Haven't tried this one but pretty much enjoying Gullfoss - https://www.soundtheory.com
#Tools #musicproduction #Mixing

The music industry is changing. Thomas Coesfeld is busy preparing BMG for what’s next.The BMG boss discusses the sweeping changes he's made at the Bertelsmann-owned company – and the future of music
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Behringer revives a “legend” with the Spring Reverberation 636 Eurorack moduleBehringer has officially released its Spring Reverberation 636 Eurorack module – an emulation of the Grampian 636 reverb processor unit of the 1960s and ‘70s.
Original Grampian 636 units are now rare to come by, and sell on marketplaces often for four-figure sums. It was famously used by the likes of Pete Townshend of The Who, producer Martin Hannett, and was even instrumental in shaping the sounds of early reggae.

READ MORE: Behringer 2024: Every synth, drum machine and controller Behringer is working on

In Behringer’s new recreation, which is available for shipping now, the Spring Reverberation 636 hosts dual mechanical springs that provide “lush and dynamic” reverb sounds. The brand also says that if you bump the 636, it can even do the iconic spring reverb “sproing” – but it advises you to still be gentle with the unit.
It has a super streamline interface, inspired by the original, with control knobs for Reverberate (a dry/wet mix control to adjust the amount of reverb in your signal), Aux Channel, and Mic Channel. It has an overload circuit for that warm analogue tone, plus 3.5mm inputs/outputs on the front panel and 6.3mm ins/outs on the back. It has mic and line inputs with high/low line inputs, and a foot switch pedal input at the back.
Find out more in the video below:

Behringer also teased a prototype of its JT-16 synth, which resembles the Roland Jupiter-8, just last week. No details have yet been shared on when it will officially launch, but it looks like hopeful buyers will have to sit tight for a little bit longer.
“Currently, the synth is in its very early stages, and we are now focusing on debugging and implementing the necessary software,” the brand said on social media. “We kindly ask for your patience, but we assure you that this beauty will come to fruition.”
The Spring Reverberation 636 is priced at $199. It is soon to be available from other dealers.
Find out more at Behringer.
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Generative AI music market to be worth $3bn by 2028, says report commissioned by Sacem and GEMAThe study found nearly unanimous support for payments to rights holders when their music is used to train AI
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Will The NAMM Show thrive or barely survive after 2024’s encouraging show?That’s a wrap on The NAMM Show 2024. There were some huge announcements, but some notable absentees: Universal Audio didn’t return with an extravagant, space-themed spectacle like in 2020; Moog didn’t have a presence, nor did Focusrite, Sequential, Oberheim or Arturia; the guitar world’s major brands didn’t show — Fender, Gibson and PRS, which also means no Presonus (Fender) or KRK (Gibson). We didn’t even see the adorably named ‘Modular Village’, where Eurorack brands showcase their latest innovations.

READ MORE: NAMM 2024 recap: All the biggest synth, studio, DJ and software releases

If more high-profile music technology companies follow suit in 2025, will it spell the end of The NAMM Show?
After speaking to some brand reps and attendees at the show this year, the main takeaway is (and this isn’t news to anyone) that it’s very expensive to host a booth at NAMM. We’ve heard of top-tier companies paying over $1,000,000 for a significant space at the Anaheim Convention Centre over the four days it takes place — and that’s before accounting for accommodation, travel, and paying talent for performing or hosting workshops.
Evidently, that’s no longer deemed a worthwhile investment for the aforementioned brands. It’s even encouraged some manufacturers to exhibit just over the show’s fences — the late great Dave Smith once showed us his Sequential Pro-3 from a nearby hotel room; this wasn’t a new thing and will certainly carry on for the foreseeable future.
Stevie Wonder at the Teenage Engineering booth during The NAMM Show 2024. Image: Sam Willings
Following Musikmesse’s demise in 2019 and E3 officially being cancelled in 2023, the pandemic paved the way for more considered announcements online. Why pay $1,000,000 for a limited-time space at NAMM when you could use that for a tremendous marketing campaign, rife with artist videos, influencer sponsorships, media partnerships, and a big social media push?
The thing is, we’ve not seen any of that from the big synth makers who skipped NAMM 2024. Arturia, which released its flagship products V Collection X and Pigments 5 in 2023, hasn’t released a massive marketing campaign, and UA recently sort of just said, ‘hey, LUNA is free without hardware now, btw’, rather than making a song and dance of it.
Instead, at NAMM 2024, we saw some of the smaller brands soaking up the attention for their new products. The Teenage Engineering booth was, quite literally, always packed, with Stevie Wonder even checking out the new products. Oeksound showed off Bloom, which had plenty of plugin fans stopping by. The Solodome — frankly, one of the coolest chairs I’ve ever sat in — garnered a ton of intrigue. Attendees couldn’t resist stopping by the Stylophone space to play with its new theremin-inspired instrument, and Reloop had a consistently packed crowd with performances by Laidback Luke, DJ Qbert and more.

