WebSampler allows you to sample any audio from the internet right within your DAWSampling and music production go hand in hand, so it’s no surprise that there’s a demand among producers for tools to make the sampling process easier.
While there are already a number of audio capture tools available, many producers still rely on online YouTube-to-MP3 websites, which themselves seem to appear and get taken down as regular as clockwork.

READ MORE: “Enough’s enough”: deadmau5 threatens to pull music from Spotify following Daniel Ek “cost of creating content” comments

WebSampler, a new tool from WXAudio, aims to eliminate the need for YouTube-to-MP3 tools by offering producers the ability to record audio from any website from directly within a DAW.

How it works is simple; WebSampler is a VST plugin with an internet browser built right in, where you can head to any website and record a sample and insert it as an audio clip right in your DAW’s timeline.
While WebSampler definitely streamlines the practicality of creating samples for your mixes, it still should be remembered that samples, more often than not, require permission to be used in songs and other projects. That said, WebSampler doesn’t claim to have anything to do with clearing rights for samples, for what it does – quick and easy sampling from anywhere on the web – it really does seem like a knockout idea.
WebSampler costs a very reasonable $10 and is available in VST3, AU and standalone formats. For more info, head to WXAudio.
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Best free sample packs for IDM and trip hop soundsAd feature with BandLab Sounds
Rooted in the 1990s, IDM is characterised by complex, intricate compositions. The genre is as diverse as it is esoteric, incorporating elements from breakbeat, trip-hop, acid house, and ambient to name a few – so this week’s sample pack round-up is sure to be a goldmine of hidden gems.
Inspired by the vast back catalogue of Machinedrum off the back of his latest release, 3FOR82, you’ll find everything from snappy percussion for creating off-kilter rhythms, to atmospheric pads perfect for lush, detailed soundscapes.
READ MORE: Machinedrum: “That’s what’s exciting about making music: learning, evolving and experimenting”
Experimentation is integral to IDM – don’t be afraid to mangle and warp these samples into entirely new sonic ideas. If you’re really looking to get into the spirit of things, why not load up a tracker like Renoise for some of that old-school workflow?
Whether you’re looking to add complexity to your beats or evoke a moody, atmospheric vibe, this free sample collection is sure to get your brain working.
Machinedrum Presents Micron Sounds
Travis Stewart AKA Machinedrum.Image: Ben Bentley for MusicTech
Put together by Machinedrum himself, this intriguing collection of characterful sounds comes from a ‘90s Micron computer. There’s plenty here to get you started on your IDM journey, from crunchy bit-crushed drums to bouncy bass sounds and glitchy keys.
Download Machinedrum Presents Micron Sounds
Trip Hop Volume 1
Bring the tempo down with this old-school trip hop pack, filled to the brim with mellow grooves, psychedelic pad swells, and organic textures. Of course, there’s a healthy dose of delay on top of these crusty, crunchy loops too.
Download Trip Hop Volume 1
Trip Hop Volume 2

If you didn’t get your fill with the first instalment, Trip Hop Volume 2 is almost double the size. This pack offers a slightly more modern take on the genre than its predecessor, with heavier half-time drum loops and a selection of FX samples to add some flourish to your arrangement.
Download Trip Hop Volume 2
Belibat Trip Hop
This next trip hop bundle, courtesy of Belibat, is darker and more melancholic in tone. You’ll find plenty of psychedelic loops and effects in the pack, along with emotive orchestral phrases – perfect if you’re making music in the vein of Massive Attack or Portishead.
Download Belibat Trip Hop
Patch & Play Lab: Experimental Ear Candy
A hallmark of IDM is the level of detail in its arrangements. Experimental Ear Candy from Patch & Play Lab touts plenty of intriguing gestures and abstract noises to pepper across your production.
Download Patch & Play Lab: Experimental Ear Candy
Intelligent Dance Music

