Kiss sell catalogue to ABBA Voyage creators Pophouse EntertainmentAccording to Bloomberg, Kiss have signed on the dotted line and sold their catalogue to Pophouse for over $300 million.
The deal will give Pophouse Entertainment full control over Kiss’s’ entire song catalogue, handing over master recordings and publishing rights. The company will also have full freedom to use the glam rockers’ name, image and likeness as they please.

READ MORE: “You have to be defensive and offensive at the same time as a creator”: ABBA’s Björn Ulvaeus on the “mind-boggling” potential of AI

Kiss’s End Of The Road tour came to a close last December, drawing the rock and roll titans’ fifty years of partying to a close. However, the exchange with Pophouse will allow KISS to continue rocking out well into the future.
As Bloomberg report, Pophouse have already hinted at a Kiss biopic in the works, as well as their own ABBA Voyage-esque virtual avatar show. While $300 million might feel like an eye-watering sum, ABBA Voyage reportedly rakes in more than $1 million a week. Within a few years, KISS’ digital avatars will have paid for themselves.
Gene Simmons and his band mates have reportedly been in conference with Pophouse for a couple of years, knowing that their own rock and roll rampage would soon draw to a close. The End Of The Road tour was a dazzling send off, and the band wanted to go out on a high. As they step out of their platform boots, their work with Pophouse will allow them live forever in a form that will never tire.

Kiss’s virtual forms are already in the work. As shown in a video shared by the band, the members have already gotten themselves to Walt Disney Co.’s Industrial Light & Magic to don bodysuits in order for the company to capture them in virtual form.
“Kiss the touring band is over — we’ve stopped touring after 50 years,” Simmons reflects in an interview. “What Pophouse will do with our images, our music and our personas is unlike anything anyone has ever seen.”
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Spotify demonetises all tracks under 1,000 streamsLast year, Spotify announced that it would be restricting payouts on low-streaming tracks. On 1 April these changes came into effect, meaning tracks that haven’t surpassed 1,000 streams in the last 12 months will not receive royalties.
The revised royalty system avoids “payments lost in the system”. As Spotify explain, tens of millions of tracks are streamed between 1-1,000 times, generating roughly $0.03 a month. The collective sum is around $40 million per year.

READ MORE: Living Wage for Musicians Act put to US Congress would compensate artists at a penny per stream

However, transaction and withdrawal fees stop the $40 million ever making it to uploaders. “Labels and distributors require a minimum amount to withdraw (usually $2-$50 per withdrawal) and banks charge a fee for the transaction (usually $1-$20 per withdrawal),” Spotify says.
Only 0.5% of tracks on Spotify fail to hit 1,000 annual streams. This means that Spotify will still be paying out for the 99.5% of tracks that do hit the 1,000 listener goal. Spotify predicts that the change will “drive an additional $1 billion toward emerging and professional artists.”
The crack down will also require a minimum number of unique listeners – so looping your favourite artist 1,000 times wont do much. There will also be a restriction on background noise tracks like ‘white noise’, moving the goal-post from 30 seconds to 2 minutes of listening for a stream to count.
Of course, not everyone is satisfied with Spotify’s calculations. United Musicians and Allied Workers have tweeted that, rather than 0.5% of tracks, the change will in fact impact “an estimated 86% of tracks” on the platform. “This new policy will impact small artists the most — the same artists that Spotify claims to support,” the organisation writes.
The UMAW has recently pushed for the Living Wage for Musicians Act in Congress to ensure there is a revision of streaming royalty laws. As their Make Streaming Pay page explains, “the bill [will] help ensure that artists and musicians can build sustainable careers in the digital age.”