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Generally, the atmosphere at NAMM this year was exciting and elated. The buzz in the air was extremely palpable compared to the weird, empty vibe at NAMM 2022 and 2023. It really felt like the show was back to its old self, even without the likes of Fender, UA, Gibson and Focusrite.
Simply put, the absence of giant corporations gives ample space for more bespoke brands to flex. There are, of course, still plenty of household names – Korg, Yamaha, Sony, and Pioneer DJ (AlphaTheta) had plenty to show off and always had a crowd — but the charm of conventions like NAMM are in their quirkier offerings.
For the same reason, Superbooth is an excellent festival for the music technology space. Boutique brands connect with their audience and can actually have a conversation with them — even a quick jam, as we saw in the Erica Synths room in 2023.
On paper, this is excellent news for all. But, realistically, these smaller brands are likely blowing most of their annual marketing budget on the show and taking massive risks by attending. Imagine spending tens of thousands of dollars on a booth in 2022 as a Eurorack manufacturer and finding out that attendance numbers are 50 per cent lower than the previous show. Compared to the bustling, packed show in 2020 — and, indeed, 2024 — the 2022 show was upsettingly scarce.
A demonstration at The Midi Association’s booth during The NAMM Show 2024. Image: Sam Willings
And, really, there aren’t as many wins at every NAMM as there could be for these companies. Although they do make truly valuable connections with retailers, media, and customers, the promotion they might get is lacklustre. For all the influencers and media platforms that attend, all you ever see posted online is the same video demonstration at the same booth with the same spokesperson from each brand. That’s no shade on anyone creating these videos, it’s just a product of limited space and resources at the show.
It’s awesome to walk past the Sony booth, or the Mix With The Masters stage, or the SSL mixing console, and see artists and producers running live workshops and performances. That’s the stuff that is worth capturing on camera to put online. Unfortunately, that’s where you hit the $1,000,000 budget very quickly.
It’d be amazing to see more opportunities for smaller companies to collaborate on events where they can have talent running through each of their products, jamming with them in a live environment and teaching attendees how to use them. Even if it’s just once a day, rather than keeping all the boutique brands static at their booth for the whole show. Other people will have more and probably better ideas than that, but it’s just one thing I picked up from the show.
But here’s the good news: NAMM 2024 genuinely felt like a successful show — an air of optimism, some fun and fantastic products, a host of interesting panels, workshops and events, and a healthy attendance. NAMM 2025 could easily follow suit, with or without the big brands. But the cost of exhibiting has to remain consistent — and not over-inflate — to maintain its charm and utility.
The post Will The NAMM Show thrive or barely survive after 2024’s encouraging show? appeared first on MusicTech.

Using acapellas to inspire your ideas. https://splice.com/blog/use-acapellas-improve-production-chops
#musicproduction #ProductionTips #Producers #Musicians

Gamechanger Audio introduce MOD Series Gamechanger Audio have proudly introduced the MOD Series, which combines classic pedal design with modular synthesis.

Texas Music Legends Hall Of Fame To Induct Al StaehelyErnalee Duffy, Executive Director of Texas Songwriters Association International, announced that Texas born and bred songwriter/artist Al Staehely will be inducted into the association's Texas Music Legends Hall of Fame on February 7th.

Ms. Duffy shared, "The Texas Music Legends Hall of Fame, which is under the banner of the Texas Songwriters Association International, (TSAI) was created to recognize and honor the music industry professionals that help shape and make the Texas music community the fertile unique landscape that it is. The Hall of Fame is a community chosen by its peers. The alumni do the nominating and voting to decide who will be invited to be inducted each year. The members that have been previously inducted are a talented group of professionals, each one of which has made a unique and influential contribution to the Texas music community. Among this year's inductees is Al Staehely a true native Texan whose original songs are heard around the world. Plus many have been recorded by successful artists in their own right and went on to top the charts. We welcome Al into the fold and look forward to seeing everyone at this year's event in Austin on February 7th which is 100% absolutely free to attend.