If you’re new to the genre, this collection of IDM sounds is an excellent foundational toolkit. Crisp and snappy drums, weird and warped pads, meandering leads – there’s loads here to get you started.
Download Intelligent Dance Music
Sample This: Smooth Liquid Drum & Bass
Bringing up the tempo, Smooth Liquid Drum & Bass from Sample This offers up deep grooves and skittish drum loops, with plenty of atmospheric sounds to build up your listeners and bring them back down.
Download Sample This: Smooth Liquid Drum & Bass
Classic Atmospheric Liquid D&B

Another collection of liquid D&B sounds, these samples have a little more old-school flavour, harking back to the early noughties. Inside you’ll find 100 loops at 172 beats per minute across drums, bass, pads, keys, and more.
Download Classic Atmospheric & Liquid D&B
Modular Samples

Whether you’re eschewing traditional drums or simply looking for some interesting textures to spice up a beat, this pack of 120 modular one-shots has you covered for all your glitchy, abstract needs.
Download Modular Samples
Patch & Play Lab: Modular Patch Experiments
This experimental sound pack from Patch & Play Lab includes everything from acidic lead sounds to bubbling arpeggiators and squelchy bass sounds – all of which have been heavily processed by analogue hardware for extra character.
Download Patch & Play Lab: Modular Patch Experiments
Marie Ann Hedonia: Sounds From Another Place

Marie Ann is back with another modular synth pack, this time taking us on a journey to worlds beyond our own. Inside, you’ll find plenty of strange effects and stabs, along with spaced-out melodic ideas and modulated drums.
Download Marie Ann Hedonia: Sounds From Another Place
Patch & Play Lab: 50s Sci-fi

Analogue sounds from the future but with a decidedly retro feel are what you’ll find in this Patch & Play Lab pack inspired by ‘50s sci-fi. Watch out Delia Derbyshire, you could be about to get upstaged!
Download Patch & Play Lab: 50s Sci-fi
The post Best free sample packs for IDM and trip hop sounds appeared first on MusicTech.

Shure’s MV7+ microphone sounds amazing but has major control problems£269, shure.com
Shure is back with a new version of its hybrid USB/XLR microphone, the MV7+. We tested the original MV7 in 2021, praising it for its vastfeaturesey and a sound quality approaching that of the revered SM7B, from which the MV7 gets its styling tips.
What’s new with the Shure MV7+?
Onboard signal processing expands on the existing EQ, compression, limiting and auto-gain functions to include reverb and a denoiser. Touch controls (which were fiddly on the MV7) have been pared down to only control muting, with the touch display beneath monitoring incoming audio in a pulsing, colourful way.
Shure has also tweaked the look and sound. A 1.5cm-longer foam windscreen provides even more of an SM7B resemblance. Meanwhile, the raw sound from the capture is smoother than ever with a contoured high-mid range that’s less fatiguing than rivals like RØDE’s PodMic USB.
Shure MV7+
Just like the original MV7, the mic acts as an audio interface in USB mode, with a quality headphone amp on tap. The USB-C connectivity is handy for modern laptops, but users with only USB-A might need a powered hub to feed the MV7+ enough voltage.
USB and XLR signals can be captured simultaneously, although DSP is applied to the USB stream only.
What is the Shure MV7+ like to use?
We love the sound of the MV7 and Shure’s revoicing of the MV7+ makes us smile even more. It’s not quite an SM7B but it’s the closest you can get with the convenience of USB connectivity. Muting is easy and we welcome the colourful display meter of the live signal as a stylish addition.
For voiceover work, we tilt the EQ towards the darker end for a smooth result that thickens the voice with flattering proximity without making it sound dull.
There is, however, noticeable latency, particularly when the headphone level is low. Our PodMic USB gets far closer to ‘zero-latency’ monitoring even with DSP enabled, but perhaps this is the pay-off for Shure doing smarter things under the hood. If you like to monitor loud or you’re less sensitive to latency, then it might not be an issue.
Talking of smart features, the new denoiser is a wonder. Far less choppy than a conventional noise gate, it effortlessly removes preamp hiss and ambient noise without getting in the way or being perceived as uncomfortable phase trickery. And there’s no balancing act with thresholds, or confusing attack and release controls. For capturing the spoken word with minimal room noise or hiss, you’d struggle to do better. In fact, getting reacquainted with the PodMic USB’s noise gate after spending time with the MV7+ feels like a primitive step backward.
Shure MV7+
But that all falls part when using the new desktop software — MOTIV Mix — which controls the mic and offers routing and recording functionality. Still in beta, it’s clearly unfinished. Yes, in a few clicks you can access almost all of the DSP settings, including customising the colours of the LED meters, however, there currently seems to be no way to save settings via a user preset (or select any helpful ‘starter’ presets for different applications). Recording quality and recording paths cannot currently be changed in MOTIV Mix. On a brighter note, the mic does retain its last-used settings.
Working on iOS, the tried-and-tested MOTIV Audio app allows quicker access to settings but cannot access LED colour settings. You can save user presets though — hooray — but Shure must make both versions of the software operate in the same way.
Disappointing too are the reverb presets on the MV7+. These are all dense, mono and have decay times in the range of multiple seconds. We don’t expect onboard reverbs to sound oustanding, but at least with ambience or smaller room settings you can more easily tuck the reverb in behind what you’re recording.
Should I buy the Shure MV7+?
Shure reassures us that software updates are on their way, but for the meantime, if you need to customise recording quality or wish to save presets on a desktop app, then you’re out of luck.
Shure MV7+
If that doesn’t bother you or you’re happy to wait for them, then this mic is a real winner. It looks and sounds great and nearly all the DSP functions are genuinely useful for a host of applications, be it podcasting, music recording or online meetings, with the new denoiser being the stand-out feature that is surely set to become indispensable for many a workflow..
The MV7+ should be earning its rightful place as one of the best-sounding, most versatile USB mics available at any price. It’s just a shame it isn’t yet ready for prime time.
Shure MV7+ key features

