85% of TikTok and 84% of YouTube videos include musicA new analysis shows just how high the stacks are in the battle between TikTok and UMG and reinforces how important music is to TikTok, YouTube, Facebook, and Instagram...
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80% of people experience emotional and mental health benefits at electronic music events, report findsThe Night Time Industries Association (NTIA) has conducted its second annual report into the electronic music industry, finding that 80 percent of its respondents experience emotional and mental health benefits when at electronic music events.
This report, titled Electronic Beats, Economic Treats 2024, follows on from last year’s first ever UK Electronic Music Industry Report, and has been produced in association with Audience Strategies to highlight the economic significance and evolving trends within the electronic music sector.

READ MORE: UK’s music streaming market hit record high in 2023, per report by British trade body

The report presents an overview of the electronic music scene, covering the sector’s economic contributions, including recorded music, music publishing, and the live scene, plus new analysis into the perspectives of the audiences.
Some of its key findings paint an impressive picture for the electronic sector, revealing that the genre ranks at the second most popular in the UK across digital streaming services. 73 percent of the top 30 global artists are also “significantly influenced” by electronic music.
Elsewhere, the report states that 79 percent of women and 87 percent of men “believe the electronic music scene promotes diversity and inclusivity”, with 70 percent of respondents also stating they view dance/electronic events as centres of creativity and innovation.
Other important takeaways include:

80 percent of UK electronic music fans listen to the genre daily, including 75 percent of those aged 45 and over
30 percent of artists at UK festivals are electronic artists, leading other genres
£2.5 billion is the total measurable impact of electronic music on the UK
90m visits were made to nightclubs for electronic music, indicating a 9 percent decline. £1,457.3m was contributed by nightclubs to the economy, a 14 percent decrease
£210.6m was generated from recorded music, an increase of 16 percent
£567.8m was the economic contribution from festivals, up 9 percent
£285.5m came from other live electronic music events, reflecting a 5 percent increase

Despite many positive indicators of our industry in the report, it also acknowledges that since the start of the COVID-19 pandemic, 396 nightclubs (32 percent) have been lost, including 31 in the last year alone.
Michael Kill, NTIA CEO, says of the report, “As we navigate the vibrant landscape of sound and culture, let us celebrate the resilience, talent and sense of community that define this extraordinary musical movement.
“What truly sets the UK electronic music scene apart is its sense of community. Beyond the pulsating beats and infectious melodies lies a collective spirit that unites individuals from diverse backgrounds. This community transcends borders, bringing together people who share a passion for the transformative power of electronic music. It is a space where differences are celebrated, and the universal language of beats and rhythms creates a sense of belonging that knows no bounds.”
View the full report by entering your email address over at the NTIA website.
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Why are playlists so important?Mathilde Neu of Reprtoir looks at how crucial playlists are to today's music ecosystem and how to get your fair share of placements...
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How do musicians make money on TikTok?UMG tracks accounted for 35% of the TikTok Top 50 last week, so pulling all their music off the platform has presented a unique opportunity for independent musicians to fill the void...
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Kaskade “beyond excited” to become first in-game DJ at the Super BowlKaskade has been announced as the first ever in-game DJ for the Super Bowl, which is due to take place this Sunday (11 February). He will be taking the slot as Tiësto, who was originally set to play at the event, pulled out due to a family emergency.
Kaskade will perform both prior to kickoff and during featured breaks within the game, making him the first artist to perform throughout the famous sport event.

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Sharing his excitement and gratitude, Kaskade took to social media: “As a kid who grew up in Chicago watching the NFL Super Bowl every year with my family this chance to actually be part of it is absolutely mind blowing.
“Las Vegas has been my second home for the past decade, as an architect of creating a landscape that includes House and Dance Music residencies as part of its destination,” he adds. “To be able to be the first Electronic Musician to be part of the full game experience of the Super Bowl held in Las Vegas seems like coming home, and I’m beyond excited to represent my community.”

