The Very Loud Indeed Co. reveal DOMUS The Very Loud Indeed Co.'s latest sample library contains a mixture of loops and single hits that are said to be particularly well-suited to action and crime drama scores.

Myd’s 10-hour Christmas Dinner soundtrack features mixes from Busy P, Laurent Garnier, Sarah Story and moreDJ and producer Myd has revealed his Christmas gift to us all – 10 hours of chilled-out tunage to compliment your festive meal.
Curated and hosted by the French producer, the mammoth mix is the combined effort of Myd’s friends, fellow DJs and producers. From former Daft Punk manager Busy P, to French producer Laurent Garnier, to Radio 1’s Sarah Story, to French DJ Marina Trench feature, the 10-hour playlist has 13 unique mixes to offer.

READ MORE: This man releases a new album on Spotify every single day – here’s how much money he makes

‘The Perfect Soundtrack for your Christmas Dinner’ mix is a gorgeous patchwork of smooth jazz, gentle glam rock, flittering piano, rich R&B and staple Christmas nostalgia. The vast selection of mixes, including one by Myd, allows the mix to feel fresh for its 10 hour runtime, while still feeling effortlessly smooth.
The mix also has a few treats nestled in – with the odd sprinkling of lo-fi hip-hop, soft nu-disco and Mainline Magic Orchestra’s mix even knocking out the Clay K Slider’s Animal Crossing cover of All I Want For Christmas Is You, you’re sure to be kept on your toes.
While Myd has been involved in a few remixes and production efforts over the last few years, this serves as his biggest project since his critically acclaimed 2021 debut album, Born A Loser – and is hopefully a sign of more to come in the new year.
So, if you’re looking for just the right mix to pop on as you stuff as much food as humanly possible into your Baileys addled body, Myd’s mix has you covered. The mix is already available to stream on Spotify and Deezer – but if you’re really wanting to capture the warm, festive vibe, the YouTube stream has got a lovely fire crackling away on screen. Toasty!

The post Myd’s 10-hour Christmas Dinner soundtrack features mixes from Busy P, Laurent Garnier, Sarah Story and more appeared first on MusicTech.

Nile Rodgers thinks David Bowie would have failed in today’s industryNile Rodgers reckons that David Bowie would have been dropped before he’d ever released a global hit if he’d been starting out in music today.

READ MORE: This man releases a new album on Spotify every single day – here’s how much money he makes

Rodgers produced Bowie’s 1983 record Let’s Dance, which afforded the late artist his mainstream breakthrough. Rodgers argued that in today’s hyper-competitive music industry, which he perceives prioritises profit over nurturing genuine talent, no modern label would have given Bowie time to produce a hit record after his run of albums in the 1970s that didn’t make a splash beyond the UK.
“They gave him all that time to try and make a hit, he called me up and we made [Let’s Dance],” he said. “[The labels] took on this financial responsibility and they would carry the artists they believed in that at some point in time would finally break, those days are truly over.”

Rodgers’ comments came during a speech made in front of a House of Commons select committee investigating the streaming economy and artist remuneration. It follows a landmark series of recommendations in 2021 that called for a “reset” across the industry to make streaming fairer for artists and songwriters.
Rodgers demonstrated the extent of the problem faced by modern songwriters and artists by comparing today’s streaming remuneration with what he received in the 1970s. He told the committee he made $100,000 in 1977 after his first Chic album sold a million copies, while in comparison, Snoop Dogg revealed last week he got $45,000 for a billion streams.
In response to Snoop Dogg’s claims, Spotify said it made money for music mainly from two sources – Spotify Premium subscribers and advertisers on Spotify’s Free tier. “Nearly 70% of this money is paid out to music rights holders to what we call the ‘royalty pool’,” a spokesperson said.
Rodgers dismissed labels’ claims that their majority share of streaming revenues is fair because they invest millions into A&R, which involves taking a financial risk on artists who might not succeed as they would hope.
“I really hate the fact that they keep using that argument that is completely archaic,” said Rodgers. “I hate to use words like ‘lie’ – but it’s a lie.”
Indeed, a new report has found that independent musicians need to generate five million streams annually to make the US federal minimum wage.
The report by music financing platform Duetti also found that earnings per stream are down by two percent in 2023, despite price increases by the streaming platforms. Independent artists are said to make $2.95 per 1,000 streams.
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Everything you need to know about the ROLI Seaboard BLOCK MAdvertorial feature with ROLI 
ROLI’s Seaboard BLOCK caused quite a stir when it was first released in 2017 – a portable and versatile MIDI performance device that combined elements of the company’s Blocks modular system and its flagship Seaboard MIDI controller keyboards.

