Yes, Alicia Keys’ Super Bowl performance was fixed afterwards – but why do we care?Yes, Alicia Keys’ Super Bowl Halftime Show performance was dubbed, with a clear voice crack moment fixed before its upload to YouTube. But should we really care?
The moment came as the singer played If I Ain’t Got You, the hugely popular ballad taken from her 2003 sophomore album, The Diary of Alicia Keys. After nailing the track’s soft intro, many viewers – of the 123 million in total – caught a glaring vocal error as she entered into the chorus.

READ MORE: “Move over, Taylor – Queen Bey is in the house!”: TIDAL servers crash after Beyoncé drops two new songs during Super Bowl

It’s no surprise, then, that many of those who spotted it have flagged the very different version heard in the official performance video uploaded to the NFL YouTube channel.

Last night Alicia Keys’s voice cracked (first video), and fascinatingly, the official NFL YouTube channel appears to be attempting to erase that little moment, having edited it out in their upload (second video). pic.twitter.com/EM4k8rWT8c
— Robert Komaniecki (@Komaniecki_R) February 12, 2024

But why does it matter? It’s common knowledge that a good chunk of official live releases – probably most – are overdubbed, edited, tweaked, or fixed in some way before their release to a wider commercial audience, right?
The fact that Keys’ voice crack and subsequent correction have hit the headlines shows we in the music world may be blind to the reality that the average consumer isn’t aware of the audio manipulation that takes place in these instances. So is it perhaps an issue of a lack of awareness?
Of course, it should be mentioned that it’s unusual for a live broadcast – one of the most tuned-into in the world – to be corrected in such an obvious way. It was perhaps wishful thinking on the part of the producers hoping many of the tens of millions of spectators wouldn’t notice.
However, whether you’re outraged at the correction, aware and accepting of the practice across the industry, or simply indifferent, it’s a promising takeaway from the whole debacle that Alicia Keys was actually singing live.
The Super Bowl Halftime Show is notoriously run like clockwork, with a hell of a lot of moving parts having to sync up in the 12-15 minutes allotted. Therefore, the authenticity of artists’ performances is sometimes put into question.
When our friends at Guitar.com highlighted H.E.R.’s guitar solo during Usher’s set, many on social media were quick to cast their doubt. “Wait: Did you guys just describe an air guitar performance as a “breeze” in a headline?” one user wrote.
To be fair, some of H.E.R.’s hand movements don’t exactly match up with what we hear on the official audio. Was some of Usher’s set pre-recorded and some performed live? We won’t open up that can of worms.
All things said, the Super Bowl is one of the biggest spectacles on Earth, so should we really be surprised that producers want to make it sound as perfect and pristine as possible? It’s probably not worth losing sleep over, to be honest.
[Editor’s note: Guitar.com and MusicTech are both part of Caldecott Music Group.]
The post Yes, Alicia Keys’ Super Bowl performance was fixed afterwards – but why do we care? appeared first on MusicTech.

This AI-based music synthesizer might just change how you make musicOn today’s episode of ‘wacky instruments you’ve probably never asked for’, we have SPIN, an AI music synthesizer that lets you make compositions with the language model, MusicGen.
Developed by designer Arvind Sanjeev, the machine – which kinda looks like a cross between a turntable and a Novation Launchpad – offers a tangible interface for co-composing music with AI.