Hybrid USB-C/XLR dynamic microphone with onboard audio interface
Recording qualities up to 24-bit/48 kHz
Available in black and white
3.5mm headphone socket
Foam windscreen/pop shield
Integral yoke/standmount
Built-in DSP with auto-gain, compressor, limiter, tilt EQ, denoiser, pop stopper and reverb
Customisable colour meter display
Touch control muting
MOTIV Mix desktop software / ??? Mobile
Includes USB-C cable

The post Shure’s MV7+ microphone sounds amazing but has major control problems appeared first on MusicTech.

“Enough’s enough”: deadmau5 threatens to pull music from Spotify following Daniel Ek “cost of creating content” commentsdeadmau5 has threatened to remove his music from Spotify following comments made by the platform’s CEO Daniel Ek, in which he said the cost of creating content is “close to zero”.
When Ek made the comments last month, outrage from across the music world – the very world Ek and Spotify profit from – predictably ensued.

READ MORE: Record labels sue AI music generators Suno and Udio alleging “unimaginable scales” of copyright infringement

Pondering the “concept of long shelf life versus short shelf life” with regards to music, Ek wrote: “Today, with the cost of creating content being close to zero, people can share an incredible amount of content.”
While such comments may not have been as inflammatory from a different source, Daniel Ek is, himself, a multi-billionaire, and many artists who distribute music via his platform feel significantly underpaid for their contributions to its growth.
Many smaller artists understandably took issue with his viewpoints at the time, and now a more notable voice has taken opposition to them in the form of DJ and producer deadmau5, who has said he may remove his music from Spotify, and called those who run the platform “fucking vultures”.
Sharing a screenshot of a headline on Instagram which reads: “Spotify CEO claims “the cost of creating content” is “close to zero”, deadmau5 responds in the caption: “Incorrect. The cost of creating content was 25+ years of my life and much of those proceeds going to your company you complete fucking idiot.”
And in response to a user’s comment on his post – which reads: “We hate Spotify so much” – deadmau5 replies, “I feel that, I’m about to pull my catalogue from these fucking vultures, enough’s enough.”

