Inside a Social Media Music Marketing Campaign: How CyberPR does itLook inside a successful social media music marketing campaign from veteran music marketers CyberPR. It covers essential tactics for increasing visibility, engaging fans, and boosting music career growth through targeted social media.
The post Inside a Social Media Music Marketing Campaign: How CyberPR does it appeared first on Hypebot.

Harrison announce LiveTrax software LiveTrax offers multitrack recording and playback, making it possible to capture live shows and carry out virtual soundchecks, and boasts seamless integration with Allen & Heath’s range of live consoles. 

Mass global IT outage hits music producers – BandLab and FL Studio users among those affectedMusic producers have been hit as part of a mass global IT outage that has left airlines, banks and businesses around the world scrambling to respond.
Popular digital audio workstations (DAWs) BandLab and FL Studio are among those affected, with users reporting widespread downtime over the last 24 hours while accessing the platforms and their various services.

READ MORE: AlphaTheta’s proposed acquisition of Serato blocked: “We disagree with and are disappointed by the ruling of the New Zealand Commerce Commission”

According to the FL Studio subreddit, Image-Line’s (the makers of FL Studio) servers have come under a DDoS Attack as of 17 July.
“If you are getting errors from Image-Line’s servers, this is why. You haven’t been singled out or blocked, this is just a side effect of the DDoS Attack. There is nothing consumers can do at the moment other than to wait,” says the post. Meanwhile, users can follow FL Studio’s social media accounts for the latest updates.
Image-Line's Servers Update July 18 2024 | MEGATHREAD byu/The_Art_In_Atrophy inFL_Studio

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A post shared by FL Studio (@flstudio)

As for BandLab, the cloud-based music creation and collaboration platform earlier today announced that its cloud service provider is back up and running, and that its servers have been restored. [Editor’s note: MusicTech and BandLab are both part of Caldecott Music Group.]
Unexpected Downtime byu/BL_Community_Team inBandlab

BBC reports that the disruptions are related to issues at cybersecurity software firm CrowdStrike, which are affecting Microsoft’s Windows operating system. The company claims that a “defect” in one of its content updates is to blame.
“This is not a security incident or cyberattack. The issue has been identified, isolated and a fix has been deployed,” says CrowdStrike CEO George Kurtz.
The post Mass global IT outage hits music producers – BandLab and FL Studio users among those affected appeared first on MusicTech.

“Do people care about tracklisting?” PinkPantheress says she doesn’t listen to albumsAfter declaring earlier this year that no song needs to be “longer than two minutes 30 seconds,” British pop star PinkPantheress has offered yet another hot take on music consumption in the modern era.
In a new interview with Kids Take Over, the Boy’s a Liar singer reveals that the order of songs in an album doesn’t matter to her.

READ MORE: Swedish House Mafia to perform at Will Ferrell’s house party

“I don’t listen to albums, I just listen to songs,” says PinkPantheress. “That’s why when it came to my own album, I was like, do people care about tracklisting? I couldn’t believe it.”
“When I saw people review my album, some people were like, ‘it’s a great album but the tracklisting doesn’t make sense.’ I’m like, just listen to the songs!”
The musician, who owes much of her early success to TikTok, later clarified her comments on X (formerly Twitter), arguing that imposing limits on how music should be made or listened to only serves to hinder one’s enjoyment of it.
“All that to say, there is no right or wrong way to consume or make music,” she states. “It’s people trying to say there is that stops people from enjoying and creating art in whichever form they want. Who cares if I listen to albums in full lol. It’s music, it’s meant to be unique to everyone.”
Elsewhere in the chat, PinkPantheress also shares that she’d like to be more involved in producing for other artists, saying: “If somebody wants to call me into a studio, I always think it’ll be under the guise of doing production or writing.”
“But at some point they’ll be like: ‘can you just jump on the song?’ I would love to be more behind the scenes of other people’s music.”
Watch the full interview below.

