Release details
Release title:
Teri Yaadein (3rd Year of Music Victory)
Main artist name:
H TV Productions
Release date:
14th Apr, 2021
https://publme.lnk.to/TeriYaadein3rdYearofMusicVictory
#newmusic #Release #Music #indepedent #artist #pop #world

Release details
Release title:
Never change v2
Main artist name:
Plexine
Release date:
31st Oct, 2024
https://publme.lnk.to/Neverchangev2
#newmusic #Release #Music #indepedent #artist #experimental #hiphop

Bitcoin rallied above $65K, but will BTC price hold this level?Bitcoin price is back above a key resistance level, but are there sufficient bullish catalysts to sustain the current rally?

OpenAI’s VP of global affairs claims o1 is ‘virtually perfect’ at correcting bias, but the data doesn’t quite back that upDepartures might be dominating the week’s OpenAI-related headlines. But comments on AI bias from Anna Makanju, the company’s VP of global affairs, also grabbed our attention. Makanju, speaking on a panel at the UN’s Summit of the Future event on Tuesday, suggested that emerging “reasoning” models such as OpenAI’s o1 have the potential to make […]
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Reverse Time Back to the Days of RPNWhile Texas Instruments maintains dominance in the calculator market (especially graphing calculators), there was a time when this wasn’t the case. HP famously built the first portable scientific calculator, the HP-35, although its reverse-Polish notation (RPN) might be a bit of a head-scratcher to those of us who came up in the TI world of the last three or four decades. Part of the reason TI is so dominant now is because they were the first to popularize infix notation, making the math on the calculator look much more like the math written on the page, especially when compared to the RPN used by HP calculators. But if you want to step into a time machine and see what that world was like without having to find a working HP-35, take a look at [Jeroen]’s DIY RPN calculator.
Since the calculator is going to be RPN-based, it needs to have a classic feel. For that, mechanical keyboard keys are used for the calculator buttons with a custom case to hold it all together. It uses two rows of seven-segment displays to show the current operation and the results. Programming the Arduino Nano to work as an RPN calculator involved a few tricks, though. [Jeroen] wanted a backspace button, but this disrupts the way that the Arduino handles the input and shows it on the display but it turns out there’s an Arudino library which solves some of these common problems with RPN builds like this.
One of the main reasons that RPN exists at all is that it is much easier for the processor in the calculator to understand the operations, even if it makes it a little bit harder for the human. This is because early calculators made much more overt use of a stack for performing operations in a similar way to Assembly language. Rather than learning Assembly, an RPN build like this can be a great introduction to this concept. If you want to get into the weeds of Assembly programming this is a great place to go to get started.

Focusrite announces three new Scarlett interfaces for project studiosToday, Focusrite announces a much anticipated expansion to the world ’s best-selling range of audio interfaces, Scarlett, completing the line’s fourth generation. The three new additions, Scarlett 16i16, 18i16, and 18i20, complement the existing range with greater connectivity to meet the demands of the modern project studio. 

Scarlett ’s fourth generation introduced several major advances that build on Focusrite ’s legacy in professional audio: best-in-class audio specifications, enhanced creative capability, powerful workflow tools and more. The three new interfaces add more analogue inputs and outputs, front-panel monitor switching and mute control, S/PDIF and ADAT connectivity, additional headphone outputs, and a built-in talkback mic on Scarlett 18i20.

Focusrite Scarlett 4th Gen 16i16, 18i16, and 18i20 now feature:

Huge 122dB dynamic range, using the flagship RedNet range converters – found in the world’s best studios.

All-new, remote-controlled preamps with 69dB of gain for studio sound from any mic.

Pair Focusrite Control 2 for desktop with Focusrite’s new mobile app; enjoy full wireless control over inputs and monitoring mixes, allowing the adjustment of settings without being tethered by cables.

Re-engineered Air mode with Presence, and all-new Harmonic Drive, adding rich harmonics to recordings by emulating the characteristics of vintage preamps.

New Auto Gain and Clip Safe modes can handle up to eight microphones at a time, making session setup simple, and ensuring every take is a keeper.

Brand-new Custom-designed headphone amps for the best playback ever heard from Scarlett.

Redesigned Dynamic Gain Halos now with output as well as input metering.

Professional studio features included: A/B speaker switching, built-in talkback mic on 18i20 and more. 

MIDI in /out plus S/PDIF, and ADAT in/out.

Refreshed Easy Start tool, making it easier than ever to get set up and recording in minutes. 

Includes Ableton Live Lite, Pro Tools Artist 3 months, and FL Studio Producer Edition 6 months. 

Huge bundle of plug-in instruments and effects; including Antares Auto Tune, Marshall Amp Modelling, synths, keys, drums, EQ, compression, reverb, and more...