As a kid who grew up in Chicago watching the @NFL Super Bowl every year with my family this chance to actually be part of it is absolutely mind blowing. Las Vegas has been my second home for the past decade, as an architect of creating a landscape that includes House and Dance… pic.twitter.com/UQ9w6cUNyr
— Kaskade (@kaskade) February 9, 2024

Tiësto announced his withdrawal from the Super Bowl just yesterday (8 February), revealing that an important family matter means he must return home this weekend.
He wrote online, “Me and my team have been preparing something truly special for months, but a personal family emergency is forcing me to return home Sunday morning. It was a tough decision to miss the game, but family always comes first. Thank you to the NFL for the collaboration and looking forward to working with them to deliver something incredible together in the future !”

Me and my team have been preparing something truly special for months, but a personal family emergency is forcing me to return home Sunday morning. It was a tough decision to miss the game, but family always comes first. Thank you to the @NFL for the collaboration and looking…
— Tiësto (@tiesto) February 8, 2024

Super Bowl LVIII kicks off on 11 February at Las Vegas’s Allegiant Stadium at 6:30pm EST (11:30pm GMT). The game will see the Kansas City Chiefs and San Francisco 49ers go head-to-head. Kaskade’s performance will air on the CBS Super Bowl LVIII broadcast and will be streamed live on his social media channels.
Find out more at the NFL.
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Baby Audio’s new physical modelling synth plugin, Atoms, “constantly shifts and regenerates like a natural organism”Baby Audio has released a new physical modelling synth plugin, Atoms, which can be used to produce both “otherworldly” and “organic” sounds.
Modelled on the behaviour of real-life instruments, Atoms consists of six main parameters – Chaos, Force, Drive, Order, Overtones and Filter – that can be automated with a series of motion options, in order to create soundscapes that are “constantly shifting and regenerating, like a natural organism”. There are also options to randomise the parameters and the choice to lock parameters from changing.

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The bottom panel of the synth, which controls things such as attack, release, modulation, space and more can be used to further sculpt the sounds.
“Nothing in the natural world is ever truly static,” Baby Audio says. “Physical modelling mimics this by generating sounds with the same organic fluctuations as acoustic instruments.”
The brand goes on to explain that the plugin uses features that are “deep enough to explore the outer bounds of sound design, yet so simple that you can easily mangle, shape and create”.
“At its heart, Atoms is like a bowed string instrument created in a science lab, living and breathing with a mind of its own,” Baby Audio says. “It’s capable of everything from sci-fi ambience to naturalistic string sounds. Since Atoms is based on a virtual acoustic structure, you can think of it like an evolution of a traditional musical instrument.”
You can watch the synth in action below:

Atoms is available now for $59. For more information, head to Baby Audio.
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UKG legend Scott Diaz: “The top artists are not saturating the market with average tracks on a weekly or fortnightly basis. They wait until they have something strong”Scott Diaz has shared some thoughts on how to make an impact as an artist in a new social media post, stressing quality over quantity.

READ MORE: Jack Antonoff awarded Producer Of The Year for the third year in a row at the 2024 Grammys

The UK garage and house legend begins, “If you’re releasing tracks pretty much every week and they’re not making any impact, maybe you should start thinking about why that is, and strongly consider slowing down your output and focusing on getting it right if it means you can make higher quality music.”

View this post on Instagram

A post shared by Scott Diaz (@scott_diaz)

He says that this will be “more effective for your career, your confidence and your potential future opportunities”, explaining that the most successful artists aren’t saturating the market with “average tracks” on a regular basis. Rather, they wait until they have a strong track.
He finishes, “Release as much music as you want – but if it’s not strong, then you’re doing more harm than good in the long run. Said with love.”
Diaz has been busy in the studio, too, with his new EP Sometimes The Rain Writes The Music out on 1 March on Grand Plans, while he’s been working with frequent collaborator LOA.
But as well as working on new music, he’s also been looking back on his discography to date. Sharing a similar sentiment to that expressed in his above post, he said in a Facebook post last week, “There seems to be such a constant focus on pushing out new music and making the next thing that it’s really easy to forget what you did in the past, and what impact it had.

“Going to start sharing back catalogue gems that I’m most proud of for whatever reasons. Seems like it’ll serve as a nice reminder and hopefully the music will be new to some of you.”
Alongside the message, he shared the track Philadelphia from his 2016 release Lovesick Part II.

There seems to be such a constant focus on pushing out new music and making the next thing that it's really easy to…
Posted by Scott Diaz on Tuesday, January 30, 2024

Stay up to date with Scott Diaz via his official website.