READ MORE: Supreme’s 2024 collection features a Roland JU-06A and TR-08 in white

Simply enter the desired mood, genre, sounds and bpm, and listen to the music come alive on an LP record. A DVS (Digital Vinyl System) lets you slow down, zoom in, scratch and listen between the notes. You can use it to create new compositions, as a simple sound synthesizer, as a scratch tool, or to play generative music in the background.
Beneath its wooden hood, SPIN takes the input prompts via button presses through an Arduino Mega. This is sent via serial to a Raspberry Pi that prompts the MusicGen API, which spits out an mp3 file that’s then loaded onto the DVS.
For the turntable, a transmuted Numark PT-01 and a timecoded control vinyl record were used. The xwax DVS package for Raspberry Pi, meanwhile, reads the vinyl timecode through a Behringer audio driver, and all output is played via stereo speakers.
Of his process, Sanjeev explains: “There are a lot of amazing generative music experiments, from Dadabots’s relentless death metal streaming AI on YouTube to Holly Herndon’s experiments around voice transplantations.”
“But I realised we hit a tipping point when I stumbled upon the Riffusion music model; I was taken aback by its depth and realism, including its new update that adds lyrical voices to the output. Inspired by this, I wanted to build a platform to let me further explore and combine never-before-heard combinations of music and sounds. This laid the seed for building SPIN.”
Check out the synthesizer in action below.

Learn more at Arvind Sanjeev’s website.
The post This AI-based music synthesizer might just change how you make music appeared first on MusicTech.

Audient’s ORIA is the Atmos interface that engineers have been waiting forThe age of immersive audio is here. No, really.
Sure, when Apple began its push for Spatial Music in 2021, the initiative was met with a heady mix of excitement and scepticism. But since then, the hype has faded and what’s left is a very real, industry-wide push to establish spatial audio as a new standard for commercially released music.

READ MORE: How the Teenage Engineering EP-133 K.O.II encourages you to push past creative limits