Three new Scarlett interfaces

Scarlett 18i20 4th Gen, an update to the flagship 3rd Gen model, is a rack-mountable USB audio interface featuring 18 inputs, including eight advanced fourth-generation Scarlett preamps, and 20 outputs. 18i20 not only has an impressive amount of analogue and digital I/O, but also features additional workflow enhancements that make it a perfect fit for even the most complex project studios: a built-in talkback mic; A/B speaker switching for instant referencing on different monitors; and eight channels of LED bar metering, assignable to inputs or outputs as well as master output metering.

Scarlett 18i16 is a desktop-format USB audio interface with 18 inputs, including four 4th Gen Scarlett preamps and 16 outputs. Ideal for multitrack recording and designed for producers, 18i16 is the industry-leading interface for project studios. It makes an ideal hub to integrate hardware with a DAW, providing enough analogue and digital I/O to connect a huge number of external instruments, processors, and effects. Plus, manage complex routing with ease via the included Focusrite Control 2 software for desktop and mobile devices. 

Scarlett 16i16 is a desktop-format USB audio interface which shares the same feature set as 18i16 but is slightly more compact, with 16 inputs, including two 4th Gen Scarlett preamps, and 16 outputs. 

Scarlett 4th GenA giant leap for the world ’s most popular audio interface range, Scarlett ’s fourth generation debuted in 2023 with the Solo, 2i2, 4i4, Solo Studio, and 2i2 Studio. 

All Scarlett 4th Gen interfaces feature re-engineered audio circuitry and professional-grade converters (taken directly from Focusrite's flagship RedNet interfaces), which deliver up to 122dB dynamic range. With up to 69dB of mic preamp gain on tap, they are designed to get the very best sound from any microphone. Custom-designed headphone amps with independent volume controls drive high-impedance headphones louder and with more clarity than any previous Scarlett.

Scarlett ’s 4th Gen mic preamps feature a re-engineered Air mode, based on the sound of legendary Focusrite consoles. Each one now includes a selectable all-analogue Presence mode, and a new DSP-based Harmonic Drive mode for added richness. 

The range also introduced two new features designed to ensure artists and producers never miss a perfect take: Auto Gain analyses ten seconds of incoming audio before setting set the perfect level, while Clip Safe automatically readjusts it to prevent clipping. These tools help artists record themselves easily and let experienced engineers quickly set multiple gains in high-pressure environments.

The included Focusrite Control 2 software takes care of setting up routing, levels, monitoring mixes, independent outputs, and routing options. In addition to the desktop application, the iOS and Android Focusrite Control 2 apps enables engineers and performers to adjust monitor mixes and mic preamp gains while away from the computer.

To help users get up and running with Scarlett in record time, Focusrite has developed an Easy Start tool that quickly guides from initial connection to their first recordings. 

All Scarletts come with Ableton Live Lite, three months of Pro Tools Artist recording software, and six months of FL Studio Producer Edition. Also included is a curated selection of essential production software from Focusrite, Softube, Native Instruments, Antares, and many more. In addition, there are five free masters from Landr that can be used at any time, plus a two-month subscription to Landr Studio, offering unlimited music distribution on streaming platforms such as Spotify, Apple Music, YouTube Music and TikTok.

These interfaces will be available beginning mid-October 2024 with U.S. pricing as follows:USD (excluding tax)                                                              Scarlett 18i20: $649.99                                   Scarlett 18i16: $499.99                                   Scarlett 16i16: $369.99                                  The post Focusrite announces three new Scarlett interfaces for project studios first appeared on Music Connection Magazine.

Making A Split-Anode MagnetronYouTuber The Science Furry has been attempting to make a split-anode magnetron and, after earlier failures, is having another crack at it. This also failed, but they’ve learned where to focus their efforts for the future, and it sure is fun to follow along.
The magnetron theory is simple enough, and we’ve covered this many times, but the split anode arrangement differs slightly from the microwave in your kitchen. The idea is to make a heated filament the cathode, so electrons are ejected from the hot surface by thermionic emission. These are forced into a spiral path using a perpendicular magnetic field. This is a result of the Lorentz force. A simple pair of magnets external to the tube is all that is needed for that. Depending on the diameter of the cavity and the gap width, a standing wave will be emitted. The anodes must be supplied with an alternating potential for this arrangement to work. This causes the electrons to ‘bunch up’ as they cross the gaps, producing the required RF oscillation. The split electrodes also allow an inductor to be added to tune the frequency of this standing wave. That is what makes this special.
Fizz, pop, ah well.
The construction starts with pre-made end seals with the tungsten wire electrode wire passing through. In the first video, they attempted to coat the cathode with barium nitrate, but this flaked off, ruining the tube. The second attempt replaces the coiled filament with a straight wire and uses a coating paste made from Barium Carbonate mixed with nitrocellulose in a bit of acetone. When heated, the nitrocellulose and the carbonate will decompose, hopefully leaving the barium coating intact. After inserting the electrode assembly into a section of a test tube and welding on the ends, the vacuum could be pulled and sealed off. After preheating the cathode, some gasses will be emitted into the vacuum, which is then adsorbed into a nearby titanium wire getter. At least, that’s the theory.
Upon testing, this second version burned out early on for an unknown reason, so they tried again, this time with an uncoated cathode. Measuring the emission current showed only 50 uA, which is nowhere near enough, and making the filament this hot caused it to boil off and coat the tube! They decide that perhaps this is one step too many and need to experiment with the barium coating by making simpler diode tubes to get the hang of the process!
If this stuff is over your head, you need a quick history lesson about the magnetron. Next check out this teardown. Finally, we have covered DIY magnetrons before, like this excellent DIY magnetron-powered plasma sputtering device. Yes, you read that correctly.