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A post shared by deadmau5 (@deadmau5)

deadmau5’s threats came five days ago at the time of writing, and his music remains available to listen to on Spotify. It’s unclear at this stage whether he plans to follow through and remove his catalogue.
This isn’t the first time Daniel Ek has landed himself in hot water with the creators his platform relies on. In March, he justified low royalty payments to artists by likening the music industry to professional football, saying only a handful of artists ever become successful enough to make a sustainable living.
“Football is played by millions of people – but there’s a very small number that can live off playing full time,” he said.
The post “Enough’s enough”: deadmau5 threatens to pull music from Spotify following Daniel Ek “cost of creating content” comments appeared first on MusicTech.

Billie Eilish’s Email Marketing Secrets (that you can use too)Discover how Billie Eilish’s team has successfully used email marketing to boost her fan engagement and sales and keep reading to learn how to apply these strategies to your campaigns.. Continue reading
The post Billie Eilish’s Email Marketing Secrets (that you can use too) appeared first on Hypebot.

The Value of Free: Lessons from Tubi’s SuccessWhen everything nowadays is a paid subscription, it’s important to recognize how Tubi discovered a different path to success… by Fred Jacobs of Jacobs Media These days, it seems like. Continue reading
The post The Value of Free: Lessons from Tubi’s Success appeared first on Hypebot.

Watch never-before-seen footage of Avicii’s last-ever Sweden showNever-before-seen footage of Avicii’s last-ever show in his home country of Sweden has been uploaded to YouTube.
The 10-minute clip – which was recorded at Tallriken, Malmö on 5 August, 2016 – shows Avicii – real name Tim Bergling – performing four tracks: Without You, Hey Brother, Shame on Me and You Make Me.

READ MORE: “We’re living in a time where World War III can easily break out at any moment”: Why Questlove was “triggered” by Drake vs. Kendrick Lamar feud

According to the video’s description, the footage has been showcased through screenings at Avicii Experience – the Avicii tribute museum in Avicii’s hometown, Sweden’s capital Stockholm this past spring. Check it out below:

Six years after his tragic death in 2018 at only 28 years old, Avicii’s presence and influence is still felt throughout the world of electronic music, and indeed the music world as a whole. On Spotify, he remains in the top 100 artists in the world, with nearly 39 million monthly listeners as of June 2024 and billions of streams across his iconic catalogue.
A documentary charting his life and the events that led to his suicide – Avicii – I’m Tim – also premiered at this year’s Tribeca Film Festival in New York. Elsewhere, the Ericsson Globe in Stockholm was renamed the Avicii Arena in 2021 in his honour.
Earlier this month, Avicii’s father Klas Bergling spoke on the tragic circumstances surrounding his son’s death. “I miss him every minute, of course, I talk to him every day,” he said. “But I admit, I get angry at him sometimes. Why did you do it? Why did you leave us?”
Elsewhere, Hey Brother vocalist Dan Tyminski recently reflected on his contributions to the track as it hit 1 billion Spotify streams, saying: “It was like a beam came out of heaven and dropped this beautiful song.”
The post Watch never-before-seen footage of Avicii’s last-ever Sweden show appeared first on MusicTech.

“Fred again did 8,000 streams in the first week and sold out four arenas in six minutes”: Lil Yachty on the difference between marketing hip-hop and electronic musicLil Yachty has spoken about the difference between marketing for hip-hop and electronic music, noting how hip-hop tends to be more “fast-paced” and reliant on social media.
The rapper, whose collaborative album with James Blake Bad Cameo arrives later this week, tells Apple Music’s Zane Lowe that one thing he realised while promoting the record was how different things work in the urban community compared to the rest of the music scene.

