Neil Young returns to Spotify after Amazon and Apple pick up Joe Rogan’s podcastNeil Young‘s music will soon be returning to Spotify now that The Joe Rogan Experience will no longer be exclusive to the platform – but he doesn’t exactly seem overjoyed about it.
Spotify users have been unable to access Young’s catalogue since January 2022, when he removed his music to protest the platform’s inaction over Rogan’s controversial podcast which he says spread misinformation about COVID-19 vaccines. Back then, The Joe Rogan Experience was a Spotify exclusive.

READ MORE: The music streaming revolution is here, thanks to new platforms 

“They can have Rogan or Young. Not both,” Young said in an open letter at the time, adding that Rogan’s podcast was “potentially causing death to those who believe the disinformation being spread by them”.
Young later hit out at the sound quality on the streaming service, asking in November 2022: “Why would I keep it on there when it sounds like a pixelated movie?”
Now, The Joe Rogan Experience is no longer a Spotify exclusive and has been picked up by Apple and Amazon. Young wrote in a post on his website yesterday (12th March): “Spotify, the #1 streaming of low-res music in the world – Spotify where you get less quality than we made, will now be home of my music again.”

“My decision comes as music services Apple and Amazon have started serving the same disinformation podcast features I opposed at Spotify. I cannot just leave Apple and Amazon, like I did with Spotify, because my music would have very little streaming outlet to music lovers at all.”
“So I have returned to Spotify, in sincere hopes that Spotify sound quality will improve and people will be able to hear and feel all the music as we made it. Qobuz and Tidal, where my music is presented, are all high-res as well.”
He concluded: “Hopefully Spotify will turn to high-res as the answer and sever all the music to everyone. Spotify, you can do it! Really be #1 in all ways. You have the music and the listeners! Start with a limited high-res tier and build from there!”
Neil Young’s music isn’t yet back on Spotify at the time of writing – but it’ll likely appear in the coming days.
The post Neil Young returns to Spotify after Amazon and Apple pick up Joe Rogan’s podcast appeared first on MusicTech.

Iconic Instruments release SP140 Plate Reverb Iconic Instruments' new plate reverb plug-in offers five different EMT 140 model options along with some built in saturation, filtering and more.

“There’s no other machine that has a sound so remarkable” — Artists give their take on the TB-303Everybody needs a 303. The Roland TB-303 Bass Line synthesizer was launched in 1981 as a bass accompaniment machine for musicians, but, following some accidental – now historical – tinkering by Phuture’s DJ Pierre, has transformed dance music.
The 303 didn’t just lead to the creation of acid house music but weaves its versatile low-end frequencies into loads of genres today. Whether it’s the focal point of a track, like in Josh Wink’s rave anthem, Higher State Of Consciousness, Daft Punk’s iconic Da Funk, or even Tame Impala’s Breathe Deeper, this machine-made bassline is deeply implanted into our encyclopedia of sounds.
Roland booth at CRSSD Spring 2024. Image: Izzy Hassan
We hear from five 303-loving artists who played and jammed out at CRSSD Festival and CRSSD Lab in San Diego during 303 Day. There was even a CRSSD’s 303-theme afterparty — talk about acid love.
Acid house pioneer DJ Pierre, Berlin techno artist Hector Oaks, Austrian trip-hop duo Kruder & Dorfmeister, Israeli electronica outfit Red Axes and minimal house Londoner, East End Dubs all help decipher what it is exactly that producers love about Roland’s iconic TB-303, and what our favourite uses of the synth have been over the past 43 years.

