Sony Music Publishing expands in MENA with new Dubai office, names Dounia Chaaban as Managing DirectorExec will report to Sony Music Publishing's Senior Vice President of International, Dan Nelson
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Warm Bender & RingerBringer pedals from Warm Audio Warm Audio's latest pedals recreate two early Tone Bender designs and Moog's popular MoogerFooger ring modulator. 

What should you charge for CDs and Vinyl? How much will fans pay?With the popularity of streaming, physical media is not as essential to fans as it used to be. So, how much are they willing to pay for CDs and vinyl, and what does it take to turn a profit...
The post What should you charge for CDs and Vinyl? How much will fans pay? appeared first on Hypebot.

Donna Summer’s estate accuses Kanye West of I Feel Love “copyright infringement”Donna Summer’s estate has reacted to what it deems to be an unauthorised interpolation of the late singer’s 1977 hit I Feel Love by Kanye West in his recent track, GOOD (DON’T DIE).
In the song, you can seemingly hear a version of the Giorgio Moroder-produced dance hit under the lyrics, “I’m Alive, I’m Alive, I’m Alive” sung by West in the same style as the original’s “I feel love, I feel love, I feel love”.

READ MORE: Fred Again.. has produced a track on Kanye West and Ty Dolla $ign’s VULTURES album

As reported by Billboard, on Saturday 10 February, Donna Summer’s estate posted an story on the official Donna Summer Instagram account that read: “Kanye… asked permission to use Donna Summer’s song I Feel Love, he was denied… he changed the words, had someone re-sing it or used AI but it’s I Feel Love… copyright infringement!”
Here are the two tracks for your comparison:

It’s far from the first time West, whose collaborative album with Ty Dolla $ign, Vultures 1, was also released on Saturday, has come under scrutiny for sampling or interpolating other artist’s music without their permission. On Friday 9 February, Black Sabbath frontman Ozzy Osbourne also hit out at the controversial artist, saying he’d asked to sample a song but was “refused permission because he is an antisemite”.
According to Osbourne, West went ahead and used the sample anyway, playing it at a Vultures 1 listening event in Chicago on Friday night.
He wrote on X, “Kanye West asked permission to sample a section of a 1983 live performance of Iron Man from the US Festival without vocals and was refused permission because he is an antisemite and has caused untold heartache to many. He went ahead and used the sample anyway at his album listening party last night. I want no association with this man!”

. @KANYEWEST ASKED PERMISSION TO SAMPLE A SECTION OF A 1983 LIVE PERFORMANCE OF “IRON MAN” FROM THE US FESTIVAL WITHOUT VOCALS & WAS REFUSED PERMISSION BECAUSE HE IS AN ANTISEMITE AND HAS CAUSED UNTOLD HEARTACHE TO MANY. HE WENT AHEAD AND USED THE SAMPLE ANYWAY AT HIS ALBUM…
— Ozzy Osbourne (@OzzyOsbourne) February 9, 2024

“We get so many requests for these songs,” Ozzy’s wife Sharon Osbourne told Billboard on Friday, “and when we saw that request, we just said no way.” She added, “We’ve been in touch with his team … And it’s also an issue of having respect for another artist.”
On Saturday, she posted to X: “The Osbourne family have never wanted any association with Kanye West. He is an anti-semitic fool who spews his rhetoric out into the world, Kanye you fucked with the wrong dude this time. Sincerely, Sharon Osbourne.”
For more artist news, head to MusicTech.
The post Donna Summer’s estate accuses Kanye West of I Feel Love “copyright infringement” appeared first on MusicTech.

Reflex Acoustics Release FREE Dynamic Range Meter Plugin
Reflex Acoustics releases free Reflex Dynamic Range Meter plugin for macOS and Windows. Reflex Dynamic Range Meter is a free plugin that allows users to visualize the dynamic range of their track across the frequency spectrum. Music means different things to different people, and I’m a firm believer that the process of learning and creating [...]
View post: Reflex Acoustics Release FREE Dynamic Range Meter Plugin

Spotify introduces new TikTok-style vertical feed for discovering new musicSpotify has introduced a new TikTok- and Instagram Reel-style feature that allows users to vertically scroll through a limitless feed of short snippets of an artist’s music.
The feature – accessible via a GIF-style button on the left hand side underneath an artist’s monthly listener count or an album title – shows short sections of an artist’s music videos or dynamic album artwork alongside the brief song clips, with the goal of enabling users to discover more music quicker.

READ MORE: Spotify to launch in-app purchases, hints at “superfan clubs” to come

Additionally, each discography is accompanied by hashtags of relevant genres, which users can hit to jump to a broader genre-based feed to discover other artists and songs.
Spotify users can click the GIF-style icon to access the new vertical scrolling feature. Credit: Sam Roche/MusicTech
A source from Spotify tells The Standard: “This is all part of our ongoing effort to enable listeners to discover fresh finds, while also allowing them to quickly sample content they can enjoy later.”
From within the vertical feed, users can add tracks to their liked songs to revisit later, while there are also quick buttons to share and mute tracks and follow an artist.
The new feature is evidence of the increasing cross-pollination occurring between tech giants and their services. Just last year, TikTok began rolling out TikTok Music – its own music streaming platform – and now Spotify, the biggest player in the music streaming world, is taking a leaf out of the user experience of TikTok itself.