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Is DJ Studio the perfect DAW for DJs?Lite: £199/$199 or £8/$8 per month, Pro: £499/$499 or £29/$29 per month, dj.studio
Recording a DJ mix is often as simple as performing and recording the master output in real-time, all in one take. It’s certainly a strong indicator of your DJing ability — but you’re limited if you want to get ultra-precise with your mix after it’s recorded, or pre-prepare something with voiceover for radio. You have very few streamlined choices.

READ MORE: Why are so many producers praising Imaginando BAM?

There have been solutions over the years — Native Instruments’ Traktor DJ software initially launched as Traktor Studio, with the ability to record movements as automation, allowing you to fix any wonky mixes in post-production. Then there’s Ableton Live, which, although not specifically for DJ mixes, can be used to edit tracks, warp tempos and launch tracks live. But, historically, there was no standard DJ mix software. In fact, one of the most celebrated DJ mixes of all time, the Too Many DJs series by Soulwax, was actually “mixed” using a turntable, recording parts then editing together in Pro Tools — Pro Tools!
The forgotten hero was my particular favourite, MixMeister’s Fusion software. MixMeister allowed for ultra-simple, drag-and-drop, semi-automated, offline mix creation. But it was left stranded without many updates after its acquisition by InMusic in 2007 and struggled to keep apace with OS updates, especially on macOS.
These OS struggles with MixMeister studio, led me to search for an alternative. “There must be loads of different solutions by now, surely?” I thought… Well, surprisingly there wasn’t. It was this same scenario that led DJ Studio founder, Siebrand Dijkstra to create his app.
DJ Studio playlist in carousel view. Image: MusicTech
Branded as the first full DAW for DJs, DJ Studio has been created specifically to solve the hassle of creating DJ mixes, radio shows and the like. It’s designed to appeal to both the pro market and playlist addicts looking to explore curating mixes.
Thankfully, DJ Studio sports a familiar layout to other major DAWs. Available in the browser or as an app (although the browser features are limited), the AI-powered automixing will import your playlists from Rekordbox and other major music library apps. This includes the import of grid data, BPM and cue points into DJ studio, and you can toggle the settings on which of your music libraries and views you want to use.
Undeniably a killer, genuinely innovative feature is the ability to communicate with YouTube and create legal, full mixes using YouTube video search, then output these with video mix, using a visualization. This is a mind-blowing feature for both mixtape curators and users who may not have actually become DJs in the traditional sense yet. Plus, for DJs, it’s a useful tool to test out mixes, create YouTube content and send demos without having to invest in downloaded, offline files.
The app is constantly being updated. Feedback from the community seems to be implemented rapidly and new features and bug fixes are swift. When using Automix, the results are, as you might expect, hit and miss — but it’s really the ability to easily dig in and edit the Automix suggestions that makes DJ Studio so powerful. The matching for key or energy is particularly cool.
DJ Studio YouTube integration. Image: MusicTech
Our biggest gripe with DJ Studio is some of the interface quirks, especially with the recent addition of sample lanes, where the resizing and collapsing of tracks is clunky. Zooming out the entire interface from the view menu is a huge help here. There’s also a question over the pricing — it’s expensive as a one-off option and costly for somebody just doing the odd mix to be paying a monthly subscription. It’s worth watching out for sales and offers here.
Another issue lies in manually creating complex automation. There needs to be a dropdown menu or a way to more easily focus on the automation you want to adjust, as lots of automation lanes overlap and it’s easy to accidentally move the filter, for example, when you are trying to adjust the volume. A simple dropdown on the left Deck menu by the EQs, or a selection tool to bring automation into focus could solve this. It would be better if the rotary controls for EQ and filter were animated to match the automation lines as the volume fader does. Hopefully, this is in a future update.
Possibly the most noticeable difficulty with the app is the challenge with mixing genres other than dance music. DJ Studio admits it launched as an EDM-focused product and is now updating beat detection and algorithms to make improvements to other genres. Tracks without robust tempo grids can be more complicated. Automatic beat detection and mixing options are more challenging with disco, funk, hip-hop and similar non-four-to-the-floor electronic styles. But, even in recent updates, this is always improving, and when you dig in manually to mix transitions, there’s no limit to what you can do. Plus, if your grids and info are accurately set in Rekordbox, for example, it makes the process much smoother.
If you’re creative, it’s possible to adjust grids, create loops and samples and make mixes work in any way you want. This is helped further by a recently added feature of two Sample Lanes. This is basically two extra track lanes in the DAW that lets you resample parts from other tracks, or add loops and more audio. This works particularly well with cutting loops out of a track and using these to create new extended layers. This also expands DJ studio’s remit as a pure DJ mix tool and allows the possibility of creating quick edits and mashups too.
DJ Studio. Image: MusicTech
Taking creativity even further, DJ Studio has one more amazing trick up its sleeve. It allows for the export of the mix you are working on as an editable Ableton Live project, complete with tempo automation, any filtering, EQ and even volume fades! This means even if you hit the creative limits of the DJ Studio app, you can easily continue in Ableton to add more tracks, record voice-overs, add extra effects or create more complicated edits.
This is still a young product that is constantly evolving and driven by passionate, skilful people. I’m confident that this will evolve into an industry-standard tool for DJs and radio show hosts and will become an entry point for music obsessives wanting to explore making their own mixes.​​
There’s long been a gap in the market for a product like DJ Studio and it’s by far the best software for creating DJ mixes that I’ve ever used.
Key Features