READ MORE: Behringer and Roland dominate in new world map showing most popular synth brands by country

Do you recall what made you fall in love with the 303? On a track, or the first time you heard it on its own, perhaps?
DJ Pierre: “Unknowingly, I’d heard it on a song by Nucleus called Jam On It when I first started DJing. Even when I finally came across the 303, I didn’t recognise that it was the same bass sound that was on that track. For me, it was all about the texture.”
East End Dubs: “I remember watching Daft Punk live in London; they started their set with Da Funk. I will never forget that moment. I had goosebumps watching that performance live. The first thing I did when I got back home was purchase my first 303.”
Hector Oaks: “I remember very well the first time. I listened to Aphrohead – In The Dark We Live (Dave Clarke’s 312 Remix). A real techno song. Epic.”
East End Dubs
What did you want to do with that 303 sound when you first got your hands on one?
DJ Pierre: “I honestly thought that I was going to be making some dope deep-sounding basslines. I had no idea that I would end up creating a whole new sound called Acid and a new genre of music!”
East End Dubs: “I got my hands on it, tried to create the bassline of Josh Wink’s Higher State of Consciousness. It took me a while but I managed to get very close to it at the end. I then produced my Acid Cutz EP with a Roland TB-303, TR-808 and TR-909.”
Red Axes. Image: Ben Palhov
Why do you think there haven’t been any other “accidental” sounds like the 303 recently?
DJ Pierre: “Let me first clarify the whole accident thing. I hadn’t thought about it this way until legend Lil Louis said to me, ‘Pierre, YOU are the acid’. He said to me: ‘What you did and how you approached the 303 is how you approached every keyboard and synth – twisting those knobs like that is a ‘you’ thing.
“‘When you came across the 303, you heard something so special that you, Spank and Herb decided to make a whole track featuring that unique sound that only happens when you twist the knobs on the TB-303 while the sequence is playing.’”
Red Axes: “As time goes by, we know too much and make fewer mistakes. We lost the beauty of mistakes, but maybe soon we will get another great mistake.”
Hector Oaks: “I think that the room for mistake is getting quite narrow. Synth companies already have this in their mind and many of the machines are intentionally built to be used in unexpected ways.”
Kruder and Dorfmeister DJing at CRSSD 2024
Do you prefer having the 303 sound accessible via a plugin with easy programming, or going physical and getting stuck in?
East End Dubs: “I have both analogue and digital versions of 303. I think you can’t beat the sound of analogue, however, the 303’s much easier to program via a plugin.”
Hector Oaks: “Lately I’m more into the physical. I guess the serotonin hit that you get when playing an instrument is quite different than when you compose a track in the box. However, I use both to create my music. So, more hardware for the creation phase and software for the arrangement part. Although I’m trying to unify the process.”
What’s the worst thing about the 303?
DJ Pierre: “If I find it, I’ll let you know.”
Kruder & Dorfmeister: “Definitely the programming – if you wanted to program a bassline as planned it can take ages.”
Hector Oaks: “The worst thing is also the best thing. Although you know it well, it’s hard to achieve predictable results with the 303. There is the magic of the instrument: how a slide to a higher note can interact with the filter to create something unexpected that blows your head.”
Kruder and Dorfmeister. Image: Max Parovsky
What’s the best thing about the 303?
Kruder & Dorfmeister: “It’s the remarkable sound that only this machine can produce – there is no other machine that has a sound so remarkable. It’s an addictive sound, but you have to be careful not to overuse it because it’s such a dominant sound.”
Red Axes: “The best thing is that it always gives the song or track this special acid bump, whether it’s a lead or a bass line. It’s super easy to fit into the mix.”
DJ Pierre: “The 303 ushered in a new way of interacting and creating with all keyboards, drum machines and synths. Since the creation of the ‘acid sound’, all keyboards and synths have been made with the idea [that you can] manipulate the knobs and levers while the pattern/sequence is running to record your performance and hopefully create something special.”
Read more music technology features at MusicTech
The post “There’s no other machine that has a sound so remarkable” — Artists give their take on the TB-303 appeared first on MusicTech.