As of April 1st, Spotify has demonetized any track on the platform that receives less than 1000 streams per year. That’s an estimated 86% of tracks on the platform. This new policy will impact small artists the most — the same artists that Spotify claims to support.
— United Musicians and Allied Workers (@UMAW_) April 3, 2024

Other big names in the music industry have also aired their grievances with greedy streaming services. In a recent interview with GQ, Nine Inch Nails’ Trent Reznor believes streaming has “mortally wounded” musicians.
“I think the terrible payout of streaming services has mortally wounded a whole tier of artists that make being an artist unsustainable,” Reznor explains. “It’s great if you’re Drake, and it’s not great if you’re Grizzly Bear… We’ve had enough time for the whole ‘All the boats rise’ argument to see they don’t all rise. Those boats rise. These boats don’t. They can’t make money in any means. I think that’s bad for art.”
Reznor was tasked with building a new streaming service with Apple, and it made him painfully aware of how damaging the streaming environment was for musicians. “I thought maybe at Apple there could be influence to pay in a more fair or significant way, because a lot of these services are just a rounding error compared to what comes in elsewhere, unlike Spotify where their whole business is that,” he told GQ. “[Streaming companies] aren’t really concerned about all the romantic shit I thought mattered.”
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Heritage Audio unveils ultra-limited ‘Ardent Edition’ models of the Herchild 660 and 670Heritage Audio has announced the new ‘Herchild Model 660: The Ardent Edition’ and ‘Model 670: The Ardent Edition’ Vari-Mu compressors, inspired by the iconic sound of Ardent Studios’ original Fairchild units.

READ MORE: Billie Eilish slams multiple vinyl variants of the same album as “wasteful”, likens artists pushing such sales to The Hunger Games

While the Fairchild 660 and 670 are probably the most famous and coveted compressors of all time, there’s one thing that sets the studio’s original units apart from the rest. In the early 70s, Ardent’s team modified the attack and release times of their Fairchild units so that the time constants were faster and hence more usable for modern recording studios at the time (Those mods were first used to track Jimmy Page’s acoustic guitars on Led Zeppelin III, and many more classic hits).
With notes from the Ardent team of the original mods, the new Herchild Ardent Edition units are meticulously crafted with modified release times to match the original Fairchilds used at Ardent Studios. Ardent’s specific 6 Attack and Release times have been exactly duplicated in the ‘TIME CONST’ section as has its all-tube side chain circuit for precise control.
Practical enhancements were also added to suit modern studio setups, including access to the progressive ratio with the ‘DC THRESHOLD’, a curve adjustment combining control of the ratio and the knee. This is continually adjustable from hard limiting to very smooth and transparent compression settings.
The Herchild Model 670: The Ardent Edition, being a 2 channel unit, also features an AGC section with 4 modes of operation for you to choose from: IND, LINK, LAT VERT & LAT VERT LINK.
As it stands, the limited-edition HERCHILD Model 660 and 670: The Ardent Edition will be produced only on request through Heritage Audio’s global network of dealers. The units are priced at €5,999/$5,999 and €10,999/$10,999 respectively, which is quite the sum – though there’s certainly something to be said about sharing the same gear as one of the top recording studios in the world.
Watch as Heritage Audio Product Specialist Sam Orlich and CEO Peter Rodriguez discuss the making of the Herchild Ardent Edition models and Ardent’s use of them below.

Learn more at Heritage Audio.
The post Heritage Audio unveils ultra-limited ‘Ardent Edition’ models of the Herchild 660 and 670 appeared first on MusicTech.

An Independent Musician’s POV on the U.S. TikTok ‘Ban’ [Blake Morgan]“The vast majority of music on TikTok generates virtually no revenue for the musicians who made it," writes musician, entrepreneur, and fierce artist advocate Bllake Morngan, and "even more music on the platform is completely unlicensed (stolen), copied (stolen via AI), or pirated (stolen)"......
The post An Independent Musician’s POV on the U.S. TikTok ‘Ban’ [Blake Morgan] appeared first on Hypebot.

