopic and fans are dividedBiopics are all the rage lately; from Amy Winehouse to Whitney Houston and Elton John, films detailing the stories of some of the biggest music icons have been, and continue to, roll out across cinemas all over.
But as we’ve seen before in film (ahem, Back To The Future), when it comes to the musical props used throughout, sometimes mistakes can slip through the net. Musician Will Stratton appears to have spotted one in the forthcoming Bob Dylan biopic in a photograph taken on set shared via X/Twitter.

READ MORE: Band invent bionic robot arm that lets plants play musical instruments

In the photo, actor Timothée Chalamet, who is playing the role of Bob Dylan, is captured singing into a Sony C38 microphone. This mic was introduced in 1965. “Can movies like this please hire music people who know what they’re doing?” He writes online.
Users on the platform have suggested that this photo could be taken from a scene set after this period, but Stratton replies, “Then the costuming is wrong, and he is still singing into the wrong microphone. I know these details don’t matter to a lot of people, and thats fine! I like a well-researched film, especially if it’s about a pivotal cultural figure.
“I said the Sony C38 wasn’t introduced until 1965. It wouldn’t be widely available in the USA until later. And as a phantom powered mic, it certainly wouldn’t be used in live settings until much later – the condensers you see on stage at Newport had external power supplies,” he adds.
“Beyond all that, there are hundreds (thousands?) of photographs of Bob Dylan singing into different microphones from this era. Why choose a microphone Dylan was never photographed singing into, and was never in wide use in the United States during this time?”
Check out the photo below:

That microphone wasn’t introduced until 1965. Can movies like this please hire music people who know what they’re doing?? https://t.co/vHke9qy1tj
— 𝑾𝑰𝑳𝑳 𝑺𝑻𝑹𝑨𝑻𝑻𝑶𝑵 (@columnatedrunes) April 16, 2024

The biopic doesn’t have a release date yet but it’s predicted to land in early 2025.
View all of Bob Dylan’s summer live dates.
The post Musician points out microphone mishap in forthcoming Bob Dylan biopic and fans are divided appeared first on MusicTech.

How Time Warp has achieved 30 years of hard-hitting techno and next-level stage productions“30 years, 30 hours, you made it! Thank you very much for coming and dancing with us”, says festival director Robin Ebinger, praising the thousands-strong audience of Time Warp ravers still dancing at 2 pm on Sunday as techno pioneer Richie Hawtin brings his mammoth four-hour set to a close.

READ MORE: Coachella’s Quasar stage illuminates the art of longer-form DJing – we’re here for it

