TIDAL adds Circles for musician-to-musician networking, career adviceTIDAL has added Circles, a new space for artists to connect with and learn from peers with similar challenges and experiences. ....
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“I always know when it’s done. It’s a feeling”: Jack Antonoff explains how he knows when a track is finishedAs producers and engineers, we often have trouble knowing when a song or mix is finished. As music is so subjective, there’s technically no end point. But Jack Antonoff can always tell when a song is finished, and in a new interview with Apple Music’s Zane Lowe, he explains how.
The superstar producer says, “I always know when it’s done. It’s a feeling,” and says he’ll want a new song to “live in the world”.

READ MORE: “When someone doesn’t have the sauce anymore, they go elsewhere to shock”: Jack Antonoff criticises Kanye West

Antonoff, who released a new album with his band Bleachers earlier this month and is a frequent collaborator of stars like Taylor Swift, Lana Del Rey, and Lorde, adds, “The one thing I’ve gotten better and better about is just listening to that, because what’s crazy about this work is, none of it adds up to an actual number.
“So it’s not like I did this and I did this, and we’re doing building blocks to get somewhere. It’s so random how many records we’ve recorded this way or that way, or this song. You spend hours and money and all this stuff doing it, and then you turn around and you’re like, ‘Ah, I think it’s an acoustic song.’”
He continues, “And then, you put it down in 10 minutes, and it’s got more emotional resonance than all the shit you did. Which is why ego in the studio is so hilarious to me, because it’s like ego in church, it’s like, ‘What, do you know God better than me or something?’ It’s crazy.”
In the interview, he also discusses his production style, explaining that he’s never been a “mathematician technician” and likes to find things that “may or may not make sense.” He talks about his love for the saxophone, and leaving things in recordings that other producers might take out.
And he says about making music with other people, “It is all feeling. It’s why I’ve been very happy to divorce myself from anything that’s just not here. Everyone I’m making records with were pretty insular … but I really just tend to work with people who just have a gut feeling about something and just want to find it. That’s all making an album is.”
You can check out the full interview here:

The post “I always know when it’s done. It’s a feeling”: Jack Antonoff explains how he knows when a track is finished appeared first on MusicTech.

Fighting Streaming Fraud at the Distributor Level [Symphonic’s Jorge Brea]Fraudsters "redirect royalties away from rights holders and artists and into their own pockets to the tune of millions per year," writes Jorge Brea, the CEO of Symphonic Distribution, but there is a solution.....
The post Fighting Streaming Fraud at the Distributor Level [Symphonic’s Jorge Brea] appeared first on Hypebot.

Basic Music Theory For Music Producers
Music theory can seem daunting for self-taught musicians and producers, particularly when you haven’t had any formal musical education. However, ensuring you have a solid foundational understanding of theory can help you reach new heights of musical creativity. Music theory can help you with your musical projects by helping you understand the basics of melody [...]
View post: Basic Music Theory For Music Producers

“It’s like we’ve invented fire and the first thing we’ve thought to do with it is to burn down our house”: Lex Dromgoole thinks we shouldn’t jump to the worst conclusions with AIAVA London: Lex Dromgoole, CEO of Bronze.ai, thinks that on the whole, many people have assumed the worst about the rise of artificial intelligence.
Last month, MusicTech attended the Surviving The AI Apocalypse panel hosted by Declan McGlynn, Director of Communications at Voice-Swap at the AVA London 2024 conference. At the event, Dromgoole spoke optimistically about AI, stating that we shouldn’t jump to the worst conclusions on the implementation of the new technology in music.

READ MORE: Joe Biden suggests he wants to “ban AI voice impersonation” – a win or loss for musicians?