Spotify claims rules now in effect will shift $1B to ‘Working Artists’This week, we learned that new Spotify rules are eliminating payments on the tens of millions of tracks that get less than 1,000 plays a year, and a crackdown on so-called "junk tracks" has been in full effect.......
The post Spotify claims rules now in effect will shift $1B to ‘Working Artists’ appeared first on Hypebot.

Tracktion Waveform Pro 13 The latest version of Tracktion's DAW introduces a whole host of new features along with a refined GUI.

“We’re taking power away from corporate networks, and saying, ‘No, we’re gonna reward our fans, not you’”: M. Shadows on Avenged Sevenfold’s new Fortnite-style Season Pass25 years into a career that’s taken them to the very stratosphere of metal, Avenged Sevenfold could be forgiven for resting on their laurels — they’re doing anything but.
The Huntington Beach five-piece have conquered just about every territory on Earth, amassing legions of devoted fans in the process, and they’re hellbent on making life better for every single one of them.
In 2021, the band launched Deathbats Club – an NFT-based fanclub that rewards members with real-world utility like merch discounts and meet and greets. But, while many fans got onboard, it drew scepticism from those averse to blockchain tech and web3.
But A7X remain firm on the vision. They’ve just launched Season Pass, a Fortnite-, Call of Duty– style progression system that lets fans earn points and unlock rewards.
Speaking to MusicTech from a hotel room in Connecticut on the third leg of their Life Is But A Dream… tour, frontman M. Shadows discusses Season Pass and the future of web3 in music, and why he no longer has time for the naysayers.
Credit: Dangit Bee!
How did the idea for Season Pass first come about?
“From a comment by David Marcus at Ticketmaster. We’d done all this work with Deathbats Club and token-gated ticketing and trying to find authentic web3 ways that make life better – not just piling it on top of things that are already good.
“One of the things Ticketmaster battles with is not only a public persona, because they kind of take the brunt of a lot of artist decisions, which is by design, obviously. But they don’t have a lot of control over who gets tickets. Codes can always be shared, and promoters can individually raise ticket prices.
“So, without getting into the nuts and bolts of all that, one of their biggest problems is getting tickets to the right fans, if the artist wants to. We clearly wanted to, so token gating seemed like a good thing.
“And one of the comments he made to me was, ‘This is great, but you have 6,000 people in [Deathbats Club]; how do you get this to a larger audience and get everybody in your fanbase involved in a way that’s meaningful?’ So we came up with a thing called Ticket Pass which is a free download, just an NFT in your wallet, and used that to guide people into token-gated ticketing.
“That becomes a problem if you’re Taylor Swift, because every scalper can just take this free thing. So I thought, ‘What if there was a barrier to entry, and we had to prove that you were a fan in some way — how would you prove it?’ Well, do you listen to the music, do you buy merch, do you go to shows?
“So the idea was, ‘Let’s take all these ingest points, and then we start counting them up and rewarding people with these things knowing that they’re fans.’
“And that was the beginning of, ‘Oh, this is a Battle Pass. This is what Fortnite does and this is what Call of Duty does.’ But the problem with what they do is you don’t own anything, you rent it. And so our twist on it is there’s a higher barrier to entry, you have to get a wallet, you have to understand a little bit about the blockchain. But the cool part is you own what you earn.”
Credit: Emily HartmannIt feels like you guys are paving the way in the music world in terms of crafting meaningful community experiences for your fans. How does Season Pass tie into that goal?
“If you look at the traditional music industry, the way it works now is you have all these different entities, whether it’s your merch company, or your record label, streaming services, Ticketmaster, Live Nation, whatever it is. We’re dealing with all of them.
“The same fan that wears your T-shirt goes to the shows, the same fan that goes to the shows listens to your music. But all these corporate networks want to keep the data to themselves, and they also want to reward the fans in their own corporate network.
“[Corporations] want to come to the artist and say, ‘We’ve built a business off of you, and now we want to reward the fan, but you can’t reward the fan, we want you to allow us to reward the fan in our own way.’
“And we’re taking that power away from them, and saying, ‘No, we’re gonna reward the fan – who is the same fan that participates in all of your corporate networks – and we’re gonna reward them in the way that we feel is the most meaningful, which is access to us, things that we want to give them, not through [corporate networks] but through us.’