New Spotify feature allows you to scroll through an artist’s discography like TikTok.
It previews 30 seconds of each song. pic.twitter.com/83Pc77O2u3
— Pop Base (@PopBase) February 10, 2024

In other news, Spotify CEO Daniel Ek last week cashed out 250,000 shares in the company worth $57.5 million, following reported strong financial earnings in the final quarter of 2023.
The post Spotify introduces new TikTok-style vertical feed for discovering new music appeared first on MusicTech.

MeldaProduction launch MCenter plug-in MeldaProduction’s latest plug-in pairs simple Mid-Side balance control with spectral processing that offers more in-depth control than traditional decode/encode matrices. 

Music #Streaming declines again.
#MusicBusiness

Arturia Pigments 5 – still one of the best soft synths for sound design€199 (option to spread payment across two, three or four monthly payments), free update from Pigments 4, arturia.com
Arturia’s growth over the last couple of decades — from small-scale software developer to music technology behemoth has been remarkable — and has given us a host of hardware and software music-making tools that many producers find essential. A prime example of this, for us, is Pigments, arguably one of the most versatile and powerful software synthesizers ever created.

READ MORE: Is DJ Studio the perfect DAW for DJs?

Pigments 5 grabs the attention as soon as you play any of the presets from its impressively vast collection. Whether basses, leads, pads, sound effects, or any other flavour of sound, Pigments comes packed with stunning, inspirational patches that thunder, scream, sing and dance their way into your ears.
Such remarkable creative breadth and depth would be impossible were it not for Pigments’ adaptable synthesis engine. This is immediately familiar and welcoming, following a tried-and-tested subtractive synthesis architecture and layout, the synth’s flexibility emerging from the modular nature of each stage.
Arturia Pigments 5 Sequencer
Pigments 5’s sound engines
The oscillator stage is made up of three Engines. One of these, the Utility Engine, is fixed and always provides a pair of flexible noise generators with an array of noise patterns, a basic analogue-style oscillator, and an audio input that can replace the second noise generator, letting you feed external signals into the instrument.
The remaining pair of Engines are where the real action is at. In these, you can load any of four oscillator models, each offering a different character, thanks to their methods of waveform generation.
The first oscillator model, Analogue, provides a classic three-oscillator setup with more than a hint of Minimoog about it (although, unlike a Minimoog, Pigments can operate polyphonically). There’s a standard set of analogue waveforms, hard-syncing between the first two oscillators, and a noise generator with variable colour. Noise can be mixed with the engine’s output, as expected, but can also be blended with Oscillator 3 and used as a frequency modulation source for the first two oscillators. The model’s convincing analogue sound can even be enhanced by dialling in some analogue-style tuning drift.

The Wavetable model comes with a large collection of wavetables and lets you import custom ones. The model can traverse, warp and reshape your chosen wavetable in all sorts of ways, providing a near-limitless palette of waveforms and noises.
Pigments’ Sample model hosts up to six samples simultaneously, taken from the large internal library or imported from your own. Samples can be assigned to key and/or velocity maps, chosen randomly, cycled in a round-robin pattern, or chosen via a modulator or controller. Better still, alongside traditional sample triggering and looping, the model also includes a granular mode, turning any sample into an endlessly mineable source of unique timbres.
The final model, Harmonic, generates sound using additive synthesis principles but, unlike an actual additive synthesizer, it operates in a way that’s manageable and controllable. That’s not to say it’s straightforward — Harmonic is Pigments’ most complicated model — but its mysteries do yield to exploration and experimentation, and allow the creation of a wide range of timbres that are markedly different to those produced by the synth’s other oscillator models.
Arturia Pigments 5 Harmonic Model
The flexible filters and effects of Pigments 5
Each oscillator engine can mix and balance its output between two filter slots, and these slots can load any one of eleven filter models. There’s a standard multimode affair, and a clutch of more specialised filters such as comb, low-pass gate and formant. Alongside these are a range of filters modelled on iconic filter circuits such from the likes of Moog (Minimoog), Korg (MS-20) and Roland (Jupiter 8).
Rather than give a binary choice on whether the filters are connected in series or parallel, Pigments allows you to blend between these two methods. Alternatively, the filters can be split entirely, with each routing its output to the subsequent effects section as a discrete signal. This all makes for tremendous versatility in how raw waveforms are shaped.
The modular ethos continues into the effects section, which provides two insert chains that receive the output from the filters, and a third auxiliary chain that operates as a send/return loop following the insert chains. Each chain is made up of three slots with a choice of 18 high-quality effects, many taken from other Arturia plugins. As with everything else in Pigments, the routing of the effects chains is very flexible, maximising the creative options available.
Topping things off is Pigments’ advanced arpeggiator/sequencer, which has had a couple of tweaks in this new version. The sequencer is better than many standalone pattern sequencers — ideal for generative music thanks to its polyrhythms, probability, and intelligent pitch quantisation and harmonisation, all of which can be triggered and transposed by the notes you play.
As well as driving Pigments, the sequencer’s MIDI output can be routed to other synths, making it a seriously powerful production tool.
Arturia Pigments 5 FX
Is Pigments 5 the best soft synth?
Bringing life to Pigments’ sound is a large collection of modulators – three each of envelope, LFO, function curve, and random generator, blends of which can be created using the three combinators. There’s extensive real-time control too, with the usual suspects of velocity, mod wheel, aftertouch and key tracking joined by MPE and pitch/slide support, and four macro controllers that can themselves be controlled by other modulators.
Managing this stack of modulation sources is a breeze, with each having a panel that visualises its activity and from where you can drag-and-drop the source onto any destination parameter, including effects and sequencer parameters.
This elegance exemplifies much of Pigments’ design, as despite its ludicrous adaptability the instrument is easy to navigate and operate for anybody familiar with subtractive synthesis. Controls are laid out logically and sensibly, visualisations are intuitive and clear, and interactions are obvious and consistent. And, let’s face it, the instrument looks good, inviting you to dive in and start playing.
All of this synthesis power comes at the cost of CPU power, but this does depend on how many of the various synth and processor slots are in use, and has been improved in this latest edition. The other updates in this new version are welcome too. Minor though they are, they’re more than enough to keep Pigments firmly pegged as one of our absolute favourite synths.
Arturia Pigments 5 Wavetable Model
Key features

