Your Livestream Strategy Sucks! K-Pop’s lessons on reaching a global audience Haven't had much success with live streaming lately or given up altogether? If you're going to learn from anyone, look at how live-streaming contributed to K-Pop artist's global success.....
The post Your Livestream Strategy Sucks! K-Pop’s lessons on reaching a global audience  appeared first on Hypebot.

Beginner’s guide to getting more YouTube Subscribers with Ads [Brian Hazard]Calling all music promo newbies! Here's a step-by-step breakdown of how to get more YouTube subscribers with ads. ....
The post Beginner’s guide to getting more YouTube Subscribers with Ads [Brian Hazard] appeared first on Hypebot.

Why must musicians get the short end of OpenAI’s Bad Business Model?Tech companies claim AI needs free access to copyrighted materials for proper and accurate training, leaving artists uncompensated for the use of their property and with more AI-created competition.....
The post Why must musicians get the short end of OpenAI’s Bad Business Model? appeared first on Hypebot.

“Your studio is not a museum”: Tourist says you shouldn’t be precious about treasured gearMusician and songwriter Tourist has discussed the act of collecting studio gear but not using it, making the statement, “Your studio is not a museum”.

READ MORE: Tourist: “Sampling is mind-blowing; it’s the biggest advancement in music technology since the early 80s”

The British electronic music producer and Grammy-winning songwriter discussed the topic during the latest episode of My Forever Studio, a podcast on which popular music makers tell listeners about a dream studio.
In this episode, Tourist talks about the preciousness people can have over gear, suggesting instead that it should be used, not gawked at. “This one was owned by David Bowie’s personal assistant,” he jokes. “If you like feeling important, then that’s great,” he says.
“Your studio is not a museum. You don’t want to feel intimidated by it. You want to feel like you can revel in its creativity. I’m not like ‘This one here…’. Like a fucking wine cellar.”
“The emotional value of something sometimes is what you create with it,” says Tourist – real name William Edward Phillips. “To some extent, these things are tools. The tools allow you to make magic, and the magic is what you need to get from these tools.”
Listen to the episode below:

Funnily enough, Phillips’ statement contrasts what The Flashbulb musician Benn Jordan said when he guested on the same podcast last week.
On that episode, which you can listen to Apple Podcasts, Jordan defends synth collectors who don’t regularly use their equipment to make music, saying, “There’s no shame in it at all”.
“The people who buy music gear and are keeping the companies afloat, I would say more than half of them are not really making music on it,” he says. “They’re just collecting it and playing with it.
“Even DAWs and software. They just buy the software, they play with the knobs, they listen to it for a second, and there’s no shame in it at all. Everybody pretends they’re making music, but there are a lot of people who just like collecting synths and collecting DAWs and learning. Because they’re not producing music that people are listening to, for some reason they’re not as validated. I think that’s nonsense because it is a hobby one way or another.”
The My Forever Studio podcast, created in partnership with Audient, sees guests in the form of musicians, producers, songwriters and studio engineers conjure up the image of a fantasy studio. This music-making space – and its contents – must be where they make music forever. The catch? Each guest must pick only six studio items, and that does not include plugin bundles. *sounds ‘no bundles’ klaxon*
Find all episodes of My Forever Studio on MusicTech.
The post “Your studio is not a museum”: Tourist says you shouldn’t be precious about treasured gear appeared first on MusicTech.

Denise Audio Releases Motion Filter Plugin With 43% OFF Intro Price
Today, Denise Audio launched the Motion Filter digital filter plugin at an introductory price of $39 – 43% off the list price of $69.  Motion Filter is a 64-bit only Windows and macOS release for VST, VST3, AU, and AAX. Denise Audio describes Motion Filter as a “state-of-the-art digital filter with two configurable motion modes to [...]
View post: Denise Audio Releases Motion Filter Plugin With 43% OFF Intro Price

How to bring the outside world into your beatsIf you’re tired of drudging through sample packs and presets for that perfect snare, fret not — there is an infinite library of noises just outside your studio to inspire you. And, with a small amount of editing and processing, those real-world sounds can become a unique snare, kick, or any other kind of drum hit.