“Web3 is a great way to do that. We’ve never charged for meet and greets, we don’t believe in it. We’ve never done it in our whole career. But if you’re a fan that really deserves a meet and greet, if you’re spending all this money on our store and you’re listening to us non-stop, we want you to be able to earn these things, and we want you to actually own it.
“So the market is up to you – if you wanna sell this thing, the fans can decide what it’s worth. Is it worth $1? Is it worth $3,000? And I think letting the market decide is a cool aspect of this. So giving the fans complete ownership of the rewards is the most web3, cool thing we can do for the community in our opinion.”
Credit: Emily HartmannRewarding fans for what they’re already doing seems like a no-brainer, but a lot of fans are still sceptical. And they tend to be the same fans who have also been sceptical of everything you’ve been doing with web3 and the blockchain. Is there potential for those fans to be swayed, or do you just accept that some people get it and some people don’t?
“I’m at the latter point at this point. To me it’s a no-brainer. We’ve explained it so many times. And the fact that you can put out a new record and people are gonna complain, you can do a VR concert, people are gonna complain.
“In fact, we just did this really cool thing – I almost don’t even wanna talk about it because we’re the first band to do it – we have this AI in real-time that we’re using on our IMAG where when it’s filming us we can prompt anything we want in it at any time and use a toggle [to determine] how much we use it on the screen.
“And literally the first comments were like, ‘They’re using this stupid AI thing.’ And so honestly, I’m just done. The people that get it are gonna get it. The people that aren’t gonna get it are gonna dig their heels in.
“Every time we do anything, there’s people complaining about it. It’s just part of being in this business.”
It’s hard to understand why people get mad – you’re doing the same things you’ve always done. You’re just adding more.
“Right, the VR concert was mind-boggling to us because people were saying, ‘They’re lazy, they’re not gonna go on tour.’ And it’s like, ‘There are 36 tour dates [on the LIBAD tour], what are you talking about?’ We can’t be in your city every night. You don’t think it’s cool that you can put on a headset and watch a show in a different way?”
Credit: Rafa AlcantaraWhat’s your prediction on the wider adoption of web3 technology in music?
“I’m really interested in getting royalty payments on-chain. Having complete transparency with streaming services [is a good thing]. There’s a bunch of corporate networks that need to be broken down.
“As of a couple months ago, we’re free agents. We don’t have a label, we’re not gonna be signing with a label. It’s just not of any interest to us. So now we can put our music on web3, we can be on Spotify, we can be in all worlds at once.
“A lot of artists can’t because they’re locked into old record deals, and the record labels own a portion of their catalogues. So this gets into deeper situations, but I think web3 with royalties on chain, NFTs as collectibles, blockchain as fanclubs, hopefully you’re gonna see a bunch of different ways people can interact.
“You’ve got Coinbase working on new wallets, where there’s one-touch purchasing. There are all these things that are gonna make it easier for users to get in. We’re more of a hardcore example. We’re forcing people to have their own seed phrase and custodial wallet. We don’t want any responsibility for their stuff. We want them to have ownership.
“We have a more hardcore stance on it but at the end of the day people are gonna have easier ramps in. And I think that’s gonna come from so many different places. It’ll come from Coinbase, MetaMask, people that are innovating and trying to get people in and it’s going to make music easier, because people are gonna have this day-to-day like, ‘I have this crypto wallet, it’s a one-touch and I can buy from Amazon or Shopify, and I can also join this fanclub.’
“It’s all getting figured out, but the future is bright. Any of the 6,000 people in the Deathbats Club will tell you, ‘I don’t want it any other way.’ And it’s gonna take time for that to permeate into society and for other artists to say, ‘We’re gonna put the work in and build out something like this.’ Because it did take us a lot of work. We were building for two years in the bear market, even though that was irrelevant to us; the price didn’t ever matter.
“But we were building for two years when everyone else gave up on it. They didn’t see the vision, they didn’t care about the technology, they didn’t understand it. They were just trying to fucking sell shit to their fans.”