Speaking on the day was also David Boyle (director at Audience Strategies), Tom Kiehl (Interim CEO at UK Music) and Ruth Royall (a Bristol-based artist who works with Voice Swap).
“With the current way we are thinking about AI in music, it’s like we’ve invented fire and the first thing we’ve thought to do with it is to burn down our house,” said Dromgoole. “Why would the first thing we’d think to do with it be ‘oh, let’s just make loads of really terrible music’? It’s not the first thing that comes to my mind.”
Royall then weighed in about music being too clean in our modern day and the idea that music now “has to be perfect”. She argued that we’ve almost got so used to tech such as auto-tune, that a natural voice now almost sounds bad to some people. “We’re losing some of that emotion,” she said.
Dromgoole later added that the imperfections of AI are what makes it exciting at this stage: “In the early stages of AI, some of the most interesting and sort of inspiring parts of it were the bits it didn’t do right. And now weirdly, I’m becoming less and less engaged the better it gets. [Like] the more photorealistic images [that are coming out], I don’t care about that.”
On a similar note, Dromgoole also shared his belief that the tools we have been using to make music for the last 20-30 years have made tracks sound more machine-like, whereas AI may be able to help us “reevaluate what we can actually bring to the table as humans”.
“I would argue that the tools that we use now to create music have made us as humans act more like computers because of how technical they are,” he said. “From an artistic point of view, as well, it actually gives us the opportunity to reevaluate what we can bring to the table as humans, that these models can’t.”
Keep an eye on AVA Festival for details about AVA’s upcoming festival in Belfast, and check out Bronze.ai.
The post “It’s like we’ve invented fire and the first thing we’ve thought to do with it is to burn down our house”: Lex Dromgoole thinks we shouldn’t jump to the worst conclusions with AI appeared first on MusicTech.

SideRack: mobile plug-in host from NovoNotes SideRack aims to combine the convenience of touchscreen-based plug-ins and instruments with the power of a full desktop DAW system.

Best Spotify alternatives: Music streaming platforms to consider in 2024We’d all love to be vinyl aficionados and Walkman fanatics but, for better or for worse, the most popular way people consume music is on streaming platforms. But which ones are the best?
The leading streaming platform in 2024, with over 350 million users and 150 million subscribers and counting, is Spotify. And while Spotify does, of course, have brilliant features — a vast, evolving library of music and podcasts, accurate music suggestion tools, Spotify Wrapped and even an AI DJ — its average royalty rate of $0.004 per stream, frequent layoffs, and CEO blunders has caused people to look at what else is on offer.

READ MORE: The music streaming revolution is here, thanks to these new streaming platforms

Spotify, it’s important to remember, is just one streaming service, and there are plenty to choose from. Each major platform has differences that set them apart and might tempt you into switching. You might not align with Spotify’s ethics. You might want to connect better with your favourite artists. You might just be bored of consuming music in the same way. Whatever the reason, we’ve examined and compared the differences between alternative streaming platforms for you, and can introduce you to some lesser-known services that offer unique benefits.
The best Spotify alternatives at a glance:

Nina
Bandcamp
Apple Music
sonu.stream
Qobuz
Tidal
SoundCloud
Beatport
Marine Snow

Nina – Best platform for artist royalties
ninaprotocol.com
Nina is a refreshing open-source music streaming platform and store for devoted lovers of music, donning the bold slogan, ‘100% MUSIC’. In its own words, it’s “the only platform and toolkit for independent music designed to give artists total freedom and ownership of their work”. When artists upload their music to the site, they pay a one-time transaction fee. After this, Nina takes itself out of the picture, offering full control of their output and 100 per cent of royalties, taking no fee itself. It also hosts a ton of intriguing editorial content, if you’re looking to dig deeper into a scene you just stumbled across.
While the music on Nina was once only purchasable with a Solana wallet, after a rigorous second update in November 2023, traditional forms of payment are now accepted. The v2 update also introduced uploads of multi-track releases and a discovery feed.

Artist royalty payout rate: artists/labels receive 100% of royalties
Subscription price: None
Audio fidelity: MP3, WAV
Key features:

Open-source platform
Earn 100% of royalties
Flexible control over parameters
Discovery feed
Playlisting and editorial features

Find out more on Nina Protocol.
Bandcamp – Best for underground music discovery
Bandcamp application on a smartphone. Image: Guillaume Payen/SOPA Images/LightRocket via Getty Images
It sounds obvious, and some might say old-school, but trust us: if you love music and can afford to do so, buy it. It’s singlehandedly the biggest way to support artists in 2024.
Bandcamp is an online music store and haven for independent artists, partly thanks to its Bandcamp Friday scheme, where artists, once a month, receive 100 per cent of royalties for their music. It’s not just a site for buying music, though: you can stream tracks online or from its app (by default, you can only stream a song in full up to three times unless you’ve bought it). The radio shows are also excellent — we only wish there were more of them.
Bandcamp also has a keen focus on new music discovery, with a fantastic regularly updated editorial section highlighting new, exciting music. The home page even includes a real-time carousel showing what releases are being purchased globally, potentially inspiring you to find music you would have never heard of.