Ebinger’s rare moment on the mic concludes Time Warp’s 30th-anniversary event, whose expansive line-up of legendary and rising names is a who’s who of techno’s past, present and future. In fact, many of the names on this year’s programme have long been considered regulars: Richie Hawtin has played for 24 years, Ricardo Villalobos 23, Adam Beyer 23 and Sven Väth a mammoth 29 years in a row, having been a Time Warp stalwart since the mid-90s.
The brainchild of business partners and lifelong friends Steffen Charles and Michael Hock, the pair initially wanted to organise an event with the artists that were important to them. When it came to planning the debut edition of Time Warp in 1994, this meant giving a platform to innovators like Richie Hawtin, Laurent Garnier, Speedy J and John Acquaviva.
From humble beginnings of a small crowd of 1,500, Time Warp has grown to attract 20,000 electronic music enthusiasts globally to each edition in Mannheim, Germany.
Richie Hawtin at Time Warp. Image: Tyler Allix
“People from all over the world travel to attend Time Warp. It’s a truly international event,” says Robin, who stood on the dancefloor at the first edition and is now a key team member. “I believe there is not a country from which we have not welcomed a guest since we started,” he claims, citing that some attendees have travelled from as far as Australia, Canada, Brazil and Japan.
Time Warp has also evolved in scale and scope over the decades. While the line-up has diversified to feature established electronic music artists and emerging talents from various subgenres, the festival has become revered for its innovative stage designs and production values. It’s also no longer a local affair, with events now hosted in the USA, Czech Republic, Austria, Netherlands, Brazil, Italy, Switzerland and Argentina.
“Our goal was to spread the Time Warp spirit and create unforgettable experiences for attendees around the world,” Robin reflects.
Nonetheless, the flagship edition remains the festival’s beating heart, with many artists returning year on year. And, with almost half of the 30,000 guests flying in from different corners of the world for 2024’s 30th-anniversary edition (many proudly holding their country’s flag up in the crowd while hoisted on friend’s shoulders), the festival’s status as an underground institution remains unmatched.
Time Warp. Image: Marko Obradovic Edge
Running later than most club nights worldwide, Friday’s 9 pm to 8.30 am warm-up eases you into the marathon main event, which kicks off at 7.30 pm on Saturday and runs until mid-afternoon on Sunday. Despite the endurance test, the Mannheim exhibition centre is packed from the kickoff with sweating bodies of all ages and nationalities (including an abundance of bare chests and leather harnesses at this particularly sweltering edition).
Curating the line-up for Time Warp’s 30th anniversary was, says Robin, a “meticulous process aimed at celebrating the diversity of techno music while honouring the genre’s roots and evolution over the past three decades.” The goal, he adds, was to “create a programme that not only showcased established legends but also highlighted emerging talent, representing the past, present, and future of techno.”
Majoritively, thunderously hard and fast floor-shaking beats are the driving force of the 30th-anniversary party, as scene-leaders Paula Temple, 999999999, Kobosil and relative newcomers DJ Gigola, Clara Cuvé and Lee Ann Roberts really test the towering speakers. Meanwhile, a handful of back-to-back pairings (Marcel Dettmann B2B Solomun, which is like Pacha v Berghain, and Dax J B2B SPFDJ) add to the occasion.
Among the 2024 highlights are Indira Paganotto’s apocalyptically-heavy, eerie-vocal-led psy-techno, which conjures the feeling of being in an infernal ritual (in the best way possible), and Texan DJ/producer Sara Landry, who conducts the crowd effortlessly thanks to her mesmerising stage presence… and plenty of incendiary hardcore and eruptive techno.
Sara Landry at Time Warp. Image: Marko Obradovic Edge
Often, the infectious energy displayed by those behind the decks matches the relentless intensity of the beats being unleashed, particularly I Hate Models and Patrick Mason, the latter who showcases his incredible vogueing and body-bending skills by jumping onto a platform in front of the decks to give the dance performance of his life.
The handful of live sets over the weekend prove equally memorable, too: as well as NTO and Boston 186, Reinier Zonnaveld’s set-up — which includes a Roland TR-909, Native Instruments Maschine and Roland SH-101 — is an analogue lover’s dream. Elsewhere, Octave One’s expansive table of hardware features a mixing desk, Moog Sub37, Akai MPC Live and modular rig.
Several artists also spin vinyl sets, including the enchantingly eclectic digger Ricardo Villalobos, plus Anfisa Letyago and Hector Oaks who, thriving off each other’s energy, make for a perfect pairing. Laurent Garnier’s set in the legendary, greenhouse-like dome, which has its own disco ball, is an unforgettable session too: eyes closed and really feeling the music, he’s undoubtedly a master of the craft.
It’s not all techno, however, as two rooms cater for fans of more melodic, Tulum-style sounds (courtesy of ARTBAT and Mochakk), pumping tech-house (Jamie Jones, Seth Troxler) and grooving house (Jayda G, Honey Dijon); noticeably, the contrasting vibe results in different attire, including white tees and neon bracelets.
Anfisa Letyago and Hector Oaks at Time Warp. Image: Marko Obradovic Edge
The music is just one part of Time Warp, however, as the festival’s visual aspect has always been equally important.
“Each year, the festival strives to push the boundaries of creativity and technology, offering attendees a visually stunning and immersive experience,” Ebinger says.
“From the festival’s inception, we’ve prioritised integrating lights and video elements into our stage designs and production,” he adds. “As technology has advanced and costs have become more manageable across multiple events, we’ve had the opportunity to develop increasingly intricate and elaborate stage designs.”
For the 30th anniversary, each floor was crafted with a specific concept in mind. Led by technical director, Anatol Fried, interdisciplinary teams from around the world came together to create immersive spatial designs using cutting-edge lighting, video technology, and a variety of materials.
“Behind each design lies a unique idea, ensuring that every room design and dancefloor has a unique character, tailored to the size and musical direction,” says Robin. The goal, he adds, “is to captivate by transforming the halls into immersive experience zones, where every element — from the lighting to the materials used — contributes to a blend of light, colour, and form. For our attendees, the result is a mesmerising experience.”
Adam Beyer at Time Warp. Image: Tyler Allix
He’s not wrong: the ceilings above the different dance floors transform into three-dimensional spectacles, appearing both fluid and dynamic. Massive cell structures come to life, morphing over the heads of the crowd, while lightning dances, meteors move through the space, and colossal balloon-like structures arch overhead in vibrant crimson hues.
“At its core, Time Warp is about enriching the experience of electronic music by creating a symphony of artistry, music, video, light, technology, fabrics, and structure, Robin summarises. “With every moment being a testament to the transformative power of electronic music and visual artistry, each component plays a crucial role in immersing attendees in a world of sensory delight.”
And that’s exactly what it feels like to be at Time Warp. “It’s a unique experience and you have to be there to feel it,” says Mark Gwinnett, who runs electronic music website The Night Bazaar and has been coming to Time Warp every year for the past decade. “For over 30 years, they have stuck to their original principles. And, while the festival has grown into the ultimate example of what an electronic music celebration should be, they have never compromised on their original core values when it comes to presenting cutting-edge dance music to the world.
“Built by ravers for ravers, Time Warp has been very important in the global evolution of electronic music, setting a standard that so far has not been matched anywhere else,” he adds, citing everything from the production and soundsystems to the line-ups and the “impeccable” attention to detail.
“I thought I had seen it all over two decades of raving until I first came to Time Warp 10 years ago; it changed everything for me and continues to inspire each year. The festival has to be on the bucket list for anyone serious about electronic music.”
Time Warp. Image: Marko Obradovic Edge
Another Time Warp lifer, Grego O’Halloran, who experienced the festival for the first time in 2007 and has missed very few since, feels the same.
“Honestly, in all the years I’ve been going, one of the most stand-out things is how little things change: they nailed the whole concept from the outset, so why change a winning formula?” While he says production is kept up to date and the line-up always has new names each year, “when it comes to big raves in massive rooms with the biggest names in house and techno, it’s an unbeatable experience.”
With all this in mind, Grego goes on to describe Time Warp as “an annual pilgrimage for so many people where traditions die hard.” Reflecting over the many editions he has attended, he says “particularly for me, Laurent Garnier’s sunrise sets and Richie Hawtin’s closing techno assault are some of the most iconic experiences in the whole of electronic music. It should be a rite of passage for any clubber worth their salt to be part of moments like these.”
Here’s to another 30 years.
The post How Time Warp has achieved 30 years of hard-hitting techno and next-level stage productions appeared first on MusicTech.