High-quality immersive home speaker systems are increasingly affordable, the library of spatially mixed music has expanded exponentially, and Apple seems determined to accelerate this trend by offering to pay higher royalties to artists who serve up a Dolby Atmos mix. We’re past the point where this format might have faded into obscurity.
For studio engineers, the surging demand for Atmos mixes has been a blessing and a curse. More work is a positive thing but, on the other hand, getting into the spatial audio game has often meant ad-hoc hardware solutions, workflow bottlenecks, and eye-watering price tags. Or, at least, it did.
Audient, the UK-based purveyor of pro-audio gear, has come up with a solution for audio interfaces in the spatial age – and it’s called ORIA.
Image: Simon Vinall for MusicTech
Billed as the first audio interface designed specifically for immersive mixing, it’s an I/O powerhouse. Supporting up to 9.1.6 speaker setups, ORIA is also armed with a pair of stereo line outputs; a further 16 outputs via AES; two independent headphone outs; a couple of analogue mic preamps; two ADAT inputs; and space for a Dante expansion card. And all for £2,520 (€2,885/$2,625)
“A lot of the current market solutions were what we would describe as ‘workarounds’,” says Audient’s director of product and marketing, Andy Allen. “We wanted to develop a purpose-driven solution from the ground up that not only addressed these issues but also made it affordable.”
Easier said than done. ORIA’s design needs to support the most common studio workflows and remove roadblocks while limiting the ‘nice but optional’ features that can drive up a unit’s price tag. To achieve that balance, the company reached out to professionals across the industry for their input.
The team at Present Day Productions were one of many studios tapped to help beta test the ORIA and provide input. Amidst offering mixing and mastering services, manufacturing and selling their own in-house monitors, and running a growing YouTube Channel, the team recently embarked on the challenging journey of building their own Dolby Atmos system.
Image: Simon Vinall for MusicTech
“You would not believe the frustration we’ve had just trying to get audio from A to B without having to spend £10-15,000,” says co-founder and technical director, James Nugent. “The reason why no other manufacturers have yet built a dedicated Dolby Atmos interface, in my opinion, is that they haven’t listened to what end users want. Most interfaces before ORIA, branded as Dolby Atmos compatible, have been after-thoughts or add-ons to existing products.”
Determined to integrate Atmos on a foundational level, Allen says the team at Audient canvassed the opinions of 40 engineers, mixers, composers, sound designers, installers, and technical experts to get input at the earliest stages of the development. “It really became an iterative process,” Allen recalls. “We used the feedback to adapt our original design concepts, then went back around the user group multiple times until we were getting thumbs up across the board.”
Working closely with musicians and engineers is nothing new for Audient – in fact, it’s a core part of its history. Co-founder David Dearden spent much of the 70s building personal studios for the likes of John Lennon, George Harrison, and legendary producer, Gus Dudgeon. From those formative experiences, Dearden developed design principles that would culminate in a series of classic analogue consoles: the DDA AMR24 and Audient’s ASP8024.
Nowadays, the company is perhaps best known for its critically acclaimed entry- and mid-level interfaces, but that legacy of manufacturing excellence is still part of Audient’s DNA. “All of our more recent products have fundamental capture and performance capabilities that are either based on the ASP8024’s original analogue circuits or largely inspired by them,” Allen says. “ORIA continues that philosophy.”
Image: Simon Vinall for MusicTech
The interface may boast two of the company’s classic mic preamps but make no mistake: this is a device designed for the future. “There are some truly amazing technical innovations taking place inside the box,” Allen assures us. “All of which were built from the ground up specifically for ORIA.”
One of those innovations is the Down Mix button ORIA sports on its ultra-thick face plate. The magic of Atmos has always been its adaptability – whether you’re listening on headphones, a car stereo, or a full-fledged home entertainment system, Atmos will seamlessly serve up the correct mix.
On the studio side, this means that engineers now need to account for many different listening scenarios. Checking that your mix sounds just as slick in binaural as it does in surround sound would seem like a pretty essential part of an Atmos workflow, but achieving this has generally been a costly and convoluted affair. To that end, ORIA’s Down Mix button — which is linked directly to the Dolby Atmos renderer — is said to make the whole process close to effortless. Pressing it will instantly fold down an immersive mix so it can be checked in 7.1, 5.1, binaural, or stereo.
It also makes checking out reference mixes on Apple Music a no-brainer, something Nugent says the Present Day Productions crew were over the moon about. “We spent the last 18 months banging our heads against the wall trying to find a product which would allow us to not only work in Atmos within a DAW but then go and listen to commercial mixes on streaming services. ORIA has given us a working solution.”
“It’s the product we begged manufacturers for, and to see it come to life has been incredible” – James Nugent
Another massive step forward comes in how ORIA handles studio setup. As you go beyond stereo, the process of placing and balancing speakers becomes exponentially more complex. To combat this, Audient partnered with Sonarworks to harness the company’s SoundID Reference technology.
“Working with multi-channel speaker arrays requires a calibrated room, and this is an incredibly technical and difficult process to understand,” Allen explains. “The user first has to precisely measure their room and use the results to level match and time align speakers, apply corrective EQ to deal with room modes, and apply bass management.”