Artist royalty payout rate: On average, 82% of each purchase goes to the artist/label
Subscription price: None
Audio fidelity: MP3, WAV, AIFF
Key features:

Artist-focussed, DIY user experience
100% of revenue goes to artist/label on Bandcamp Fridays
New music discovery features
Quality editorial section

Find out more at Bandcamp.
Apple Music – Best for spatial audio and radio shows

Right up there as one of the most-used music streaming services in 2024, Apple Music, though not perfect, is a strong alternative to Spotify, thanks to its royalty rate – $0.01 compared to Spotify’s $0.003 – $0.005 – and better audio quality. It prides itself on lossless audio and spatial audio, supported by Dolby Atmos, even teaming up with Boiler Room to offer exclusive immersive live DJ sets. Many users also praise Apple Music for its intuitive playlisting and library-organising features.
At $11 per month, you get a vast catalogue of music that rivals all other major platforms. You also get access to all of Apple Music’s exclusive — and often excellent — podcasts and radio shows, such as The Zane Lowe Show and Tim Sweeney’s Beats In Space.

Artist royalty payout rate: $0.01 per stream
Subscription price: None
Audio fidelity: AAC (256 kbps), ALAC up to 24-bit/192 kHz, Spatial audio with Dolby Atmos
Key features:

Exclusive Apple content
Better royalty rate than Spotify
Lossless and immersive audio
100m+ songs
Ad-free

Find out more on Apple Music.
sonu.stream – Best for Web3 users
sonu.stream. Image: sonu.stream
Co-founded by Laura Jaramillo and producer TOKiMONSTA, sonu.stream uses Web3 technology, utilising blockchain to ensure fair compensation for its artists. Like Marine Snow, sonu.stream‘s not fully released to the world, but we recently spoke to its founders, who gave us a bit more information about the upcoming streaming service.
In our chat, Jaramillo emphasised the platform’s unique Web3 model, saying, “It allows you to create a strong foundation that decentralizes the permission for AI-generated music…People are disappointed in these giants and they see sonu.stream as an opportunity for change.”
Features:

Artist royalty payout rate: N/A
Subscription prices: N/A
Audio fidelity: N/A
Standout features:

Web3-powered streaming
sonu auctions
Protocol-generated rewards
No ownership transfer of music rights; artists retain full control
Biweekly streaming royalties payout

Find out more on sonu.stream.
Qobuz – Best for community
A user using Qobuz on a desktop
Qobuz is a serious contender to Spotify if you’re a passionate music fan seeking the feel of a record store when finding new music. It’s a premium music streaming service – leaning more into jazz and classical territories – that prides itself on high-fidelity audio listening, exclusive editorial content, and Qobuz Club. The latter is a social media-style platform where users can discuss and share music.
It’s not just a music streaming website – Qobuz is also a store with purchasable or downloadable high-res digital files available alongside online listening.

Artist royalty payout rate: $0.04 per stream
Subscription prices:

Studio plan: £10.83/month
Sublime plan: £14.99/month

Audio fidelity: Lossless, FLAC (24-Bit up to 192 kHz)
Key features:

High-quality audio
100m tracks available
Exclusive editorial content
Passionate community on Qobuz Club

Learn more on Qobuz.
Tidal – Best for exclusive music

In 2015, Jay-Z splashed $56m on a Norwegian streaming service, rebranded it, and launched it as an “artist-owned” streaming service called Tidal. Nine years later, Tidal has had an interesting journey but has managed to establish a core user fanbase and attract artists with its satisfyingly high royalty payout rate.
Some of the biggest rap and R&B artists today, such as Ye, for example, choose to release their music exclusively on this streaming service. Beyoncé released her phenomenal LEMONADE album on Tidal and Rihanna, Jay-Z and Drake have also released albums exclusively onto the platform.
The exclusivity of Tidal is not just what attracts both artists and listeners to the streaming service. Tidal’s royalty rate is $0.0125 to $0.015 per stream which, compared to Spotify’s average of $0.004, is a steep improvement. Plus, Tidal builds a tight-knit community through engaging editorial content, from conversations with new artists about upcoming releases to reviews of gigs or look-backs on important music that has shaped music and its culture.