READ MORE: Moby is frustrated he can’t release more music: “I only release about 2% of what I make… 98% of it is collecting digital dust”

“For instance, [Blake] may not have 700,000 likes on a picture, but he can always count on a show to sell out,” says Lil Yachty, who boasts 12.1 million followers on Instagram — nearly 20x Blake’s 677k.
“In hip-hop, it’s all about your first-week numbers; It’s very fast. Fast-paced marketing and fast-lived content. Versus any other genre [where] it’s a gradual grind, a gradual uphill battle.” The reason, Lil Yachty suggests, has to do with people in urban communities “having a lot more time on their hands to judge and critique others in a positive or negative light.”
“I think we care more about things the second they drop. It’s almost like a FOMO thing where like ‘Future just dropped, I have to hear it at midnight.’ Versus a pop or rock record, it’s like, ‘I’ll get to it.’ And when I get to it it’s because I bought it, I purchased it.”
“If it doesn’t stream really well in the first week, in the mindset of the urban community, it’s a flop,” says the rapper, arguing that this just isn’t the case when it comes to the other genres.
“You have Fred again.. doing 8,000 first week and selling out four arenas back-to-back in six minutes. The math doesn’t math, but people in the [urban] community don’t generally take time to break things down. It’s like, ‘First-week numbers is this? Oh it’s trash.’”
“It’s unfortunate. I hate the first-week cycle,” he continues. “Well I don’t hate it because I don’t give a fuck. I’ll do what I wanna do, whether I sell nine trillion or nine. I did it because I want to do it. But it’s such a pest… It makes the content not about what it is.”

The post “Fred again did 8,000 streams in the first week and sold out four arenas in six minutes”: Lil Yachty on the difference between marketing hip-hop and electronic music appeared first on MusicTech.

How Nahre Sol brought beatmaking into her classically-trained world: “I began to understand the appeal of sampling”On 1 June 2024, Nahre Sol published a video to her YouTube channel, in which she performs Rick Astley’s Never Gonna Give You Up in a variety of piano styles, ranging from French Impressionism to Japanese anime. It is, quite possibly, the most sophisticated Rickroll in existence.

READ MORE: Splice CEO’s message for AI sceptics?: “Trust the artists”

The video marks the seventh anniversary of Sol’s YouTube channel – now 730,000 subscribers strong – and encapsulates what makes the pianist/composer one of the best music creators on the platform: virtuosity, a sense of humour, and a willingness to experiment with genres, styles, and, now, technology.
Earlier this year, the Juilliard School-trained classical musician tried her hand at creating beats with a sampler. “I’ve been interested in sampling for a while, but never really dedicated the time to learn the ins and outs of it.” Sol tells me, “I come from a classical music background, so I have a tendency to be a bit intimidated by technology. It took a while, since that spark of interest, to get to a point where I actually grabbed a device [and began experimenting].”
The device she chose was Novation’s Circuit Rhythm, a standalone sampler and drum machine that “stood out because it seemed more on the simpler side of things and was very tactile. I’m a pianist, so I really like [the idea of] something where I could use touch. I turned it into a mini project and thought, ‘Let me give myself a week and just learn about it’. It turned into a little more than that.”
Image: Focusrite/Nahre Sol
The result is what she calls “a mini-documentary”, in which we see Sol discover this technology and make it fit into her classically-trained world. “The interesting thing about learning a new device is that it has its quirks; there is a reason behind why the buttons are [a certain] way, and how things are labelled. Since I’m not used to thinking about music in that way, it took me time to really embrace why [a particular] function was even there.
Once she got the hang of it, Sol flew past the beginner level and decided to create her own samples, instead of using ones from a pack. She says, “There’s something really cool about figuring out how to make a kick drum sound from, say, a chair that you sat on.” Or miscellanea from a hotel room, as was the case here. Chopsticks, a glass, a water bottle, even a tissue box, were all fair game.“I started really liking those sounds because they’re personal. This is where I began to understand the appeal of going out of your way to sample something.
“Also, because my music is not quite classical, not quite jazz, or electronic, I’ve always struggled with [sounds from] sample packs that I’m just not used to using as part of my palette,” Sol continues. “I was really attracted to some of the higher-pitched percussion sounds [I recorded] and that’s why as soon as I compiled some, I thought, ‘I can do something with these sounds’.”