MusicTech’s audience consists of producers, DJs and beatmakers, many of whom are looking for ways to maximise their royalties from Spotify and other streaming services. Is blockchain really the future?
“I’m not the biggest hater of Spotify. If you read Chris Dixon’s book [Read Write Own: Building the Next Era of the Internet], he says music never really adapted to the internet like video games did. They figured out a way to give away games for free and make more money than ever. Music fought with litigation. And then all of sudden, when you had no other choice, you sold out to a couple companies for catalogue.
Not every artist deserves to be rich. You have to have market share. People have to want to listen to you
“The reason a lot of people don’t get paid a lot on Spotify is that they have shitty record deals. We had a shitty record deal. And the fact that you signed in 1999 when you were 18 and you had no money, that’s a lot different than all of a sudden the internet coming along, streaming services being born and you still make 24 cents on the dollar, and Spotify is paying what it pays.
“Now, not every artist deserves to be rich. You have to have market share. People have to want to listen to you. It’s not, ‘Oh, I’m an artist, I should get paid more.’ It’s just not how it works.
“But my biggest problem with Spotify is that they don’t share the data with the artist. Web3 takes care of this; you can take your data as an artist and go somewhere else. So I don’t hate Spotify, I just wish they’d share with us who our listeners are, and they don’t.”

This era of Season Pass is Life Is But A Dream… Season 1. If this is anything like Call of Duty, we’re led to believe there’ll be a Life Is But A Dream… Season 2 and so on, but might we see Season 1 of the next album in a couple of years?
“Life Is But A Dream… will be the only season for this record. We’re gonna adapt to what people like about the season, what rewards they like, and we really wanna just listen to the fans and say, ‘What do you guys want these rewards to be?’
“So we’ll learn a lot. Maybe it’s 50 rewards. Call of Duty went from one thing to a hundred different tiers for all these games now.
“We’re just gonna listen. Next year might be a lot of touring in markets that we’ve never been, so maybe the Season Pass has something to do with that. Every season will have to do with whatever is coming in the next year. If music comes in 2025 or 2026, that Pass will be based on whatever that project is. And when we’re not doing records, it’ll be based on touring.”
This is the big thing with innovation, you’re discovering as you go, and there really isn’t a blueprint to this.
“Right – I think having a blueprint would be irresponsible because we just don’t know. We looked at the biggest buyers on Shopify, how many people listened to us, how much it grew this year – those are the numbers we do get shared – and how many tickets we sold, how much merch we sold on tour, and then we just tried to do math. And we said, ‘If this guy that spends $7,000 on the store also went to five shows, and also is listening to us, we think that guy deserves a meet and greet.’ So what does that number look like going backwards? And that’s kind of how we did it.”
Credit: Dangit Bee!It sounds like a forward-thinking way to give fans more – it must be frustrating to hear people knocking it.
“Welcome to my life! [laughs]”
That said, there’s clearly a large section of the fanbase that is getting on with what you’re doing – you have 6,000 members in the Deathbats Club.
“Yeah – every show, we’re getting about 250-275 people signing up for Season Pass. It looks like we’re selling about three to four Deathbats Club [NFTs] a day, and the floor is like $450 to get in, with the price of Ethereum, [at least].
“And we’re getting about 75-150 items a night being scanned in – just people participating in Season Pass. So it’s one of those things where if you extrapolate that, it’s gonna be great. We’ve just gotta keep letting people know about it.
“If you scan your T-shirt between 8pm and 9pm it comes up on the big screens in person, live. It’s geo-targetted to the arena, and one person wins a meet and greet for two, that night, right on the spot.
“These are all the things you can do with the NFC tags and the NFTs but those sorts of things are getting people to scan, which instantly shows you Season Pass, which instantly says, ‘Hey, there’s points available!’ And so I think you’ve just gotta keep feeding people the right stuff and walking them in.”