Artist royalty payout rate: $0.0125 to $0.015 per stream
Subscription price:

HiFi: £10.99/month
HiFi Plus: £19.99/month

Audio fidelity: Up to 24-bit, 192 kHz
Key features:

Exclusive music
High-quality audio
Curated editorial content
Artist-centric approach

Find out more on Tidal.
SoundCloud – Best for up-and-coming artists and sharing your music

SoundCloud, which launched in 2007, started out as a music-sharing platform, later developing into its own streaming service. The platform lets you easily upload, promote, and share your music and DJ mixes, so you can reach global audiences directly and engage with them through comments and a message inbox. Because of this, SoundCloud has built up a dedicated community of listeners, producers, and – most notably – rappers, having birthed a sub-genre of rap called SoundCloud rap in and around 2016.
Compared to Spotify, SoundCloud offers more flexibility for independent artists to showcase their work and engage with fans without the need for label support. Since 2021, SoundCloud has featured a fan-powered royalty system, where artists are paid based on the actual listening habits of their fans, rather than overall listens being pooled up with major artists.

Artist royalty payout rate: $0.0025 to $0.004 per stream (if artists sign up to SoundCloud For Artists)
Subscription price:

Free (with ads)
SoundCloud Go: £5.99/month (no ads)
SoundCloud Go+: £9.99/month (no ads)

Audio fidelity:

SoundCloud Go: 128kpbs MP3
SoundCloud Go+: 256kbps AAC

Key features:

Fan-powered royalties
Upload DJ mixes (3 hours max.)
Engagement with fans
Direct artist-to-listener model

Find out more on SoundCloud.
Beatport – Best for DJs

Beatport, founded in 2004, is a digital music store focused solely on electronic music. Beatport’s EDM-centred library is vast and varied, home to everything from drum ‘n’ bass to house, garage, techno, right through to trap, amapiano and more, offering niche sub-genes from each.
In 2019, Beatport expanded into streaming with the launch of Beatport LINK. It provides subscribers access to all of Beatport’s catalogue tracks and DJ mixes for streaming through web browsers or on your phone. Beatport LINK is integrated into modern DJ decks, such as the Pioneer CDJ-3000, giving you access to Beatport’s library directly from the decks without the need for a USB stick or, thanks to its offline streaming capabilities, Wi-Fi.
In 2021, Beatport launched its own iOS app, later expanding into Android. This condenses all of Beatport’s catalogue into a mobile-friendly format, letting you stream music, browse artist-curated playlists, and create unlimited playlists. The app is a handy solution for DJs who want to discover and be inspired by new music on the move, instead of sitting at a desk.

Artist royalty payout rate: $0.10 per stream
Subscription price:

Essential: $9.99/month
Advanced: $15.99/month

Audio fidelity: MP3, WAV, AIFF
Standout features:

Extensive dance music catalogue
DJ-friendly features (key, tempo, advanced filters etc.)
Stream via desktop or on smart phones
Stream tracks directly to DJ decks via Beatport LINK
No need for Wi-Fi when DJing with offline streaming

Find out more on Beatport.
One to watch: Marine Snow

Marine Snow is a streaming service that has been in the works for over three years and is set to officially launch very soon. We’ve been speaking to its lead creator, ex-Spotify employee Tony Lashley, about what the upcoming streaming platform will provide for artists. It certainly sounds like, if it takes off, it could change the streaming landscape.
One of the main exciting features of Marine Snow is its unique artist-focused take on usual streaming models. Marine Snow offers artists an upfront payment equal to 500,000 Spotify streams, and gives subscribers the option of a subscription-as-investment – if you choose to pay more than the minimum subscription rate, you’ll gain a stake in the platform. Marine Snow also rotates tracks exclusively for 90 days, guaranteeing each contributing artist a fixed share of revenue regardless of stream numbers.
In a recent interview with MusicTech, Lashley explained the platform’s shift towards artist empowerment: “You can only help artists as much as you can capture money or attention from consumers…you have to create new forms of value if you want to succeed.
“An artist can think they’ve written a really good song, and it can get 10,000 plays and it’s still a really good song, no matter how many plays it gets.”
Features:

Artist royalty payout rate: N/A
Subscription prices: N/A
Audio fidelity: N/A
Key features:

Upfront payment to artists
Gamified music discovery
90-day track rotation
Subscription-as-investment model

Read more on Marine Snow.
The post Best Spotify alternatives: Music streaming platforms to consider in 2024 appeared first on MusicTech.

“I’ve landed on a solution”: Is James Blake launching a streaming app?What is James Blake cooking? The musician, following recent complaints about inadequate payments for artists by social media and streaming platforms, has told fans that he’s “landed on a nice solution”.

READ MORE: The music streaming revolution is here, thanks to these new streaming platforms

Writing on X on Monday (11 March), the British producer and singer said, “Been having some great conversations with like minds and I think I’ve landed on a nice solution. Announcement in 9 days.”

Been having some great conversations with like minds and I think I’ve landed on a nice solution. Announcement in 9 days https://t.co/yIDyxtL5ib
— James Blake (@jamesblake) March 11, 2024

Blake’s mysterious “solution” looks to be related to his recent public highlighting of unfair payments for artists from major music streaming and social media platforms, particularly TikTok.
Many of James Blake’s fans have speculated that the announcement, which according to Blake will come on 20 March, is a music streaming app. Some say, considering Blake’s past collaborations with the artist, this streaming app could be a collaboration with Kanye West on his much-rumoured ‘Yzy’ or ‘Yeezy’ app.
Rumours of a new Kanye West-led music streaming service/music store were re-invigorated recently when West, now going by Ye, responded to a fan about the rumours. After the fan wrote, “So Vultures 2 won’t be released on Apple Music, Spotify or Tidal? Will it only be available on Yeezy.com?”, West responded with, “Can we get a million people to buy the album. When we do that we won’t have the streaming companies in control of the artist anymore.”

Ye new message:
“Can we get a million people to buy the album.
When we do that we won't have the streaming companies in control of the artist anymore. “ pic.twitter.com/MilGhhU9c9
— YEFANATICS (@yefanatics) March 10, 2024

One X user makes a bold prediction: “He’s buying Myspace, you read it here first”. Another user, clearly excited at an alternative to streaming, simply writes, “Are we going to start a socialist revolution?”.
All this comes after the Playing Robots Into Heaven creator revealed on 3 March that neither he nor Frank Ocean had received any payment for the use of Blake’s popular cover of Frank Ocean’s Godspeed after it was labelled as ‘original audio’ on TikTok.
This sparked a string of X posts from the artist. He writes, “Something I keep seeing is ‘if you’re lucky enough to go viral, just use the exposure to generate income some other way’. Musicians should be able to generate income via their music.
“Do you want good music or do you want what you paid for?”
A later post continues: “If we want quality music somebody is gonna have to pay for it. Streaming services don’t pay properly, labels want a bigger cut than ever and just sit and wait for you to go viral, TikTok doesn’t pay properly, and touring is getting prohibitively expensive for most artists.
“The brainwashing worked and now people think music is free,” another post reads.

Facts https://t.co/WsxfMqi76w
— Jme (@JmeBBK) March 3, 2024

“And by the way, since it’s cheaper to produce fast, synthetic music to drop on streaming every week to capitalize on the strengths of the model, watch how the model is preparing you for AI-generated music that pays musicians nothing at all.”
For more artist-focused news, head to MusicTech.
The post “I’ve landed on a solution”: Is James Blake launching a streaming app? appeared first on MusicTech.