The post “Do people care about tracklisting?” PinkPantheress says she doesn’t listen to albums appeared first on MusicTech.

AlphaTheta’s proposed acquisition of Serato blocked: “We disagree with and are disappointed by the ruling of the New Zealand Commerce Commission”New Zealand’s competition regulatory agency, the Commerce Commission, has denied clearance for AlphaTheta’s proposed acquisition of Serato.
AlphaTheta, Pioneer DJ’s parent company, announced last year an over $50 million buyout of the New Zealand-owned and headquartered music software firm. The proposed merger — if passed — would bring under the same umbrella Serato and Rekordbox DJ, which together account for 90% of market share in the DJ software business.
The move was met with significant pushback from US audio equipment manufacturer InMusic (parent company of Akai, Denon DJ, Moog Music), who cited fears of a monopoly situation, arguing that the buyout will “eliminate competition” and “hurt the DJ community”.

READ MORE: Behringer reveals smaller UB-Xa D synth which comes without a keyboard

On the decision to decline, NZCC chairman Dr John Small said that the Commission was not satisfied that the merger would not have the effect of “substantially lessening competition” in the markets for DJ software and DJ hardware.
“While other DJ software providers would remain in the market, we did not consider these rivals, or the possibility of a new DJ software provider entering the market in the near term, would be sufficient to replace the level of competition that would be lost with the merger. We therefore could not exclude a real chance that the merger would result in a substantial lessening of competition for DJ software, resulting in price rises to consumers and/or a lower quality software offering.”
As Serato’s DJ software is currently integrated with many brands of DJ hardware, the agency is concerned the merger would make it harder for DJ hardware rivals to compete with Pioneer DJ.
“The evidence before us indicated that the merger could give ATC [AlphaTheta Corporation] the means to either eliminate or worsen DJ hardware rivals’ ability to integrate their products with Serato,” said Dr Small.
“We were also concerned the merger would provide ATC with access to its DJ hardware rivals’ commercially sensitive information, including information about unreleased products shared in the integration process, which could provide ATC with a competitive advantage and lessen the incentive on both ATC and its rivals to innovate.”
In a joint statement, AlphaTheta and Serato said they “disagree with and are disappointed by the ruling of the New Zealand Commerce Commission against the acquisition.”
The proposed agreement is one that would have capitalised on both parties’ “complementary expertise” and “accelerated” their combined ability to deliver incredible products to DJs and Producers around the world, said the companies.
“Regardless of the disappointing outcome of the judgement, we remain excited about the future,” said Yoshinori Kataoka, president and CEO of AlphaTheta. “Through this process we have built on our 15 year relationship with Serato, leading to the commencement of a number of exciting new projects for DJs and Producers.”
Serato CEO Young Ly added, “While it’s not the decision we wanted, the Serato business has never been in a better place, and neither has our relationship with ATC. Through the process we have not taken our eye away from what we do best and our pipeline of future innovation is incredibly healthy, including a number of projects with AlphaTheta and other industry partners.”
The post AlphaTheta’s proposed acquisition of Serato blocked: “We disagree with and are disappointed by the ruling of the New Zealand Commerce Commission” appeared first on MusicTech.

How will AI impact the next generation of DAWs? These developers have their sayAs Apple, Google and Microsoft integrate machine learning and artificial intelligence into their consumer tech products en masse, the music production space is loudly finding novel ways to harness AI — with mixed results. From impressive stem separation tools and smart plugins to litigious text-to-music services such as Suno and Udio, you can bet there’s some form of AI already infiltrating your studio. But is it a threat?

READ MORE: Will RIAA’s lawsuit against Udio and Suno really be the win we’re hoping for?