Thanks to [Kelvin Ly] for the tip!

The elephant is leaving the building: Hipgnosis name and branding set to change to reflect new structure under BlackstoneStorm Thorgerson-designed logo will no longer represent company with a new name likely, say MBW sources
Source

The Music Business UK Awards 2024 in association with YouTube: The finalists revealed!The UK's finest will duke it out for prizes aplenty on the evening of Tuesday, November 5
Source

Focusrite launch Scarlett 16i16, 18i16, & 18i20 The fourth generation of Focusrite Scarlett interfaces features significant upgrades including improved audio specifications, advanced creative tools and features for professional studio use.

Music creator economy: recalibrationThe music creator economy has been long in the making but was thrust into the wider music industry’s limelight with the Covid lockdowns triggering a surge in new creators. As with any bubble, many creator tools companies saw their ensuing surge flatten post-lockdown. The market is now settled into a steadier, organic growth pattern, but this lockdown cohort of creators is transforming the music creator economy. The effects, however, will be felt much more widely. Their new needs, expectations, and aspirations will be seen not only in the way they make music but also in how they navigate their careers. The music creator economy is one of the driving forces of the Bifurcation process turning one music industry into two.

This rise of this new generation of creators coincided with structural fissures beginning to manifest in the traditional streaming economy. Streaming has been through a number of cycles with creators: 1) distrust; 2) enthusiasm; 3) royalty dissatisfaction; and now 4) apathy. Our latest music creator report, which presents data from MIDiA’s latest global music creator survey, shows that progressively more creators are starting with lower expectations for streaming. Their royalty expectations are already so low that this is no longer a pain point for them. Instead, they are becoming critical of streaming’s ability to further their careers, focussing on the medium’s closed door between them and their fans. Today’s creators want platforms where they can build high value, smaller fanbases, rather than low value, large-but-anonymous audiences.

Here are a few highlights from the report:

Tip of the iceberg: The traditional music business only sees the smallest segment of the music creator economy – the around seven million Artists Direct that self-release onto streaming via distributors like DistroKid, TuneCore, CD Baby, and Amuse. However, this segment is the smallest component of the base of music creators, and it has been growing more slowly than the share that upload directly to social platforms for a number of years. Though the growth rates for non-DSP and Artists Direct were much closer in 2024 than 2023, a growing share of non-DSP are only uploading to social platforms. MIDiA’s 2024 survey found that a quarter of music creators upload directly to user-generated content platforms like TikTok without using a distributor or label

Long-tail imbalance: Despite the democratisation social and streaming have driven, streaming is still dominated by big artists, with less than three percent of artists accounting for more than nine tenths of all streaming royalties. What’s more, the top 0.009% has increased its share since 2017, so it’s little wonder the long tail is losing faith in streaming. Two-tier licensing is only going to grow the imbalance and represents a closing of the door on the long tail by the music industry establishment. It’s a case of ‘if you can’t join them, beat them’

A new generation of creators: Creators with less than five years’ tenure represented close to half of all music creators in 2023. This wave of creators, swelled by the lockdown cohort, brings with it a different set of needs, expectations, and aspirations that will shape tomorrow’s music business. It is a generation that values speed and results from their creation; and control and autonomy in their careers

New expectations: This new cohort of creators is driven by making the best music they can and moving people with their music, even if that is only a few people. They want creative fulfilment and high-quality fan bases rather than large-scale, anonymous audiences. They are thus gravitating to SoundCloud, YouTube, and TikTok – places they can engage directly with fans

Different tools: These newer, younger creators are also prioritising different tools and workflows, spending their time with Splice, Beatstars, Label Radar, and FL Studio. While older, more established creators opt for the likes of Cubase, Pro Tools, and Native Instruments

The report provides detailed data on these themes and much more (reasons for using secondary DAWs, AI, workflows, income splits, user profiles, etc). If you want to understand where today’s music creators are at and want to go, have a read of our report “Music creator survey | Recalibration”!