Integration with existing popular music libraries, grids, cues and more.
Ability to create mixes using YouTube
Export as an Ableton project
Integration with Beatport
Integration with Mixed In Key

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SKnote announce Etna-Q multi-channel dynamic EQ SKnote’s new Etna-Q hardware unit packs in eight stereo channels of dynamic EQ, and comes equipped with motorised pots and full recall ability.

66th Annual GRAMMY Awards Audio Team Collaborates for Live BroadcastPhotograph courtesy of The Recording Academy®/Getty Images. © 2024 Photograph by Kevin Winter.

Only minutes before the start of the 66th Annual GRAMMY Awards®, members of the 2024 audio team gathered for a photo at the foot of the stage at the Crypto.com Arena in Los Angeles. Held on Sun, Feb. 4, 2024, the 66th Annual GRAMMY Awards showcased an amazing collection of musical performances and tributes and utilized the latest in technology to provide television viewers worldwide with a cutting-edge, high-definition immersive sound.

LOS ANGELES, CALIFORNIA - FEBRUARY 04: on February 04, 2024 in Los Angeles, California. (Photo by Kevin Winter/Getty Images for The Recording Academy)

The GRAMMY Awards® technical staff consists of audio pioneers who continually strive to employ the latest in technology to enhance the show. Prominent members of the Recording Academy® Producers & Engineers Wing® were part of the audio team, including GRAMMY® Co-Broadcast Music Mixer Eric Schilling, GRAMMY Broadcast Production Mix Audio Advisor Mike Clink, GRAMMY Broadcast Music Mix Audio Advisor Glenn Lorbecki, GRAMMY Broadcast House Mix Audio Advisor Leslie Ann Jones, and several others.

RecordingAcademy.com

Car-sharing company Getaround cuts one-third of US workforceGetaround, a company that helps vehicle owners rent out their cars, trucks and SUVs to other peers, is cutting 30% of its North American workforce as part of a restructuring. The company said in a statement it will restructure its workforce and operations to reduce costs in hopes of extending its cash runway and accelerating […]
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Killer Mike – and a host of top execs – joined ‘Award Season’ Grammy Week party, hosted by Milk & Honey and ReservoirMBW co-sponsored event alongside Splice, SoundCloud, Mark Music + Media Law, BMI, UBS, and Endurance Artist Management.
Source

Killer Mike – and a host of top execs – joined ‘Award Season’ Grammy Week party, hosted by Milk & Honey and ReservoirMBW co-sponsored event alongside Splice, SoundCloud, Mark Music + Media Law, BMI, UBS, and Endurance Artist Management.
Source

Reservoir generated $35.5m in calendar Q4 2023, up 19% YoYThe company has raised its outlook for full-year revenue and adjusted EBITDA, in the wake of "strong revenue growth"
Source

Spotify paid the music industry $9 billion in 2023Apparently, passing 602 million monthly active users was not the only big stat Spotify wanted to share this week. Two days after a solid report to investors that sent its stock up 8%, Spotify announced it had paid more than $9 billion to musicians and the music industry last year, its highest payout ever...
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