The piece she finally created “captures the feeling of being lost in a contemplative mood while cooking”. Watching her play live piano and seamlessly integrate the hotel room samples into the performance using the Circuit Rhythm, makes one wonder why more classical musicians don’t embrace technology like this. “I don’t know the answer. The closest I can get is that, in general, because the classical music world is preoccupied with the history (and maybe the philosophy) of all this music that was written hundreds of years ago, and it requires so much brainpower and dedication to refine your technique, there just isn’t much space to roam.”
Classical music is also not big on frequent updates – either in terms of instruments or technique – leading to what Sol describes as “a cultural distance” from new technology. “What comes from that is this automatic thinking: ‘That’s not for me because that’s a different world.’”
That belief could be true, Sol tells me, if classical musicians were still making music “in the way of the 1800s or 1900s.” But this is no longer the case and, as a result, she views technology as an ideal modern companion — especially with the musical ideas and techniques employed by contemporary concert music composers.
I’ve always felt a lack of meaning or creativity when I tried to come to a music project with an attitude of, ‘Let’s be great; let’s do something important.’ It’s really not about that.
The lack of improvisation in classical music is another reason why more musicians don’t make the leap, Sol says. The musician likens it to someone who is trained to speak English by learning Shakespearean monologues. “You’re an expert with language because you have all of this memorised, but you’ve never really sat down and learnt how to have a simple conversation with someone. You have to unravel some of that.”
The first step, according to Sol, is to start small. “I just leaned into anything that was fun, new, and a little out-of-left-field, like the Circuit Rhythm, which was very improvisatory. Let’s play with it!”
Another obstacle to embracing new technology is the fear of getting things wrong, which can pose a threat to the very identity of a musician. Sol agrees, “I’m not so precious about maintaining a certain image; I’m not putting pressure on myself to follow in the footsteps of a certain lineage or create something so epic or profound. Music-making is very much a part of living; it’s always personal and there’s always significance [to it], whether I just have a little idea and put it down, or if it’s a project that I really care about and I’m writing for six months.
“I view all of these projects as [being] part of the human experience. I’ve always felt a lack of meaning or creativity when I tried to come to a music project with an attitude of, ‘Let’s be great; let’s do something important.’ It’s really not about that.”
This explains her willingness to step into the world of content creation, which is almost a necessity for anyone trying to be a musician today. Sol says, “It’s exciting because you can be in touch with people that might not [otherwise come across your work]. Also, you have the autonomy to create your own projects, share them, and learn from each other. Those are the pros.”

“The cons are that [creating content] requires a different muscle. It also requires so much time and energy – you can’t just add it on top of your life – and it essentially takes away from what musicians want to do, which is make music, so it is a give and take.
Sol acknowledges the relentless pressure of being a content creator. The only way to keep going, is to have balance. “I’ve done this long enough now where I’ve been through all the ups and downs: feeling the pressure, having it affect my creativity, being very excited about it, and being not excited about it. So now, if I don’t feel like I’m enjoying it, or if it’s not meaningful, then I just step away.”
Sol is planning the next chapter of her journey, as a musician and creator, with that in mind. She says wants to have a “balanced approach”, where she can make more videos that she cares about and would want to watch ten years from now. “I’d also like to put more energy outwards in connecting with the people that are watching and the community. I view [it] as a responsibility and an opportunity to contribute in a way that’s significant.”