Plugin and standalone instrument for Windows and macOS
Monophonic or up to 32-voice polyphonic
MPE (MIDI Polyphonic Expression) support
Accessibility features
Micro tuning
Integrated tutorial system
Oscillator models: Analogue; Wavetable; Sampler; Harmonic
Filter models: MultiMode; MS-20; SEM; Matrix 12; Jup-8; Mini; Surgeon; Comb; Phaser; Formant; Low Pass Gate
Effects: Delay; Tape Echo; PS Delay; Reverb; Shimmer; Compressor; Multiband Dynamics; Multi Filter; Parametric EQ; Distortion; Bit Crusher; Super Unison; Chorus; Chorus JUN-6; Flanger; BL-20 Flanger; Phaser; Stereo Pan

The post Arturia Pigments 5 – still one of the best soft synths for sound design appeared first on MusicTech.

Music Subscriber Market Share Report 2023 shows global growth.
#MusicIndustry #MusicBusiness #Midia

RELEASE DETAILS
Release title:
last december
Main artist name:
Verti
Release date:
16th Feb, 2024
https://publme.lnk.to/lastdecember
#newmusic #Release #Music #indepedent #artist #hiphop #rap

Ten Songs For Valentine's Day HatersSome people might be feeling down about their single status or a recent breakup, annoyed by the rampant commercialism of a day supposedly dedicated to love, or just in a cynical mood. If any of the above sound like you, you may appreciate this compilation of "anti-Valentine" songs, best enjoyed on February 15th while eating all the leftover half-price candy.

Hackers uncover new TheTruthSpy stalkerware victims: Is your Android device compromised?A consumer-grade spyware operation called TheTruthSpy poses an ongoing security and privacy risk to thousands of people whose Android devices are unknowingly compromised with its mobile surveillance apps, not least due to a simple security flaw that its operators never fixed. Now, two hacking groups have independently found the flaw that allows the mass access […]
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H.E.R debuts customized red Stratocaster guitar at surprise Big Game halftime performanceIf you saw the surprise guest performance at this weekend’s big game, you saw the ultimate reveal of H.E.R.’s customized red Stratocaster guitar. 

The guitar was made specifically for H.E.R.'s surprise halftime show performance at the big game with Usher and was designed with her style inspiration and performance needs in mind. The body and matching headstock include never-been-done before transparent paint with finish that replicates her chrome aesthetic.

“I imagined a chrome red, I love a good texture,” said H.E.R. “We also made the neck a little slimmer to make it easier for my solos, I wanted it to be effortless.”

In addition to the unique finish, the design behind the customized Stratocaster guitar also includes:

Chrome Glow H.E.R. Signature Strat body with transparent red paint over it, and matching headstock 

Anodized aluminum black pickguard 

Black Noiseless pickups with matching black knobs

Modern D shaped neck with satin finish 

Rosewood fretboard 

Modern vintage tuners

Cinq Music raises $250m from parent company GoDigital to fund acquisitions – with an eight-figure ‘marquee’ catalog acquisition already in the pipelineThe significant capital raise arrives as heat appears to be reentering the blockbuster music rights acquisition space
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