Getting all these factors to line up is complicated enough that many studios just outsource the job, at a significant cost. And even that can be hard enough – just finding an available specialist in studio acoustics can take considerable time. Sonarworks’ calibration software shrinks the whole process down into something that can be sorted in under an hour.
“The Sonarworks partnership was a vital component,” says Allen. “It ensures ORIA users aren’t restricted by lack of knowledge around room calibration or lack of access to professional acousticians.”
Image: Simon Vinall for MusicTech
Each ORIA comes with a reference microphone and a 60-day trial of the SoundID Reference software. Users who want to continue using their calibrations past the trial period will need to purchase a Sonarworks licence – an additional cost, to be sure, but still less than hiring an expert in room acoustics.
But if you do want to set up everything from scratch — or tweak the calibration profile generated by Sonarworks — there’s an eight-band EQ, trim, delay, and bass crossover options for each individual speaker output.
Crucially, all of this is handled by ORIA’s onboard DSP with no CPU impact on the host computer. The unit can store up to 32 user profiles, each with unique speaker configurations and calibration settings, and recalling profiles is performed via another physical button on the front panel that cycles through four preferred profiles.
Physical buttons are all well and good but, if you like to keep your rack units out of sight and out of mind, Audient has produced both a standalone software application and a companion app for iPadOS. Together, these roll up all the calibration and monitoring controls and make them portable.
Image: Simon Vinall for MusicTech
Nugent says that after having ORIA in the studio these recent months, it has streamlined everything from volume control, to physically getting sound to their speakers, to how they monitor their mixes. Each of these, he says, previously required extra, expensive, hardware units.
But the biggest drawcard? “Simplicity!” exclaims Nugent. “It just works, in every way. It’s the product we begged manufacturers for, and to see it come to life has been incredible.”
ORIA may keep things simple, but it also manages to stay versatile. If you’ve invested in your existing studio setup then the ADAT inputs allow the unit to function as a standalone monitoring device, if you’re just getting started then it becomes a one-stop-shop for Atmos mixing. If you’re working with video there’s a global delay for picture sync, if you need to do small-scale recording or voiceovers there’s the in-built mic preamps.
It’s a design that recognises the working reality of modern mix engineers who apply their skills across a variety of genres and, increasingly, to a diverse range of audio content. And, of course, the demand for immersive audio goes far beyond album remixes; it’s now a must-have for films, games, and mixed-reality apps. Hell, with the proliferation of immersive live venues like the Las Vegas Sphere, even backing tracks will need a spatial mix.
“Once you actually give it a chance and see what’s possible, it changes your mindset” – James Nugent
Increasingly, the capability to mix in Atmos doesn’t feel optional and Allen says he understands the trepidation some engineers continue to have around the format. “Dolby’s creation and distribution platform alongside the Spatial audio rollout has changed everything,” he says flatly. “This has driven the major media distribution services and record labels to start looking for mix engineers who are set up to mix in immersive audio formats and subsequently has had a negative effect on any mixers that aren’t.
“I believe this has caused a widespread rush to adopt immersive audio,” he continues. “Traditional stereo and surround sound mixers have started to invest in additional hardware in order to compete – whether they like the format or not.”
Not everyone is happy about this industry push, and we won’t pretend things got off to a promising start. The early rollout of Apple’s Spatial Music was accompanied by some truly awful mixes of legendary songs and a mere handful of standouts. But the ratio of good to bad has shifted massively in recent years as engineers, and artists, have learnt how to make the medium sing.
“Once you actually give it a chance and see what’s possible, it changes your mindset,” says Nugent. “Atmos music doesn’t have to have 72 guitars spinning around your head; you can keep it simple and still increase immersion. A jazz record we mixed recently has the band entirely upfront in Left/Centre/Right, with just reverbs and subtle effects pushed to the sides and rear.”
Image: Simon Vinall for MusicTech
This format is completely novel for most consumers, and most engineers. The industry is still busy working out best practices and ironing out kinks. When it’s done right, Atmos mixes offer a genuinely new, and genuinely great way to listen to music. None of which threatens the relevance of stereo.
“Stereo mixing is absolutely still important and will continue to stay so, probably forever,” says Nugent. “Immersive mixing is not an absolute requirement for generally releasing music. However, to get featured on playlists on services such as Apple Music you must have an Atmos mix, and I do see things going further in this direction.”
So, stereo isn’t going anywhere. But neither is spatial audio. “Our feeling at Audient is that immersive audio is here to stay,” Allen says. “Now, the onus is on technology brands like ourselves to help democratise the ‘creation’ part of the chain by designing products like ORIA that make immersive audio more accessible.”
Image: Simon Vinall for MusicTech
Audient has really thrown down the gauntlet here, breaking new ground to offer a level of quality, functionality, and affordability that other manufacturers may be measuring themselves against for years to come.
Based on the simple premise that working in Atmos should be easy and affordable, ORIA is a giant leap in the right direction for spatial audio – in fact, it’s the device that mix engineers needed from the get-go. So, if you’re wondering whether the time is right to jump into Atmos, the water has never been warmer.
The post Audient’s ORIA is the Atmos interface that engineers have been waiting for appeared first on MusicTech.