READ MORE: Zoom’s H6essential puts clip-free recording in the palm of your hand

Adding field recordings to a track is a tried and tested production trick. Whether you want to create a drum hit from scratch or add some sounds on top of your favourite sample, its a fantastic way to make your rhythms stand out.
The whole process is surprisingly easy. Let’s walk through the essential steps.
Get Inspired by Field Recordings
Start by gathering some audio. There are no rules! Everything from a barking dog to water droplets can be mixed into your production. However, it can help to think critically about what kind of drum hit you want to make and what kind of real-world sound is best suited.
We’re going to create a custom snare hit, and our ingredients will be the sound of a branch snapping, a can being crushed, and a foot scuffing against concrete. The branch will give us a strong percussive transient; the can will add some mid-range body to our sound; and the foot scuff can approximate some white-noise sizzle.
Image: Hinterhaus Production / Getty Images
If you’re heading out to do some recording, Tascam’s Portacapture X6, or Zoom’s new H1essential, H4essential, and H6essential are strong options for capturing sounds on the fly. But don’t feel like you need expensive gear to get started; your smartphone, plus a recording app, is all you really need.
[products ids=”3F1QXNsVoq5A5PVo2jTv6x”]
Hit record on a few interesting sounds then head back to your computer to get stuck into the creative side of things.
Slice and Layer
First and foremost, a little clean-up. Take your field recordings and import them into your favourite DAW. For each sound, look for the transient in the waveform. You’ll want to cut the audio file just before the start of the transient and also after the tail of the sound.
Finding the transient
Essentially, you want to isolate the “hit” from any background noise, leaving you with a sample that is relatively short and snappy—perfect for playing as part of your kit.
If you recorded multiple takes of the same sound, like we did with our branch snaps, then repeat this editing process for some of the best takes; three to five will do. To finish, add a very small fade to the start and end of each sample.
If you’re in a hurry, the new XLN Life plugin can automate this entire process. With a convenient recording app for iOS and Android, the plugin seamlessly segments field recordings into drum hits and also comes with a fantastic beat generator.
[products ids=”3HDtLE631bil1vfFTupXth”]
On its own, our recording of a snapping branch didn’t have a lot of punch, so to add some weight we layered multiple different sounds on top of each other.

Our stack included five different sounds of a branch breaking, one crushed can, and one sound of a shoe scuffing on the concrete, resulting in something a bit fuller with a good amount of mids. When you’ve got something you like, bounce the sound out as a single file and import it back into your session, this will make it much easier to process and apply effects.
Dial in the EQ

There are plenty of ways to EQ your sound, so if you’re not sure where to begin, use a reference sample to help guide your decisions. An EQ plugin with an analyser can make it easy to see the frequency spread, and we used one to compare our recording with an off-the-shelf snare sample.
Snare hits have little to no bass frequencies below 100Hz, and have a consistent level of mid and high frequencies. With that in mind, we added a low-shelf cut to remove the bass frequencies.
Build Your Sound

With that groundwork out of the way, you can start having fun. We added a small amount of reverb to help our sound ring our, and then built up the texture by adding some distortion. This highlighted the crisp and crackling character we got from our can-crush and foot-scuff recordings, and helped the glue the whole sound together into one solid hit. Finally, we played with pitch shifting to nudge the sound into the sweet spot.
These effects can have a big impact on the final sound. If you’re out to make a hefty kick drum, then pitch shifting down and soaking it in reverb, for example, might produce something interesting. Use these effects and any others you want to spin out a collection of different samples.
Drop the Sample Into a Beat

You should now have some handcrafted hits that you can use to personalise your beat. Simply load the sound you’ve created into your favourite drum sequencer, sampler, or beat generator listen to the difference.
Find more music production techniques on MusicTech. 
The post How to bring the outside world into your beats appeared first on MusicTech.

“I almost didn’t want to finish it because I was having so much fun”: Jamie xx will release second album soon “if all things go to plan”Jamie xx has confirmed a new album is in the pipeline, and shared its first single, Baddy On The Floor. He’s also shared footage of him making the new single in his deliciously scenic London studio

READ MORE: “We’ve started making some music and I’m really excited about it”: Romy confirms The xx are back in the studio

Baddy On The Floor, made in collaboration with Chicago-born producer Honey Dijon, is a summer-ready funky house jam filled with jutting filtered vocals, a bulging bassline and loads of explosive disco samples. Listen to the track below:

The release of Baddy On The Floor, out now on Young – a sub-label of XL Recordings – coincides with a number of public appearances from the xx band leader, including a three-hour DJ set at week one of Coachella and a new interview on BBC Radio 1.
Presenter Jack Saunders interviewed Jamie xx on BBC Radio 1 on Monday 15 April, during which he hit play on the track for the first time in public and confirmed to Saunders that a much-anticipated second solo album is due to be released soon.
“I’ve been playing a lot of [this music] out at festivals over the past couple of years and this is the first thing,” says Jamie.
“First thing around… a record?” asks Saunders. “Yeah,” responds Jamie.
“So, we’re going to get our first Jamie xx album since In Colour in 2015?”
“Yes, if all things go to plan.”
Jamie admits that he does “feel pressure all the time” to release new music, but says that the Covid-19 lockdown offered him a chance to pause and “enjoy the process of making music”.
“One of the reasons this album took so long was because I almost didn’t want to finish it because I was having so much fun,” he tells Radio 1.
Alongside the revealing of the track, Jamie posted a video on Instagram of him creating it in his London studio. In it, Jamie tinkers with drool-worthy studio gear in a studio overlooking the city skyline. There are too many items to mention really, but it’s a vintage collector’s dream. Watch the clip below:

View this post on Instagram

A post shared by Jamie xx (@jamie___xx)

We’ll continue to feed you updates on Jamie xx’s second album, but in the meantime you can follow him on Bandcamp.
The post “I almost didn’t want to finish it because I was having so much fun”: Jamie xx will release second album soon “if all things go to plan” appeared first on MusicTech.