RELEASE DETAILS
Release title:
ring a bell
Main artist name:
Faygoplexine
Release date:
5th Apr, 2024
https://publme.lnk.to/ringabell
#newmusic #Release #Music #indepedent #artist #experimental #Psychedelic

From Gamer to Billion Stream Club as a DIY Artist/ProducerTheFatRat is known to be the world's most influential Gaming Music artist. His music ranges from euphoric progressive house to trap and melodic glitch-hop, with a heavy influence of video game music. The artist’s forward-thinking approach to lift copyright restrictions on his music has led to him having been featured in 30+ million videos from a range of different content creators-collectively accounting for over 29 billion views on YouTube.

TikTok’s parent ByteDance has locked down AI-music patents in the US – as its researchers develop a model trained on 257,000 hours of songsTikTok's AI music ambitions are bigger than you think...
Source

How to maximize a music release’s potential for success [VIDEO].
#Music #Promotion #Video #Release #artists

Country Music Hall of Fame(R) and Museum to Explore Nashville's Pioneering and Influential R&B HistoryJohnny Jones Electric guitar and amplifier. Photo by Bob Delevante for the Country Music Hall of Fame and Museum

Nashville’s pioneering R&B scene and its important role in the city becoming a world-renowned music center with its latest exhibition. Night Train to Nashville: Music City Rhythm & Blues Revisitedis a 20th anniversary edition of the museum’s award-winning original exhibit, which was featured in its galleries March 2004 through December 2005. The exhibit will include many of the same items and themes, as well as recently discovered artifacts and photographs. The exhibit, which is included with museum admission, opens Friday, April 26, and runs through September 2025.

Night Train to Nashville: Music City Rhythm & Blues Revisited explores Nashville’s R&B activity in the decades following World War II, spanning 1945-1970. As Nashville’s country music industry was just getting started, the city was also a hotbed for R&B, with celebrated performers contributing to the community’s rich musical heritage, including Country Music Hall of Fame member Ray Charles, Hank Crawford, Bobby Hebb, Jimi Hendrix, Etta James and Little Richard, among many others. During this time, R&B reigned alongside country music in the city’s clubs and studios, on radio and on nationally syndicated television.

The exhibit is supported by a free-to-access Night Train to Nashville online exhibit, which launched last year and was made possible by a major grant awarded from the National Endowment for the Humanities (NEH). The exhibit is also supplemented by a newly published companion book and an opening weekend program examining the influential television show "Night Train."

“This exhibit and its related resources offer opportunities to revisit Nashville’s often overlooked R&B legacy and its important role in our community becoming ‘Music City,’” said Kyle Young, CEO of the Country Music Hall of Fame and Museum. “As Nashville developed into a major recording center, it did so against a background of urban change and at a time when racial barriers were tested and sometimes broken on bandstands, inside recording studios and on the airwaves.”

The exhibit will explore:

The ways that iconic musicians including Little Richard and Jimi Hendrix honed their skills on Nashville bandstands.

How Nashville led the way in broadcasting groundbreaking and influential R&B on the50,000-watt powerhouse WLAC radio station and through syndicated TV shows such as “Night Train” and “The!!!!Beat.”

The musical collaborations of R&B and country musicians.

The recording of Etta James’s scorching live album Etta James Rocks the House at Nashville’s New Era Club.

Key developments of the late 1960s, from the soaring height of Robert Knight’s R&B-pop crossover hit “Everlasting Love” (recorded in Nashville), to the depths of so-called “urban renewal” and the routing of Interstate 40 through Jefferson Street, which eventually devastated the city’s vibrant R&B nightlife.

Some artifacts to be displayed include:

Gibson ES-345 electric guitar and Lab Series L7 amplifier used by Johnny Jones in the later part of his career. Nashville’s premier blues guitarist, Jones performed in the house band on “Night Train” and “The!!!!Beat” and influenced Jimi Hendrix in the early 1960s.

Letter sent by blues singer Bessie Smith to Hatch Show Print in 1927, accompanied by a photograph to use for designing her posters.

Etta James-signed cover of Etta James Rocks the House, recorded in September 1963 at Nashville’s New Era Club.

Three-piece suit worn onstage by vocalist and bandleader Jimmy Church. A Nashville native who recorded with an R&B group while still in high school, Church was regularly featured on television shows “Night Train” and “The!!!!Beat.”