ALM/Busy Circuits announce Motto Akemie Modular synth experts ALM/Busy Circuits have taken a leap into the world of software with Motto Akemie, a six-voice FM drum synth and step sequencer plug-in.

Coinbase cites stablecoins, Base as key 2024 priorities after crushing Q4 estimatesAfter disclosing better-than-expected financial results in its fourth quarter earnings report, U.S.-based Coinbase has big plans. The second largest crypto exchange told its investors that intends to lean heavily on its work with the popular USDC stablecoin this year, lever its recently launched layer-2 blockchain Base as a way to experiment with and improve blockchain […]
© 2024 TechCrunch. All rights reserved. For personal use only.

Anthropic trained its AI to rip off copyrighted lyrics, music publishers allege in escalating court battleUMG, Concord and ABKCO allege that Anthropic's AI chatbot is still spitting out copyrighted lyrics, despite Anthropic's claim to the contrary
Source

Electronic music generated £2.5 billion for the UK economy in 2023Electronic music made £2.5 billion for the UK economy last year, according to a new report about the measurable impact of electronic music.
The report was commissioned by the Night Times Industries Association as part of the Electronic Beats, Economic Treats 2024 study, which looks at recorded music, music publishing as well as the live scene encompassing club nights, concerts and festivals.

READ MORE: Cherry Audio launches plugin emulation of the Roland CR-78 drum machine – famously used on Phil Collins’ In the Air Tonight

The NTIA revealed that while electronic music generated £2.5 billion for the UK economy, it is down by 6% compared to the previous year, driven by the number of nightclubs shutting around the country, from 882 in 2022 to 875 in 2023.
Regardless, the biggest contribution to this overall figure was nightclubs, providing a staggering £1.4 billion. Despite this, there does seem an overall decline in those attending nightclubs, with 9% lower footfall, and a total spending decrease of 14%.
This is followed by festivals, which provided £567 million to the UK economy, up by 9% from the previous year.
“[This report] sheds light on the challenges faced by the industry, providing insights for future growth,” said Maria May, Head of Electronic Music at Creative Artists Agency (CAA).
“In order to continue to grow we need to support each other and the culture of dance music. Together, let us propel electronic music to new heights in the UK and beyond.”
The report has also revealed that 80% of people experience emotional and mental health benefits at electronic music events.
Read the full report from NTIA.
The post Electronic music generated £2.5 billion for the UK economy in 2023 appeared first on MusicTech.

Knice Gives NYC Hip-Hop a Fresh Voice with Lauten Audio MicrophonesAudio engineer and scene curator Devonne ‘Knice’ Knight has been one of the key sonic and community architects of the modern New York hip-hop scene. As senior engineer of Platinum Sound Recording Studios, Knice’s production work on breakout tracks by artists such as French Montana, Rich the Kid, and Desiigner have given a fresh sonic signature to hip hop’s hometown. In addition to his work in the studio, Knice has also been a passionate advocate for up-and-coming talent, generating a welcoming atmosphere in his studios and hosting vibrant, community-focused events such as Pass the Aux to encourage young artists to get involved. As part of his mission to give this new generation a fresh voice, Knice has made the Lauten AudioEden, Atlantis, and Clarion a key part of his recording workflow.

The sound of beliefFor more than 18 years, Knice’s workflow has been built around delivering high-quality tracks to his clients at an often astonishing level of speed and quality. A major component in his recipe for success has been his focus on building the confidence of his artists and collaborators from the ground up and encouraging them to deliver their best in a very competitive space. “You don’t want to have to convince people to wait until the mixing stage for them to start believing in the potential of a track,” he explained. “You need something close to the end product as quickly as possible to get people to believe in the record and if you aren’t an engineer, you aren’t used to listening to ‘rough’ versions of music. For me, I’ve always focused on delivering the best that I can from the get-go.”

“Our job as engineers is to inspire artists with sounds to get a quality performance,” he continued. “We have a lot of influence in that way, and if an artist is inspired on a sonic level in the headphones, that feeds back into the performance you get.”