While major DAWs are making tentative steps towards incorporating AI and machine learning – like Logic Pro 11’s generative Studio Assistant instruments — it’s the smaller developers who are seemingly doing the truly innovative, out-there thinking right now. Notable among them are Hit’n’Mix, developers of RipX DAW, Moises.AI, which makes a multi-platform app for pulling apart and modifying existing music and Wavtool, a browser-based system for generating, editing and remixing music.
AI has been on the mind of Martin Dawe, founder of Hit’n’Mix, for a very long time. His roots go back over 30 years when he first started to toy with the idea of audio separation. “In about 1997, I came up with the idea of scanning sheet music, and the guys at Sibelius contacted me and asked me to meet up. We still sell PhotoScore with Sibelius. A few years later, I started doing audio separation, trying to convert it into notation, and throughout the ’00s that developed into achieving higher and higher quality. By about 2010, I had the basic bones of Hit’n’Mix and we actually launched it to see if the technology could start to deconstruct music tracks.” Dawe continues, “About four years ago, we released Hit’n’Mix Infinity which was the first pro version of the technology, and then machine learning algorithms were incorporated and we went more into audio source separation as well as audio cleanup.”
Geraldo Ramos, co-founder and CEO at Moises.AI had a much more recent conversion to the cause. “The development of Moises began in late 2019. I’m a drummer and always wanted to find a way to take a song and separate the tracks so I could mute the drum part and play the drum part myself alongside the rest of the song. I thought AI could be used to make this happen and then I thought, ‘Why not start a business?’ It was like a weekend hackathon. That Monday, I shared my work with Eddie Hsu (my co-founder and COO) because he’s an accomplished musician and knows music so well. He was pretty excited about it so we kept working on it.”
Hit’n’Mix RipX DAW. Image: MusicTech
Keith Chia, developer of Wavtool focused their efforts on the browser platform. “We launched in March 2023, but development on WavTool started quite a while before that. The idea of WavTool came about when Sam Watkinson was working on a number of various web audio projects to experiment on what was possible with audio manipulation within a browser. Eventually, he created a platform to tie together all these experiments, which took the rough shape of a proto-DAW.”
Why has AI taken off so rapidly in the last two years? Part of it is purely technical, with companies like Apple building ever-more-powerful neural processors for its Apple Silicon computers, while certain graphics cards available for PCs are also capable of hugely accelerating the power-hungry processes that make AI work. But it’s also a corresponding surge in the development of software tools as people start to see what is possible, especially in terms of generating music, and demand increases.
Moises’ Ramos expands on this, “AI has been powering music software for a while —we’ve been using AI since 2019. But new and improved AI models are coming to market constantly, and that’s definitely accelerated in the last couple of years. Part of it is the growth in R&D and development, but also strong interest and demand from the marketplace. There’s a big appetite for quality AI tools in creative fields”.
Wavtool’s Chia gave us his thoughts on the rise of AI: “Generative AI has definitely been having its moment in the last year by removing the line between creation and consumption. The act of making art has been simplified by removing entire chains of complicated tooling from the process — people can create a song just by inputting a text prompt. It’s a very simple way of igniting the creative spark in people by showing them that they can flex their creative muscles without having to spend thousands of hours mastering an instrument or learning complicated production software. We’re giving them an easy way to still rely on AI to navigate the difficult parts of the music creation process while enhancing their expressiveness, creativity, and play.”