What is certain is that Nahre Sol will be bringing more experiments with music to her life and to her viewers. She reflects on her experience with sampling, “It opens up a completely different way of thinking and [leads to] happy, spontaneous accidents. I’ve been playing the piano for over 15 years now and I’m so used to everything about how I interact with the instrument. Just a month with the Circuit Rhythm and I felt like I was listening to music in a completely different way; I was coming up with ideas that I really would not come up with just by sitting at a keyboard, and that was invaluable to me.
“There’s a lot you can do to add expression to music without touch: by using effects, and shaping the sound. In a lot of ways, you have even more freedom to add your personal touch and make it more expressive. As I was learning that, I was also adjusting the ways that I played the piano. I thought, ‘Let’s find a way where you can participate in both worlds together.’ That was very interesting, and it’s just the beginning.”
Learn more about Nahre Sol at nahresol.com.
The post How Nahre Sol brought beatmaking into her classically-trained world: “I began to understand the appeal of sampling” appeared first on MusicTech.

SSL introduce Sourcerer dynamics plug-in Sourcerer is said to be capable of quickly targeting specific sounds and removing them without changing the characteristics of the wanted source. 

“We’re living in a time where World War III can easily break out at any moment”: Why Questlove was “triggered” by Drake vs. Kendrick Lamar feudQuestlove has once again weighed in on the feud between Drake and Kendrick Lamar, revealing why the whole situation has him “triggered”.
Last month, as the Drake-Lamar saga reached a fever pitch, the Roots drummer responded with a scathing critique on the state of rap, declaring: “Hip-hop is truly dead.”
“This wasn’t about skill. This was a wrestling match level, mudslinging and takedown by any means necessary – women and children and actual facts be damned,” he wrote on X. “[The] same audience wanting blood will soon put up RIP posts like they weren’t part of the problem.”

READ MORE: “You have to have this psychotic belief – an unreasonable belief, truly – that you will write songs that matter”: St. Vincent gives advice to budding artists

Addressing his previous comments in a new interview with NPR, Questlove explains that the beef reminded him of the violent rivalry between Tupac and the Notorious B.I.G. back in the ’90s and the resulting tragedy when both rappers were shot dead just six months apart from one another.
“I was there at the Source Awards when the shit really hit the fan in 1995. And I was there in 1997,” says the musician. “That was a ‘What now?’ moment for hip-hop — Tupac and Biggie, embroiled in a battle. I’ve never seen a battle in which it ends well.”
“We’re living in a polarising time. We’re living in a time right now where World War III can easily break out at any moment. We’re living in a time when civil war can break out at any moment in the United States. We’re living in a time where the uncertainty of something jumping off is just in the air. You know what I’m saying?”
He continues: “For me it’s like, I’ve seen this movie before — and I’m triggered. The aftereffect of Tupac and Biggie was just a 30-year travel into darkness.”
Questlove also clarifies that he doesn’t actually think that hip-hop is dead, given the amount of talented artists out there like Little Simz, Westside Gunn, Griselda, Benny and more.
“There’s so much quality, dope stuff out there that just goes unnoticed and unchampioned,” he says.
The post “We’re living in a time where World War III can easily break out at any moment”: Why Questlove was “triggered” by Drake vs. Kendrick Lamar feud appeared first on MusicTech.

SaschArt Drops Free Lightweight eChorus Plugin
SaschArt dropped the free eChorus plugin, a lightweight Windows and macOS-compatible release.  Like all of the developer’s plugins, eChorus is designed with ease of use at the forefront. SaschArt explains, “Whether working on a subtle background effect or a lead part, eChorus offers an amazing sound every time.” The developer continues, saying “This with a [...]
View post: SaschArt Drops Free Lightweight eChorus Plugin

Samplicity reveal Number Seven Professional for Atmos Number Seven Professional brings Samplicity's virtual Bricasti M7 plug-in to those working with Dolby Atmos.

A Royal ScamSome jerks are using the AllMusic name and logo to try to trick people into a crypto scam. Don't fall for it.

SpaceX scores $843M NASA contract to deorbit ISS in 2030NASA has selected SpaceX to develop a spacecraft that will deorbit the International Space Station in 2030 — a contract valued at as much as $843 million, the agency announced Wednesday. The ISS is nearing the end of its operational life, and as plans for new, commercially-owned space stations heat up, the one that started […]
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