SOS Case Study: Focusrite Scarlett The latest addition to our recently introduced web article series is now available in the Case Study section of the SOS website.

Artist Manager on Release Strategy, Record Deals and the TikTok BanThis week, Ari is joined by Michele Harrison, founder of MPH Collective and artist manager

Nine Country Artists of Color to Check Out in the Wake of "Cowboy Carter"In light of the message sent by Beyoncé's recent smash "Cowboy Carter", here is a list of musicians of color who are asserting their rightful share in country music's heritage.

Waymo begins robotaxi testing in AtlantaWaymo, the self-driving company under Alphabet, began testing its robotaxis in Atlanta on Tuesday, adding another city to its ever-expanding testing and deployment domain. Over the next few months, Waymo will deploy a handful of cars driven manually by humans to gather mapping data and get familiar with Atlanta’s environment, Sandy Karp, a Waymo spokesperson, […]
© 2024 TechCrunch. All rights reserved. For personal use only.

Recycling Wires for BreadboardingIt is easy to take things for granted, but if you work with students, you realize that even something as simple as a breadboard needs explanation. [0033mer] recently shared a tip about how he wires both solderless breadboards and prototype boards on the cheap. Instead of buying special wires, he salvages riser cables often found in scrap from demolished buildings. These often have 200 or so thin solid wires inside. You take them apart, and, as he put it, if you have 15 feet of the stuff, that will last you the rest of your life. We hope you live longer than that, but still.
One advantage to doing this is you don’t feel bad about cutting the wires exactly to length which makes for neat boards. He has a tiny stripper that make it easy to remove the insulation during installation.

Of course, you’ve probably been salvaging wires from many sources for years. Still, this is a good reminder that you really don’t need to buy that pack of breadboard jumpers from Amazon. Not only will it cost more, the ones with the little tips are not amenable to being cut to size.
We’ve done something similar for years, but we prefer thermal strippers. If you want your entire breadboard from scratch, search through some old magazines.

Warner Music Group job ad reveals initial details of its ‘superfan app’Warner Music Group is looking for a Senior Product Designer to work specifically on its superfan technology
Source

HYBE-owned Supertone’s new AI ‘voice changer’ lets artists change their vocals… in real-timeSupertone has launched the beta version of a new tool called  'Supertone Shift'
Source

The Next Evolution Of The Raspberry Pi Recovery KitAt Hackaday, the projects we cover are generally a one-off sort of thing. Somebody makes something, they post it online, we share it with our audience — rinse and repeat. If a project really captures people’s imaginations, it might even inspire a copy or two, which is gratifying for everyone involved. But on the rarest of occasions, we run across a project like [Jay Doscher]’s Recovery Kit.
To say that the Recovery Kit was an inspiration to others would be putting it mildly. Revolutionary would be more like it, as it resulted in more “Pi-in-a-Pelican” builds than we could possibly count. So it’s only natural that [Jay] would return to the well and produce a second version of his heavy-duty cyberdeck.

Now, technically, there have been a few other variants of the original Recovery Kit since its release in 2019, such as the easier-to-build Quick Kit. If you want to get really technical, even the Recovery Kit is actually a do-over of sorts from his original Raspberry Pi Field Unit from 2015. But [Jay] says none of the minor refreshes or revisions he’s worked on were never substantial enough to get the official “Version 2” stamp before this one.

So, what’s changed in this new version? For one thing, it’s been optimized for reproduction by others. All the pain points that folks reported while building their own Recovery Kits have been addressed, from the time it takes to print the parts to the availability of key off-the-shelf components. Not only are the parts easier to get your hands on, but they’re also easier to assemble, with the soldered links of the original now replaced with push-on connectors.
Designed around the Raspberry Pi 5, the new Recovery Kit has also received a considerable performance boost over the previous versions. This is further extended by using a bootable NVME drive rather than the dinky SD cards most Pi builds are stuck with. Despite the computational kick in the pants, [Jay] says he’s realized that the relatively low resolutions available for the type of displays that can be crammed into a build like this are pretty poor for most graphical environments and recommends the user stick to the terminal.
In addition to the lengthy write-up about the design process behind the Recovery Kit Version Two, [Jay] has provided a comprehensive parts list with links to where you can pick up your own hardware. Having been burned by hard-to-source components in the past, this time, most of the hardware is from either Amazon or McMaster-Carr.

All in all, it’s a solid refinement of an already very well-engineered design. The only thing left now is to see if this new revision of the Recovery Kit can have the same impact on the community as its predecessor. No pressure.