RipX DAW is arguably the most powerful AI music suite out there at the moment, and also the closest to the kind of desktop DAW you might recognise – though it has tools that go way beyond what others currently offer. Riley Knapp, a drummer, producer and songwriter who is now working as an AI business strategist for Hit’n’Mix explained that, in his view, the product solves an important problem with catalogues and tracks that you potentially don’t have stems for. So for example you could now separate them out and get into cleaning up audio in ways that were not possible five years ago. In other words, you can deconstruct mixed tracks and pull out what you need to edit, clean up or otherwise modify.
The experience of using AI to generate music is very different to learning an instrument or even programming MIDI in a grid. At first, it can seem alien, but as Chia explains, it’s just progress.
“Voice and text interactions are now becoming more commonplace — verbal instructions can be translated to precise technical adjustments using AI. Interfaces and processing power are now increasingly decoupled with cloud computing, and devices won’t need to be tethered to the studio any more. It’s an exciting time to experiment with all sorts of new ways to make music, and it’s difficult to tell what will stick around, but technological innovation has been a constant in the progression of the music industry.”
Even if you haven’t used it yet yourself, you might have heard more AI-generated or AI-assisted music than you realise. Riley from Hit’n’Mix fires us some surprising stats, including that 60 per cent of independent artists are already using AI in their music creation workflow, but only 15 per cent want to discuss it. “It’s very taboo right now,” Riley says. “That’s the other beauty behind AI-generated music: a lot of these companies are being very ethical with it. AI music is built in a way that essentially allows copyright-free material to be generated from other material for which those users can be paid. That’s another area that can really be valuable because you’re able to go in and see the DNA within the sounds and you’re able to track and trace and understand what that musical DNA is within even AI-generated music. It’s a very exciting time.”

And do these developers worry about the possible copyright implications of tools that let you unpick, unmix and remix other peoples’ music? Chia, on the whole, thinks not. “Human music is not going away, even though full-AI-generated music is going to be extremely good. The fact is, humans have strong tendencies towards community, creativity, fandom, and personal growth, and creating and sharing original music is one of the most powerful ways these tendencies are expressed. We don’t think the presence of new kinds of music will change these facts of human nature. With the right tools, AI will make the creation of original, human-authored music much more accessible by helping creative people focus on the parts of the production process that they do best.”
While AI-generated music might not always match human composition for style and quality, RipX thinks its hyper-detailed editing tools can remedy that. Says Riley, “it’s transformed into a creative tool that solves the problem of generative AI music being unlistenable a lot of the time — chaotic or robotic.” And this could help its wider adoption, aiming to produce an end result with AI that’s more acceptable to most people’s ears. It’s also likely that auto-generated music will become less robotic in time as the tools used to make it improve.
We ask Martin Dawe how his software RipX DAW actually works, or at least to have it explained to us in layman’s terms. “The ripping is split into two main processes. The first is using machine learning, where the machine learning algorithm works out how to separate the full track into different stems. The second process is converting it into the RipX audio format, which gives you the separated notes, and that’s a bit more tricky to explain but essentially it finds all the frequencies that are available and then groups them into notes. And each of these notes contains not just vibrations, they contain things like the frequency of the harmonics and their level, stereo position, all this type of thing.”
Credit: Hit’N’Mix
Once the data has been analysed, it’s presented in a unique way that’s quite unlike what you might be used to in a conventional DAW, but it’s rendered completely malleable and doesn’t need to be re-processed each time you edit it. When you are changing the pitch or other characteristics of that data, it doesn’t require any complex digital signal processing algorithms once it’s in the RipX format, according to Dawe.
So it’s capable of deconstructing whole mixes into a format that’s almost uniquely flexible. But we’re interested to know who they are aiming this toolkit at. Dawe says “it’s a very, very broad product.
“There’s a lot of remixers and DJs but an equal number of musicians who use it to look at songs and work out what notes are played so they can learn a tricky guitar part. Plus, obviously, producers wanting to adjust sounds inside a mix. I don’t think there’s any kind of musician that wouldn’t get some sort of benefit out of it.”
Just a couple of years into AI and machine learning becoming more mainstream in music production, we are already able to do things that were impossible not so long ago, especially the ‘unmixing’ of tracks and the generation of music based on simple prompts. But where do things go from here? Geraldo Ramos says there will be “tremendous growth in generative AI music applications.” He warns that “only those who can find a strong market fit and business model will survive.
Geraldo Ramos, CEO at Moises.AI
“It may also depend on how the legal landscape evolves. For those companies following the infringement-as-business-model strategy, changes in the legal landscape may determine the winners and losers. Companies will see incredible growth in the same way the industry benefited from the MIDI standard and the opportunity it created for synthesizers, samplers, and drum machines. It’s my hope that as music tech becomes more capable with AI, it will have a democratizing effect that empowers creators.”
Chia, meanwhile, explains why he thinks AI is going to become a crucial part of music production. “For the next few years, we expect the quality of models that generate and manipulate audio to improve dramatically. We expect AI song generators to get much more creative and controllable. We expect to see new kinds of audio manipulation becoming possible, as existing techniques are applied in novel ways and new techniques are developed. These improvements will give experts more options, while improvements in more broadly applicable tech (like multi-modal LLMs) will make natural language interfaces for music creation more and more effective for beginners. The forms of AI we’re working with today will evolve and change, but AI as a category of technology is only going to become more important.”
The last word goes to Dawe, who concludes by explaining “We’ve got our finger on the pulse of AI. With this Rip format, we have the advantage of being able to build it from the ground up rather than having to go back through 30 years of code and try to reimagine it. So we’re very aware of all the different tools coming out, and we’re really just thinking about what the best integrations would be, what the best ways to go about collaborating with some of these technologies would be, and making sure that we’re at the forefront of it, whatever it is. Because as we all know, these things change day to day. Whatever it may be, we will be at the forefront of having the best interface to use AI music in an ethical, creative and fun way.”
AI is only going to get more advanced and more commonplace — and, despite concerns voiced by some, it seems likely that it will augment rather than replace humans’ input into the music-making process. We can expect to see more major DAW developers take further steps towards implementing sophisticated AI tools into their software while smaller companies continue to innovate. Not everyone will think AI belongs in the studio but producers should be prepared for it to become a part of the musical landscape, whether they choose to embrace it or not. Those that do can expect development to continue at speed.
Read more about AI in music production.
The post How will AI impact the next generation of DAWs? These developers have their say appeared first on MusicTech.