The Taylor Swift deepfake debacle was frustratingly preventableYou know you’ve screwed up when you’ve simultaneously angered the White House, the TIME Person of the Year, and pop culture’s most rabid fanbase. That’s what happened last week to X, the Elon Musk-owned platform formerly called Twitter, when AI-generated, pornographic deepfake images of Taylor Swift went viral. One of the most widespread posts of […]
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The music industry is changing. Thomas Coesfeld is busy preparing BMG for what’s next.The BMG boss discusses the sweeping changes he's made at the Bertelsmann-owned company – and the future of music
Source

Generative AI music market to be worth $3bn by 2028, says report commissioned by Sacem and GEMAThe study found nearly unanimous support for payments to rights holders when their music is used to train AI
Source

Record labels should commit to regular publication of statistics on the diversity of their rosters to push back against “boy’s club”, says new reportA new report from the Women and Equalities Committee (WEC) has laid bare the realities of misogyny and gender inequality within the music industry, and has called for record labels to regularly publish statistics on the diversity of their creative rosters.
The Misogyny In Music report states that despite an increase in representation, women still encounter limitations in opportunity, a lack of support and persistent unequal pay. These issues worsen for women facing intersectional barriers, particularly racial discrimination.

READ MORE: 7 of TikTok’s 10 Breakthrough Artists in 2023 were women

Female artists are routinely undervalued and undermined, the report states, and are subjected to a focus on their physical appearance (in a way that men are not), and are having to work much harder to be recognised for their skills.
The committee has called on record labels to commit to a regular publication on the diversity of within their rosters, stating that all organisations of more than 100 employees should be required to publish data on the diversity of their workforce, plus gender and ethnicity pay gaps.
To summarise, the report further calls for change from the Government and music industry in the following areas:

Amend the Equality Act to ensure freelance workers have the same protections from discrimination as employees and bring into force section 14 to improve protections for people facing intersectional inequality
Legislation to impose a duty on employers to protect workers from sexual harassment by third parties (a proposal the Government initially supported and then rejected last year)
An increase in investment in diverse talent and more funding for the schemes that support it
Prohibition of the use of non-disclosure and other forms of confidentiality agreements in cases involving sexual abuse, sexual harassment or sexual misconduct, bullying or harassment, and discrimination relating to a protected characteristic
Consideration for a retrospective moratorium on NDAs for those who have signed them relating to the issues outlined
Strengthened requirements for industry areas where harassment and abuse are known to take place (studios, music venues etc.)

Chair of the Women and Equalities Committee, Rt Hon Caroline Nokes MP says of the report, “Women’s creative and career potential should not have limits placed upon it by ‘endemic’ misogyny which has persisted for far too long within the music industry.
“Our report rightly focuses on improving protections and reporting mechanisms, and on necessary structural and legislative reforms. However, a shift in the behaviour of men – and it is almost always men – at the heart of the music industry is the transformative change needed for talented women to quite literally have their voices heard and be both recognised and rewarded on equal terms.”
Read the full report via the UK Parliament website.
The post Record labels should commit to regular publication of statistics on the diversity of their rosters to push back against “boy’s club”, says new report appeared first on MusicTech.

Amazon Music for Artists adds free ‘Hype Deck’ marketing toolAmazon Music has added another free tool to its growing “for Artists” toolkit. Hype Deck empowers artists to create custom Hype Cards to spread the word about “big moments” for. Continue reading
The post Amazon Music for Artists adds free ‘Hype Deck’ marketing tool appeared first on Hypebot.

Music.AI collaborates with Masterchannel and Cyanite to enhance AI Module Stack ​​​​​​Music.AI, a pioneer in AI-powered music solutions, is integrating Masterchannel and Cyanite's expertise to its platform, allowing businesses to instantly connect to AI.

Is Spotify Discovery Mode worth 30% less royalties? What the data saysThrough his own experimentation, independent musician and set it and forget it music marketing wizard Brian Hazard explains how artists can maximize their music’s exposure with Spotify’s Discovery Mode. by. Continue reading
The post Is Spotify Discovery Mode worth 30% less royalties? What the data says appeared first on Hypebot.