Future Music magazine is closing after 32 years: “Sadly, things change…”Future Music, the UK-based music production-focused print magazine, has released its last-ever issue.
The publication, which is owned by Future PLC and contributes material to Future’s online platform MusicRadar.com, was one of the longest-standing music technology magazines on the market.
It launched almost 32 years ago, in the autumn of 1992, and has published a monthly magazine ever since. Future Music is also responsible for some iconic music technology YouTube videos, including Avicii’s viral breakdown of Dancing In My Head and Martin Garrix’s Animals.

Future Music magazine was accompanied every month by a selection of samples and free software, which it says went on to “become bonafide classics.” Each issue also reviewed a selection of new synths, plugins and studio gear, and offered tips and advice to musicians of all levels. MusicTech knows of artists such as Chromeo, Danny Byrd, Gary Barlow and Swedish House Mafia who would regularly read FutureMusic.
The publication announced its closure in a Facebook post, which reads:
“Future Music issue 414 is on sale now, which we must acknowledge with a heavy heart will be the final issue of the magazine…For our final issue, we wanted to leave you with a selection of tried and tested mixing advice to help you nail that final mix. To that end, we’ve curated some of the most timeless and essential advice from our team of experts.
“Sadly, things change, and the concept of a print publication focused on something as forward-thinking as music technology has become an increasingly difficult proposition in recent years.”
Although the print magazine is ceasing publication, the writers and reviewers of Future Music will continue working on MusicRadar. The online platform of MusicRadar is home to a plethora of Future PLC’s music-focused publications, including Computer Music, Electronic Musician, Guitar World, Total Guitar, Guitarist, Guitar Player, and more.
A source has also informed MusicTech that Future will be closing ComputerMusic and GuitarPlayer magazines.
In 2022, Future Music’s YouTube channel was renamed to MusicRadar Tech and continued publishing similar content.

FM’s statement concludes: “If you are a subscriber to FM, please don’t worry – our subscriptions team will be in touch with you directly to confirm that you will be refunded the remainder of your subscription term within 7-10 days of this final issue.
“For now, all that is left is for us to say a huge thank you to all the team members, writers, photographers, contributors and collaborators who have helped to make Future Music over the past three decades. And of course, to express our gratitude to everyone who has read, subscribed-to or supported FM in that time.”
Read more music technology news.
The post Future Music magazine is closing after 32 years: “Sadly, things change…” appeared first on MusicTech.

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FINNEAS explains why he’s given Billie Eilish “the bare minimum of stuff” in her new recording studioFINNEAS has got his sister and creative collaborator Billie Eilish started with a studio set-up so she can continue developing her production skills – but he’s purposely left it pretty basic.
FINNEAS has produced for Eilish for the entirety of her career, famously helming her debut album When We All Fall Asleep, Where Do We Go? from their bedroom.

READ MORE: “I really love when something feels like one piece and is cohesive”: Why Billie Eilish prefers album to singles

Now, he’s revealed that he’s giving her the tools to develop her own production talents, but he’s kept it simple for the moment.
“I’ve been setting up Billie’s recording studio for her so she can do home production without me, because she’s very good at it!” he tells Guitar.com. “And it’s funny, I’ve been giving her, like, the bare minimum of stuff, just so that she learns it all. Y’know what I mean? I’m like ‘Listen, I could give you all the stuff that I use now, but it took me years to even have a use for it. And, if I give you this basic thing, it’ll make sense to you right away.’”

Finneas previously revealed that he taught Eilish to comp vocals so she could record alone while making her recent album Hit Me Hard And Soft. 
“She has such a good ear and I’m just a puppet when it comes to comping her vocals because she’s so meticulous,” he says. “And I can comp a vocal, no prob, I’m doing it forever. But she got better and better at knowing like, ‘I like this take and I like this word from this, taking like this word’.”
“And so I was just like, well, let me teach you how to do this. It’s not that hard. And so I taught her how to record herself and how to comp herself.”
“[Sometimes] I’d get a call to come downstairs, she’s like ‘something’s wrong come downstairs and fix it’,” he continues, “but one of the reasons I did it is because I’ve always recorded alone and there’s stuff that I am just not brave enough to do in front of somebody else. It’s like I know I’m her brother but…”
The post FINNEAS explains why he’s given Billie Eilish “the bare minimum of stuff” in her new recording studio appeared first on MusicTech.

TikTok Music Shuts DownTikTok Music is set to shut down worldwide by the end of the year. Keep reading to find out why this is and what this means for artists on the. Continue reading
The post TikTok Music Shuts Down appeared first on Hypebot.