Inspiring belief in his collaborators also extends to giving them confidence in their own voice by curating a sound that is both cutting and powerful on a track. Having exhausted the standard microphone choices, Knice found himself looking for something fresh that could provide a new sound for his artists. “By the time I was working with Brandy and J. Critch I knew we needed a new sound in the studio,” he said. “I was so tired of the same microphone collection and I needed something that could cut through a track without too much processing.”

“That was when I tried my first Lauten Audio Mic, the Eden, and we immediately fell in love with it.”

A new sonic signatureIn his search for the right vocal microphones, Knice favors those that fit into his high-speed workflow without needing additional processing to get the sounds required. In Eden, Atlantis, and Clarion, he found a trio of useful variations on a specific sonic flavor that serve that exact purpose. “It’s that warm tube sound right away, but it has a cut that you don’t find in other mics,” he explained. “The clarity and the diction you get on them immediately cuts through and that matters more than anything when making music like this. Clients want to hear themselves sound good and you get that right away with Lauten.”

“You get addicted to the feeling of pressing play and hearing the finished thing and you don’t have to saturate them or use EQ to get it.”

Although he’s found himself using less processing since he began using Lauten, part of the signature sound has been his strategic use of Lauten’s Multi-Voicing modes on Eden and Atlantis specifically. Not only has this given him the signature ‘cut’ that his tracks have, it’s also allowed him to give performers a different variation of the same, inspiring sound to suit different ways of performing. “The tone (Multi-voicing) switches give you the ability to get an artist comfortable with a mic while also helping them to better understand their own voice,” he said. “‘Forward’ sounds amazing on rapping and gives you all that cut and clarity, but if they want to sing, you just switch it to ‘Neutral’ and it’s that smooth, warm sound you want.”

“Having it right there in the artist's hands to help make that choice brings them into the process even more, and you’re able to learn together while creating something.”

Creating something together remains at the core of Knice’s enterprise. Between cutting tracks, training artists and engineers, and hosting events in New York City that champion new artists, fresh sounds, and a sense of vibrant togetherness, he remains a passionate advocate for the community that is at the core of New York’s hip-hop culture. “There’s a huge ecosystem in New York City specifically for music and when I say we want to curate the sound of a particular area, I mean that we want to do something with cultural significance where we’re all making art with each other and everyone can play a part in it,” he said. “I feel very empowered with Lauten products – building community, sonic imprints, education, and just being able to excite people outside of the audio community about all of this stuff. That’s what it’s all about for me.”

About Lauten Audio Lauten Audio is a family-owned maker of original, inspiring microphones. Currently available products include the flagship “Eden” tube microphone, the award-winning “Atlantis” FET condenser microphone, the groundbreaking “Synergy Series” of noise-rejecting condenser microphones, and the new Series Black family of condenser microphones. Lauten Audio and its diverse family of users can be found in studios, on stages, and in homes worldwide.  

 For more information, visit http://www.lautenaudio.com or call 1-877-721-7018. 

Supreme’s 2024 collection features a Roland JU-06A and TR-08 in whiteRoland has teamed up with streetwear brand Supreme on new white versions of its legendary JU-06A synthesizer and TR-08 drum machine.

READ MORE: Donna Summer’s estate accuses Kanye West of I Feel Love “copyright infringement”

Unveiled as part of Supreme’s highly anticipated Spring/Summer 2024 collection, both devices are decked out in the iconic red-white colours of the American fashion brand. The JU-06A, for one, features a giant Supreme logo printed across its control panel — quite the bold design choice, if we’re being honest — while the TR-08 sports a relatively modest logo on its top-right corner.
Inspired by the Juno-106 and Juno-60, the JU-06A packs a 16-step sequencer and 17 dedicated sliders. Additional features include a built-in K25M keyboard unit and a mini speaker.
Like the JU-06A, the TR-08 is a faithful tribute to one of Roland’s most historic instruments. Users get the sound, character, and user interface of the original TR-808, coupled with modern touches such as a 16-step sequencer with 16 sub-steps, and a track-selectable trigger out for working with other instruments like the TB-03, SH-01A, or modular gear.
Credit: Supreme
Supreme’s SS24 collection is due for release on 15 February in the US, and 17 February in Japan. Prices for the special editions of JU-06A and TR-08 have yet to be announced, though you can probably expect a hefty markup given the collectible nature of the release.
Speaking of Supreme crossovers, last year, the brand collaborated with Japanese audio brand Technics on an equally chic-looking limited edition SL-1200MK7 turntable. 2023’s collection also featured Supreme/Maxwell cassette tapes, Bluetooth speakers in partnership with Harman Kardon and Supreme/Koss PortaPro headphones.
Learn more at Supreme.
The post Supreme’s 2024 collection features a Roland JU-06A and TR-08 in white appeared first on MusicTech.