RELEASE DETAILS
Release title:
Once Must Try
Main artist name:
VLCAM
Release date:
21st Jun, 2011
https://publme.lnk.to/OnceMustTry
#newmusic #Release #Music #indepedent #artist #Electronic #alternative

Tyler Winklevoss donates $500K to John Deaton's campaignThe tech entrepreneur characterized incumbent Elizabeth Warren's regulatory power over the Biden administration as a "Faustian bargain."

Apple Vision Pro debuts immersive content featuring NBA players, The Weeknd and moreApple on Thursday announced its upcoming lineup of immersive video content for the Vision Pro. The list includes behind-the-scenes footage of the 2024 NBA All-Star Weekend, an immersive performance by The Weeknd, new series, films, concerts and more. The headset launched in February with more than 150 3D movies and immersive titles. Apple is adding […]
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Single-Stepping the 6502 ProcessorAlthough marketing folk and laypeople may credit [Steve Jobs] as the man behind the success of Apple, those in the tech world know the real truth that without [Steve Wozniak] nothing would have ever gotten off the ground during the early days of the computer company. As an exhibit of his deep knowledge of the machines he was building, take a look at this recreation of a circuit by [Anders] which allows the 6502 processor to step through instructions one at a time, originally designed by [Woz] himself, even though there are still myths floating around the Internet that this type of circuit can’t work.
Like a lot of Internet myths, though, there’s a kernel of truth at the middle. The original 6502 from the mid-70s had dynamic registers, meaning they would lose their values if the chip was run below a critical clock speed. Since single-stepping the processor is much lower than this speed, it seems logical that this might corrupt the data in the registers. But if the clock is maintained to the registers the processor can be halted after each instruction, allowing even the original 6502 to go through its instructions one at a time.
[Anders]’s project sets up this circuit originally laid out by [Steve Wozniak] but updates it a bit for the modern times. Since the technology of the era would have been TTL, modern CMOS logic requires pull-up resistors to keep any inputs from floating. The key design of the original circuit is a set of flip-flops which latch the information on the data bus, and a switch that can be pressed to let the processor grab its next instruction, as well as a set of LEDs that allow the user to see the value on the data bus directly.
Of course, a computer processor of this era would be at a major handicap without a way to debug code that it was running, so there are even dedicated pins that allow this functionality to occur. Perhaps the Internet myth is a bit overblown for that reason alone, but [Anders] is no stranger to the 6502 and has developed many other projects that demonstrate his mastery of the platform.