Neil Young returns to Spotify after Amazon and Apple pick up Joe Rogan’s podcastNeil Young‘s music will soon be returning to Spotify now that The Joe Rogan Experience will no longer be exclusive to the platform – but he doesn’t exactly seem overjoyed about it.
Spotify users have been unable to access Young’s catalogue since January 2022, when he removed his music to protest the platform’s inaction over Rogan’s controversial podcast which he says spread misinformation about COVID-19 vaccines. Back then, The Joe Rogan Experience was a Spotify exclusive.

READ MORE: The music streaming revolution is here, thanks to new platforms 

“They can have Rogan or Young. Not both,” Young said in an open letter at the time, adding that Rogan’s podcast was “potentially causing death to those who believe the disinformation being spread by them”.
Young later hit out at the sound quality on the streaming service, asking in November 2022: “Why would I keep it on there when it sounds like a pixelated movie?”
Now, The Joe Rogan Experience is no longer a Spotify exclusive and has been picked up by Apple and Amazon. Young wrote in a post on his website yesterday (12th March): “Spotify, the #1 streaming of low-res music in the world – Spotify where you get less quality than we made, will now be home of my music again.”

“My decision comes as music services Apple and Amazon have started serving the same disinformation podcast features I opposed at Spotify. I cannot just leave Apple and Amazon, like I did with Spotify, because my music would have very little streaming outlet to music lovers at all.”
“So I have returned to Spotify, in sincere hopes that Spotify sound quality will improve and people will be able to hear and feel all the music as we made it. Qobuz and Tidal, where my music is presented, are all high-res as well.”
He concluded: “Hopefully Spotify will turn to high-res as the answer and sever all the music to everyone. Spotify, you can do it! Really be #1 in all ways. You have the music and the listeners! Start with a limited high-res tier and build from there!”
Neil Young’s music isn’t yet back on Spotify at the time of writing – but it’ll likely appear in the coming days.
The post Neil Young returns to Spotify after Amazon and Apple pick up Joe Rogan’s podcast appeared first on MusicTech.

Iconic Instruments release SP140 Plate Reverb Iconic Instruments' new plate reverb plug-in offers five different EMT 140 model options along with some built in saturation, filtering and more.

“There’s no other machine that has a sound so remarkable” — Artists give their take on the TB-303Everybody needs a 303. The Roland TB-303 Bass Line synthesizer was launched in 1981 as a bass accompaniment machine for musicians, but, following some accidental – now historical – tinkering by Phuture’s DJ Pierre, has transformed dance music.
The 303 didn’t just lead to the creation of acid house music but weaves its versatile low-end frequencies into loads of genres today. Whether it’s the focal point of a track, like in Josh Wink’s rave anthem, Higher State Of Consciousness, Daft Punk’s iconic Da Funk, or even Tame Impala’s Breathe Deeper, this machine-made bassline is deeply implanted into our encyclopedia of sounds.
Roland booth at CRSSD Spring 2024. Image: Izzy Hassan
We hear from five 303-loving artists who played and jammed out at CRSSD Festival and CRSSD Lab in San Diego during 303 Day. There was even a CRSSD’s 303-theme afterparty — talk about acid love.
Acid house pioneer DJ Pierre, Berlin techno artist Hector Oaks, Austrian trip-hop duo Kruder & Dorfmeister, Israeli electronica outfit Red Axes and minimal house Londoner, East End Dubs all help decipher what it is exactly that producers love about Roland’s iconic TB-303, and what our favourite uses of the synth have been over the past 43 years.

READ MORE: Behringer and Roland dominate in new world map showing most popular synth brands by country