Do you see virtual reality concerts being adopted more frequently by other bands? What motivated you to put that together?
“It’s an experience unlike any other, so in my opinion that means it has its right to exist.
“We don’t put ourselves in music videos anymore. With the way budgets are and the way music videos are, it just doesn’t make sense to us. It seems a little cheesy. So we’ve been doing stop motion in different ways to put our art out there.
“And we also think that live DVDs are played out. You can go and find any show on YouTube, every single night, every song. So to put all this resource [doesn’t seem worth it].
“VR is amazing because it checks the box of ‘People get to see us live,’ but they get to do it in a way that has never ever been experienced before – you are in the production. You are a part of the show.
“And so to us, to all the people saying, ’Just make a DVD!’ or ‘Just put yourselves in the videos!’ – that’s what this is, but this is the next iteration of it. This is the cool version of what you’re asking for.
“It blows my mind that there’s any sort of pushback on VR concerts. They are here to stay. I cannot wait until more artists that I enjoy do them. They’re extremely interesting and uncomfortable because you’re right there next to that person.
“It’s a medium where there’s so much to explore. It’s a video game, a movie, a play, it’s live, it’s interactive – it’s everything. And it’s just gonna get better and better. It takes all of those things that people are wishing for and just wraps it up into a new thing.”
“[A lot of the criticism is like], ‘You don’t care about the poor fans.’ And it’s like, actually we’re on tour, we play a lot of shows, and we can’t be in your city every night. In fact, we probably come to your city once every two to five years. So the fact that we’re making something that you can see the show, but even better, there’s just nothing to complain about, but people always find a way. It just is what it is.”
Credit: Will KosciuszkoThis interview has been edited and condensed for clarity.
The post “We’re taking power away from corporate networks, and saying, ‘No, we’re gonna reward our fans, not you’”: M. Shadows on Avenged Sevenfold’s new Fortnite-style Season Pass appeared first on MusicTech.

Lessons from $300M sale of the KISS brand, catalog: ‘This is the future, and the rules are being written now.’Pophouse, the company behind the Abba Voyage hologram live show, has acquired the music catalog, brand name, likeness, and trademarks of the iconic American rock band KISS for a reported $300 million.....
The post Lessons from $300M sale of the KISS brand, catalog: ‘This is the future, and the rules are being written now.’ appeared first on Hypebot.

Mi-03 Bassline Is A FREE 303 Synthesizer Plugin
Music Instinct released Mi-03 Bassline, a free synthesizer plugin that revitalizes the classic 303 sound. Few synthesizers have the same sort of fame and renown as Roland’s TB-303. Like it or not, it’s carved out a place in the likes of techno, trance, house, and even some of Massive Attack’s output. That said, you can [...]
View post: Mi-03 Bassline Is A FREE 303 Synthesizer Plugin

“I’m hoping I have to press a play button”: Gary Neville shares nerves ahead of DJ set as G-Dog at Kendal CallingFootball pundit and former Manchester United player Gary Neville is set to make his DJ debut at Kendal Calling this summer, as none other than DJ G-Dog B2B.
We’re still a good few months away from his set alongside The Charlatan’s vocalist Tim Burgess on 4 August, the closing day of the festival, but Neville’s already feeling the nerves it seems as he’s joked he’s hoping to “wangle his way out of it”.