CB Electronics reveal ER-Range The new ER-Range Eurorack modules from CB Electronics bring the company’s renowned routing matrix technology to the modular synth world. 

How video games inspire popular music
We take a look at a few ways video games can and have inspired popular music, examining tracks from Drake, BTS, Skrillex, and more.

Yes… Udio’s output resembles copyrighted music, too.After playing with Suno, Ed Newton-Rex gets his hands on the next hottest new app in generative music AI, Udio
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Tesla still plans to build 1,800-mile charging corridor for semi trucks despite Biden funding snubTesla is pushing forward with a plan to build an electric big rig charging corridor stretching from Texas to California, despite being snubbed by a lucrative federal funding program that’s part of President Biden’s Bipartisan Infrastructure Law. But the original scope of the project could still change, TechCrunch has learned. The company had been seeking […]
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Bruce Springsteen & The E Street Band at the Kia Forum“Do You Have Anything Left?”

Photos & Words by @KevinEstradaPhotography

It’s been 8 years since Bruce Springsteen & The E Street Band rolled through Los Angeles, but you would never know it – at 74 years old, Springsteen and his band is still setting the standard for arena rock shows.

Last year, Springsteen was stricken with a severe ulcer disease, causing many dates of the tour, including the two night stand in Los Angeles to be cancelled and rescheduled.  Age may have played a factor in his illness, but Bruce’s final night in Los Angeles had more energy and a longer set than most of his younger contemporaries. 

As the lights went down, the fabulous Kia Forum erupted in deafening moans of “Bruuuuce.” Springsteen & his band kicked the show off with Open All Night (the first time playing this song since 2014), then jumping into Lonesome Day and the iconic, Prove It All Night.

Bruce treated his fans to a few surprises – Fire and Tougher Than The Rest featuring his wife Patti Scialfa on guest vocals.  Next, Tom Morello of Rage Against The Machine joined Bruce and The E Street Band as they powered through American Skin and The Ghost Of Tom Joad.

Springsteen’s shows may be simple stage presentations compared to some of the blockbuster tours that travel the world, but the difference is quality and quantity.  Los Angeles was treated to 3 hours and some of the greatest songs ever recorded – Hungry Heart, Because The Night, Thunder Road, Born To Run, Rosalita, Glory Days, Dancing In The Dark.  With an arsenal like this, there is no need for a flashy stage show.