Do you recall what made you fall in love with the 303? On a track, or the first time you heard it on its own, perhaps?
DJ Pierre: “Unknowingly, I’d heard it on a song by Nucleus called Jam On It when I first started DJing. Even when I finally came across the 303, I didn’t recognise that it was the same bass sound that was on that track. For me, it was all about the texture.”
East End Dubs: “I remember watching Daft Punk live in London; they started their set with Da Funk. I will never forget that moment. I had goosebumps watching that performance live. The first thing I did when I got back home was purchase my first 303.”
Hector Oaks: “I remember very well the first time. I listened to Aphrohead – In The Dark We Live (Dave Clarke’s 312 Remix). A real techno song. Epic.”
East End Dubs
What did you want to do with that 303 sound when you first got your hands on one?
DJ Pierre: “I honestly thought that I was going to be making some dope deep-sounding basslines. I had no idea that I would end up creating a whole new sound called Acid and a new genre of music!”
East End Dubs: “I got my hands on it, tried to create the bassline of Josh Wink’s Higher State of Consciousness. It took me a while but I managed to get very close to it at the end. I then produced my Acid Cutz EP with a Roland TB-303, TR-808 and TR-909.”
Red Axes. Image: Ben Palhov
Why do you think there haven’t been any other “accidental” sounds like the 303 recently?
DJ Pierre: “Let me first clarify the whole accident thing. I hadn’t thought about it this way until legend Lil Louis said to me, ‘Pierre, YOU are the acid’. He said to me: ‘What you did and how you approached the 303 is how you approached every keyboard and synth – twisting those knobs like that is a ‘you’ thing.
“‘When you came across the 303, you heard something so special that you, Spank and Herb decided to make a whole track featuring that unique sound that only happens when you twist the knobs on the TB-303 while the sequence is playing.’”
Red Axes: “As time goes by, we know too much and make fewer mistakes. We lost the beauty of mistakes, but maybe soon we will get another great mistake.”
Hector Oaks: “I think that the room for mistake is getting quite narrow. Synth companies already have this in their mind and many of the machines are intentionally built to be used in unexpected ways.”
Kruder and Dorfmeister DJing at CRSSD 2024
Do you prefer having the 303 sound accessible via a plugin with easy programming, or going physical and getting stuck in?
East End Dubs: “I have both analogue and digital versions of 303. I think you can’t beat the sound of analogue, however, the 303’s much easier to program via a plugin.”
Hector Oaks: “Lately I’m more into the physical. I guess the serotonin hit that you get when playing an instrument is quite different than when you compose a track in the box. However, I use both to create my music. So, more hardware for the creation phase and software for the arrangement part. Although I’m trying to unify the process.”
What’s the worst thing about the 303?
DJ Pierre: “If I find it, I’ll let you know.”
Kruder & Dorfmeister: “Definitely the programming – if you wanted to program a bassline as planned it can take ages.”
Hector Oaks: “The worst thing is also the best thing. Although you know it well, it’s hard to achieve predictable results with the 303. There is the magic of the instrument: how a slide to a higher note can interact with the filter to create something unexpected that blows your head.”
Kruder and Dorfmeister. Image: Max Parovsky
What’s the best thing about the 303?
Kruder & Dorfmeister: “It’s the remarkable sound that only this machine can produce – there is no other machine that has a sound so remarkable. It’s an addictive sound, but you have to be careful not to overuse it because it’s such a dominant sound.”
Red Axes: “The best thing is that it always gives the song or track this special acid bump, whether it’s a lead or a bass line. It’s super easy to fit into the mix.”
DJ Pierre: “The 303 ushered in a new way of interacting and creating with all keyboards, drum machines and synths. Since the creation of the ‘acid sound’, all keyboards and synths have been made with the idea [that you can] manipulate the knobs and levers while the pattern/sequence is running to record your performance and hopefully create something special.”
Read more music technology features at MusicTech
The post “There’s no other machine that has a sound so remarkable” — Artists give their take on the TB-303 appeared first on MusicTech.

RELEASE DETAILS
Release title:
ring a bell
Main artist name:
Faygoplexine
Release date:
5th Apr, 2024
https://publme.lnk.to/ringabell
#newmusic #Release #Music #indepedent #artist #experimental #Psychedelic

From Gamer to Billion Stream Club as a DIY Artist/ProducerTheFatRat is known to be the world's most influential Gaming Music artist. His music ranges from euphoric progressive house to trap and melodic glitch-hop, with a heavy influence of video game music. The artist’s forward-thinking approach to lift copyright restrictions on his music has led to him having been featured in 30+ million videos from a range of different content creators-collectively accounting for over 29 billion views on YouTube.

TikTok’s parent ByteDance has locked down AI-music patents in the US – as its researchers develop a model trained on 257,000 hours of songsTikTok's AI music ambitions are bigger than you think...
Source

How to maximize a music release’s potential for success [VIDEO].
#Music #Promotion #Video #Release #artists