READ MORE: “I electrocuted myself so many times”: Chromeo tell tales of talk box terrors

Appearing on the Football, Music and Me podcast, Neville shares how he thinks it’s hugely important to step outside of your comfort zone, explaining (via Mixmag), “When I finished my football career, there were many things I did to put myself out of my comfort zone.
“I’m actually DJ-ing with Tim at Kendal Calling, I mean… what the hell am I doing?” he laughs. “I’m trying to wangle my way out of it, but I can’t once I’ve said yes to something…”
At this point, Neville starts laughing as Geoff Shreeves reminds him that he can’t quite escape the festival now he’s already branded himself with such a mighty stage name. “Is that what it says [on the festival bill]?” he laughs, remembering this is not a fever dream.
“Tim just said we’d play a group of songs on the Sunday night after the final acts are on, but obviously there’s loads of people still there,” he says. When asked if he’s ever done any DJ-ing before, Neville replies, “Never in my life! I’m hoping I have to press a play button.
“Obviously Tim has [played] thousands of times, I’ll just be accompanying him. I’m just worried about what I’m actually gonna do, to be honest,” he states.
Listen to the full podcast below:

If you fancy catching the one and only G-Dog at Kendal Calling, you can do so on 4 August this summer.
Find out more about Kendal Calling.
The post “I’m hoping I have to press a play button”: Gary Neville shares nerves ahead of DJ set as G-Dog at Kendal Calling appeared first on MusicTech.

Roland update SP-404 MKII firmware Rolands compact sampler has just gained a set of new features including loop capture capabilities derived from the SP-555, multitrack file exports, mobile app integration and more.

Facebook’s Oculus acquisition turns 10Every year, Time Magazine issues a list of the 200 best inventions of the past 12 months. Frankly, I don’t know how the editors do it. The dirty secret of this job is that true, game-changing inventions rarely cross your desk. In fact, you’re extraordinarily lucky if you average one a year. Oculus’ Rift prototype […]
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Vibratory Rock Tumbler Bounces on Printed SpringIf you’re reading Hackaday, there’s a good chance you had a rock tumbler in your younger days. Hell, we’d put odds on a few of you having one rumbling away in the background as you read this. They’re relatively simple contraptions, and a common enough DIY project. But even still, this largely 3D printed rock tumbler from [Fraens] is unique enough to stand out.
To make a basic rock tumbler, all you really need to do is rotate a cylindrical chamber and let physics do its thing. Such contraptions are known as, unsurprisingly, rotary rock tumblers. But what [Fraens] has put together here is a vibratory tumbler, which…well, it vibrates. If this was Rockaday we might go farther down this particular rabbit hole and explain the pros and cons of each machine, but the short version is that vibratory tumblers are more mechanically complex and are generally better suited to fine finish work than rotary tumblers which take a brute force approach that tends to round off the rocks.

Anyway, while you could use a motor with an offset weight to generate the necessary vibrations, [Fraens] decided to go with a similar electromagnet arrangement to what he used in the vibratory bowl feeder he built last year. Pulsing the electromagnet pulls down the large 3D printed spring, which imparts not only the vertical motion you’d expect, but a touch of horizontal as well.
The end result is a “tossing” motion that gets the rocks inside the printed chamber moving around nicely. The motion can be fine tuned by adjusting the tension on the non-printed springs, which limit the range of the mechanism’s movement.
To drive the electromagnet, [Fraens] is using an Arduino and a L298N H-bridge motor controller. A pair of potentiometers serve as the controls, allowing the user to dial in the duty cycle of the magnet. Interestingly, despite being only rated for 12 V, the electromagnet is being fed off of 24 V for this project. This gives the tumbler a bit more oomph, but at the cost of heating up the magnet. To combat this, the Arduino code implements a 10 minute cool-down period for every hour of runtime. It sounds a little sketchy, but [Fraens] has had this thing cranking for four months now, and the Magic Smoke hasn’t escaped yet.
If you don’t have a 3D printer, or just don’t want to part with the amount of plastic it would take to extrude a machine of this scale, you could always take the easy way out and make a rotary tumbler out of an empty tomato sauce jar and a scrap motor.

No royalties and "junk tracks"

Penteo 6 now available Penteo Audio Plugins have announced the launch of the latest version of their award-winning upmixing and downmixing plug-in