There was a magical moment at one point of the show – the house lights came up, Springsteen took a good look at the sold-out arena and yelled, “Do you have anything left?”  Springsteen definitely has a lot left. 

SET LIST

Open All Night

Lonesome Day

Prove It All Night

Two Hearts

Ghosts

Letter To You

The Promised Land

Death To My Hometown

Tougher Than The Rest

Fire

Hungry Heart

Sherry Darling

Spirit In The Night

My City Of Ruins

Nightshift

Last Man Standing

Backstreets

Because The Night

Wrecking Ball

American Skin

The Ghost Of Tom Joad

The Rising

Badlands

Thunder Road

Born To Run

Rosalita (Come Out Tonight)

Glory Days

Dancing In The Dark

Tenth Avenue Freeze-Out

Detroit Medley

I’ll See You In My Dreams

DIY Quad-Motor Go-Kart is a Thrilling Ride[Peter Holderith] set out some time ago to build an electric go-kart. That by itself is not terribly unusual, but where his project diverts from the usual is in the fact that each of the four wheels has an integrated hub motor.
It might not look it, but each wheel has an integrated hub motor.
This kart project is a bit of a work in progress, with [Peter] previously building (then scrapping) a failed attempt at a cheap suspension system. But it’s completely operational with all four wheels able to deliver a monstrous amount of power despite being limited by the power supply (a battery pack salvaged from an Audi Q5 Hybrid).
The kart might not look it, but it weighs 177 pounds (80 kg) with the battery and motors accounting for nearly half of that. What is is like to drive? “Nothing short of thrilling,” says [Peter]. It’s got no suspension and is pretty bare bones, not to mention limited in power by the battery, but [Peter] finds it a satisfying drive that nevertheless delivers car-like cues in the driving experience. The build isn’t done, and [Peter] plans to see if more power is available by switching battery chemistries rather than add more battery weight.
Building and driving electric vehicles can be remarkably satisfying, and it’s an area in which hobbyists can meaningfully innovate. Self-balancing one-wheeled vehicles for example look like a ton of fun. Heck, researchers have discovered that even rats seem to enjoy driving just for the fun of it.

Copyright case over Ed Sheeran’s ‘Thinking Out Loud’ continues in New York appeals courtThe long-running dispute, in which Sheeran emerged victorious last year, now continues in an appellate court in New York.
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Early CD Player TeardownWhile CD players are nothing new today, they were the height of high-tech in the early 1980s. [w1ngsfly] shows us the inside of a Phase Linear 9500 player from 1983. Not only does it have many components, but it is also mechanically unusual.
The CD loads into a toaster-like slot and even pops out like a piece of toast. The tracking mechanism is quite complex, and there’s something that looks suspiciously like a dial string from an old slide rule tuner radio. Apparently, the unit was made by Kyocera and is internally similar to a Kyocera DA-01.
There’s a “head position” indicator that is actually just an LED connected to the tracking mechanism. The front panel controls look great but also allow you to control the head position exactly. As [w1ngsfly] mentions, it is almost like moving a turntable’s tonearm where you can drop it anywhere you want.
If we recall, they were about $600 to $1,000 new. If Phase Linear doesn’t ring a bell, they were well known in their day. Founded by [Bob Carver] and [Steve Johnston], the company was bought by Pioneer before the introduction and, later, by Jensen before the introduction of the 9500. [Bob] would go on to found Carver Corporation. You can find plenty of history about the company online.
We’ve seen CD players that look older. These days, CD drives are cheap and they are easy enough to control.

Atlas Audio Releases FREE Auraleak Vocal Compressor For Windows
Earlier this month, Atlas Audio released the free Auraleak vocal compressor, which is a Windows-exclusive VST release. The plugin is completely free, although to get the download, you’ll need to complete the checkout process on the Atlas Audio website, which requires an email address. Users who wish to support the developer can do so by [...]
View post: Atlas Audio Releases FREE Auraleak Vocal Compressor For Windows

Independent Live Music community to gather in New Orleans for NIVA ’24Hundreds of independent live music venues, promoters, festivals, and agents will gather in New Orleans from June 3 to 5 for NIVA '24, the third annual convention of NIVA (The National Independent Venue Association), with programming at iconic independent venues Generations Hall, Tipitina’s, Republic NOLA, and dba.....
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