Spoons used by Bobby Hebb as percussion instruments and Hebb’s Gibson JS-200 guitar. Hebb, a Nashville native, wrote and recorded the million-selling crossover hit “Sunny,” and performed on the Grand Ole Opry in the early 1950s as a member of Country Music Hall of Fame member Roy Acuff’s band.

Hand-painted bandstand used by star saxophonist and bandleader Hank Crawford in the 1960s.

Several original Hatch Show Print posters from the 1950s and 1960s advertising appearances by Gene Allison, Earl Gaines, Little Willie John, Jackie Shane, Joe Tex and others.

A scrapbook of vintage photographs belonging to Nashville entertainer Frank Howard.

Exhibit companion book 

In support of the exhibit, the museum is publishing a companion book, “Night Train to Nashville: Music City Rhythm & Blues Revisited.” The book includes a foreword by Nashville entertainer Frank Howard and explores the themes and stories in the exhibit. It also features more than 100 photographs and descriptions of classic R&B records cut in Nashville.

The book is now available to preorder on the museum’s website and will be available April 26 to purchase in the museum’s store or on its website. The book will also be available in bookstores nationwide through a distribution partnership with the University of Illinois Press. 

Online exhibit

The free-to-access online exhibit, Night Train to Nashville: Music City Rhythm & Blues, 1945-1970, revisits, updates and preserves the museum’s original physical exhibit of the same name, which was featured in the museum’s galleries 20 years ago.

The multimedia exhibit showcases a vast array of historic photos, performance videos and audio recordings, as well as instruments, show posters, stage wear and other rare items featured in the original exhibit. Online visitors can also access a full video archive of public programs hosted by the museum in relation to the original Night Train to Nashville exhibit and Nashville’s R&B history, including concerts, panel discussions and more.

Opening weekend program

To mark the opening of the exhibit, the museum will host a panel discussion on Saturday, April 27, about Nashville’s groundbreaking television series “Night Train.” Participants will include performers Jimmy Church and Frank Howard, who appeared regularly on the show, along with Katie Blackwell (wife of late “Night Train” creator and host, Noble Blackwell) and Tracye Blackwell (daughter of Katie and Noble Blackwell). The discussion will be illustrated with video clips from “Night Train.” The program will happen at 2:30 p.m. in the museum’s Ford Theater. 

Night Train to Nashville: Music City Rhythm & Blues Revisited will also be supported by additional public programs during the exhibit’s run, presented in collaboration with other nonprofit partners.

The original Night Train to Nashville exhibit earned the museum a Bridging the Gap Award (2006)­­ from the Nashville chapter of the NAACP for the promotion of interracial understanding. The exhibit’s companion album of the same name received a Grammy award for Best Historical Album (2004). Throughout the exhibit’s run, the museum produced a pair of retrospective compilation albums, published three books, and hosted dozens of panel discussions and concerts in support of the exhibit.

TikTok’s parent ByteDance has locked down AI-music patents in the US – as its researchers develop a model trained on 257,000 hours of songsTikTok's AI music ambitions are bigger than you think...
Source

Bluesky launches Ozone, a tool that lets users create and run their own independent moderation servicesDecentralized Twitter/X rival Bluesky announced today that it’s open sourcing Ozone, a tool that lets individuals and teams collaboratively review and label content on the network. The company plans to open up the ability for individuals and teams to run their own independent moderation services later this week, which means users will be able to subscribe […]
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Save up to 50% on VSL string libraries Products across both the Synchron Series and Synchron-ized Series are currently subject to some generous pricing offers.