Moon Landing Anniversary / Astronaut Rock Star AwardsOn Saturday, July 20th - the 55th anniversary of the 1st moon landing - multi-platinum selling band O.A.R. will be honoring Astronaut Jack D. Fischer & “Odie,” the 1st private lunar lander on the Moon earlier this year, with an award.

O.A.R. will be presenting the Astronaut Rock Star Award to Astronaut Fischer at their Leader Bank Pavilion Boston show.

Women-owned + led uniphi space agency will also honor the band with their own award that same day. 

Astronaut Jack D. Fischer will be presenting awards to the upcoming aerospace generation - STEM/STEAM high school student Yuridia Sanchez & 18-year-old STEMflights aviation scholar Sophia Crowder.

He will also be honoring The Astronaut Scholarship Foundation, celebrating 40 years - which 1st American in space Alan Shepard helped found.

The Astronaut Rock Star Awards honor the intersection of space exploration, STEM/STEAM education, and the enduring connection between Astronauts and music, taking inspiration from Earth & Space collaborations of artists like Eddie Vedder, Thirty Seconds to Mars, Post Malone, Coldplay, Garth Brooks, Kraftwerk, BLKBOK, Peter Gabriel, and exemplified by the iconic Voyager Golden Record, the Chandra X-Ray “Sonification” Project & beyond.

The post Moon Landing Anniversary / Astronaut Rock Star Awards first appeared on Music Connection Magazine.

Shamrock buys rights portfolio from Vine Alternative Investments – including 150+ Calvin Harris songsVine acquired a catalog of more than 150 songs from Grammy award-winning producer, songwriter, and DJ Calvin Harris in 2020
Source

A Nostalgic Look at a Kid’s Shortwave Receiver[Mikrowave1] had a Unelco shortwave receiver as a kid. This was a typical simple radio for the 1960s using germanium and silicon transistors. It also had plug-in coils you had to insert into sockets depending on the frequency band you wanted to receive.
While simple AM radios were all the rage, they didn’t have to operate at higher frequencies. [Mikrowave1] shows some of the design tricks used to allow the radio to operate in the upper part of the spectrum. Otherwise, the radio is the usual superhet design using lower frequency germanium PNP transistors in the IF stage. You get a look inside the radio and a peek at a similar schematic along with notes on where the radio is different.
But how does it work? For an old single-conversion receiver, it works well enough. Of course, when the radio was new, there were many more interesting stations on shortwave. Today, he had to settle for some ham radio stations and CHU, the Canadian time and frequency station.
There were six pairs of coils built on top of tube sockets. The coil was actually more than a coil. There were other components in the case that adjusted other radio parameters based on the frequency.
[Mikrowave1] has been on a toy kick lately, and we’ve enjoyed it. This radio looks simple compared to the Radio Shack one that every kid wanted in the 1970s. Well. Every hacker kid, at least.

Donner unveil Essential D1 Performance Beat Machine Following its initial preview at NAMM 2023, Donner have announced that their Essential D1 Performance Beat Machine is now shipping worldwide.

Musicians struggle to profit from live shows: Survey revealsRecord-breaking concert grosses and soaring ticket prices make headlines, but a new survey finds that the resulting profits are not trickling down as most musicians struggle to profit from live shows.
The post Musicians struggle to profit from live shows: Survey reveals appeared first on Hypebot.