Cherry Audio launches plugin emulation of the Roland CR-78 drum machine – famously used on Phil Collins’ In the Air TonightCherry Audio is launching into the drum machine game, its first release a plugin emulating the Roland CR-78, made famous by Blondie and Phil Collins.
According to Cherry Audio, the CR drum machine aims to recreate the sound and look of the original, but also adds 16 or 24-step X0X-style programming for a smoother workflow.

READ MORE: Four Tet announces New York festival and confirms new album, Three

In addition to this is a song mode for pattern chaining and looping, swing and velocity features, and a preset library offering more than 250 additional sounds in multiple styles and genres.
The brand has also employed “modelled synthesis” which gives users the option to access extensive parameter tweaking options that go further than what is offered on the Roland CR-78.
There’s also plenty of effects and mixing options such as level and mute controls, and the option to adjust the overdrive, flanger, delay and gated reverb. As well as this is effect send buttons for each voice, along with a master compressor and a six-band graphic EQ.
The Roland CompuRhythm CR-78 was released in 1978, and was famed for its use in Blondie’s Heart of Glass, Phil Collins’ In The Air Tonight and Hall & Oats’ I Can’t Go For That (No Can Do).

The original device was hailed as being the first of it’s kind, as the first programmable, microprocessor-controlled analogue beatbox.
To showcase the release Cherry Audio and musician Tim Shoebridge have teamed up to create an extensive video that introduces users to the classic CR-78 sounds and the features on the new CR-78 drum machine.
“I’ve had absolutely tons and tons of fun with this particular plugin. I didn’t think I was going to enjoy it as much as I have,” says Shoebridge. “I’m not making it up. This is the most fun I’ve had with any plugin I’ve ever played.”
You can watch the video below:

For more information on the CR-78 drum machine, you can head to Cherry Audio.
The post Cherry Audio launches plugin emulation of the Roland CR-78 drum machine – famously used on Phil Collins’ In the Air Tonight appeared first on MusicTech.

87.6% of all musicians releasing music are ‘Undiscovered’A new Chartmetric report puts grim stats to just how difficult it is to make it in music, with the vast majority classified as "Undiscovered" - which it defines as artists that have yet to establish a brand or following...
The post 87.6% of all musicians releasing music are ‘Undiscovered’ appeared first on Hypebot.

Book Smart vs. Street Smarts: Why you need both in the music businessIt is very important to get an education, but it is equally important to learn from experience. You can learn a lot from books and courses, but an evening spent at a band's merch table can be as instructive as a full semester of learning...
The post Book Smart vs. Street Smarts: Why you need both in the music business appeared first on Hypebot.

A musician’s guide: What are UPC and ISRC codes and why you need to know about them?Did you know that whenever you release new music, you need a UPC for every album or single and an ISRC for each individual track? by Chris Robley from the. Continue reading
The post A musician’s guide: What are UPC and ISRC codes and why you need to know about them? appeared first on Hypebot.

Rod Stewart sells catalog to Iconic Artists Group for around $100m; company raises $1bn to buy more music rightsIrving Azoff’s Iconic Artists Group has secured a strategic investment from HPS Investment Partners (HPS)
Source

CR-78: First virtual drum machine from Cherry Audio CR-78 becomes the first drum machine to join the Cherry Audio line-up, offering a modern take on Roland’s CR-78.