Playing Audio on The Pi Pico With No DAC To Speak OfNormally, if you want to play music or other audio on a microcontroller, you need to get yourself a DAC. Or at least, that’s the easiest way to go about it and the one most likely to get you good, intelligible audio. You don’t have to go that way, though, as [antirez] demonstrates.
[antirez] decided to do this with a Pi Pico, but it’s applicable to other microcontrollers too. It’s all done with a single pin and a PWM output. The PWM output is set to a very high frequency beyond human hearing. In this case, it was 100 KHz. Then, the duty cycle of the PWM is changed to essentially output various average voltage levels at the pin. Vary the output voltage as per your desired sound file by using each sample to vary the duty cycle of the PWM. Voila! You can output whatever sound you want on that pin! [antirez] steps through the basics of doing this, including processing simple WAV files into a raw format that can be dumped into MicroPython code.
There’s no sound sample on the project page, and we’d have to assume it sounds pretty crunchy when hooked up to a speaker. And yet, it could prove a useful technique if you’re designing your own audio greeting cards or something, so keep that in mind!

UMG’s East Coast labels officially restructured under ‘Republic Corps’ banner; Def Jam, Island, Mercury, Republic will operate ‘independently’ while sharing ‘integrated departments’Jim Roppo named President and Chief Operating Officer of Republic Corps reporting directly to Monte Lipman and Avery Lipman
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LED Choker Is a Diamond In the Junk PileIsn’t it great when you find a use for something that didn’t work out for the project it was supposed to? That’s the story behind the LED strips in this lovely blinkenlights choker by [Ted].
The choker itself is a 15 mm wide leather strap with holes punched in it. According to [Ted], the hole punching sounds like the absolute worst and hardest part to do, because the spacing of the holes must be greater than that of the LEDs to account for flex in the strap. [Ted] tested several distances and found that there is little margin for error.
Controlling those blinkenlights is a Seeed Xiao S3, which fits nicely behind the neck in what looks like a heat shrink tube cocoon. [Ted] chose this because there was one lying around, and it happens to be a good fit with its LiPo charge controller.
The choker runs on four 300 mAh LiPo batteries, which makes for more bulk than [Ted] would like, but again, sometimes it’s about what you have lying around. Even so, the batteries last around two hours.
Sometimes it’s about more than just blinkenlights. Here’s an LED necklace that reports on local air quality.

iZotope’s revived distortion plugin is Trash – no, seriouslyiZotope has revived a fan favourite plugin, and it’s Trash. Literally. The iconic distortion tool, Trash, first introduced in 2003, is back and boasts a set of new upgrades to offer a “whole new take on the joy of breaking things”.
Trash is now available as a desktop plugin and for use on iPad with Logic Pro using the AUv3 format. Both versions also include a new Trash Lite mode which is completely free.

READ MORE: iZotope Nectar 4 brings valuable updates alongside some unexpected creative tools

“Trash takes sound into new dimensions with unlimited ways to twist, mangle, and energise music,” says iZotope. The plugin now features an easy-to-use interface, and is driven by two engines: the Trash and Convolve modules.
The Trash module includes over 60 distortion types for subtle distortion all the way to “full-on sonic mutation”. Convolve, on the other hand, comes with over 600 impulse responses to morph and filter your sound, such as tin cans, piano cabinets, reversed reverbs, and underwater recordings.
Both modules include an “intuitive” XY pad, allowing you to blend between either four distortion algorithms, or four impulse responses. Other new features include an Envelope Follower, a Dice Roll button for inspiration, and a Scream filter. Trash also utilises intelligent auto-gain and limiter settings on your output levels.
Take a look below:

A few creatives have already got their hands on Trash, but seemingly the reviews are mixed. iZotope have a high standard to live up to following the well-loved Trash2, which landed nearly a decade on from the original Trash in 2012. Weaver Beats has given his thoughts on the new plugin in a two-hour long Twitch stream, while Low End Candy says he’s not so sure on the new version of the tool, but came to like it after playing around with some of its features. See his video below.

Use Trash for free via the Trash Lite mode, or you can purchase the full edition now via iZotope. Trash for desktop is priced at £95/$99 (with an introductory price of $79 through 16 April 2024), and at £19.99/$19.99 for iPad via the App Store.
The post iZotope’s revived distortion plugin is Trash – no, seriously appeared first on MusicTech.