READ MORE: The indomitable Jonna Lee: Building the audiovisual dream of iamamiwhoami

But the company has undergone changes in recent years. Renamed as Luminary ROLI, it released the LUMI Keys system for beginners and, in 2022, the Seaboard RISE 2 for more advanced players. Now, its latest creation – the Seaboard BLOCK M – is an evolution of the original Seaboard BLOCK that incorporates the very latest technology and refinements to make it more creative than ever before.

For fans and new users alike, it’s an exciting return of a much-loved product that underlines ROLI’s commitment to pushing technological boundaries. As the company explains, “ROLI is now democratizing access to its groundbreaking music creation tools with the launch of the Seaboard BLOCK M, offering unparalleled expressive capabilities, at an accessible price point. These innovations reaffirm ROLI’s commitment to shaping the future of musical expression.”
Its founder Roland Lamb goes on to expand on the thinking behind the upgrade – “The reintroduction of the Seaboard BLOCK M marks a monumental step in making the revolutionary MPE and 5D Touch technology accessible to more music makers around the world. We believe that this tool will not only foster creativity but also redefine the landscape of music production. It’s more than an instrument; it’s a gateway to infinite musical possibilities.”
It’s a bold statement – so what exactly is new?
Evolution of a classic
Retaining broadly the same iconic design as its predecessor, the M has been modified to better withstand the rigours of touring and long studio sessions. Its compact size means it’s easy to take with you anywhere, and now it’s more robust than ever.
To enable you to be a truly mobile music-maker, it has ten hours of battery life, charging over USB-C and using its USB port to connect to your computer. Here, you can send MIDI to control instruments or link with the ROLI Studio software for advanced device management.

Welcome, MIDI hardware
There’s still class-compliant MIDI over Bluetooth too, of course, but now the M also features a hardware MIDI output in the form of a 2.5mm jack, with a cable supplied in the package to let you hook up your gear.
With a resurgence in the popularity of MIDI-triggered hardware such as synths and other modular equipment, this opens up a whole new world of possibilities for using Seaboard BLOCK M in a standalone way, creatively triggering and controlling hardware with no computer required.
Plus, thanks to its DNA connectors, the Seaboard BLOCK M can be connected to a second unit to give you a total of 48 Keywaves (that’s 24 per unit) as well as pairing to the company’s LUMI Keys Studio Edition for an even bigger setup. It’s plenty powerful on its own as well though, with the unit covering two octaves with an octave shift control giving you expanded access to seven octaves of playback.

Next Generation MPE
You can switch the Seaboard BLOCK M between single channel and MPE modes. Anyone who has used ROLI’s controllers will know that MPE – MIDI Polyphonic Expression – is a revolutionary system that goes beyond the limits of conventional MIDI to offer unparalleled control to the player. MPE is supported by many of the big names in the music tech world – Logic Pro, Ableton Live, Cubase, Bitwig Studio, Reaktor and UVI Falcon to name just a few, plus all of ROLI’s own applications, of course.
MPE is a powerful evolution in musical control and expression. As we ask more and more of our music tools, the ability to go beyond conventional MIDI parameters is more important than ever and MPE helps us not only be more creative but also streamline workflows, for example being able to record multiple dynamic changes and modulations as automation all at once. For more about how MPE works, check out ROLI’s guide.
Ride The Keywave
The M’s advanced multi-touch control works via its unique 24-keywave playing surface which incorporates ROLI’s 5D Touch system, offering intuitive sound shaping through gestures such as Strike, Press, Glide, Slide, and Lift.
While the classic gestures are all still present and correct, there have been improvements over the original too. ROLI explains that “the upgraded Seaboard BLOCK M offers enhanced consistency and expressive control through the latest firmware, enabling users to personalize their velocity curve via the ROLI Dashboard.”
Extolling the virtues of this new tech, they continue, “5D Touch technology lets you play intuitively on a tactile keyboard surface where you can easily manipulate pitch, modulate sounds and explore unique sonic landscapes with gestures that go far beyond conventional keyboard playing.”

The Software Side
It’s not just cool hardware that you get when you enter into ROLI’s universe. The ROLI Dashboard and Studio applications are also integral to how you use Seaboard BLOCK M, enabling not just management and configuration of your devices but also hosting sounds, instruments and effects.
The company describes ROLI Studio as “a comprehensive platform for creative potential, offering inspirational features such as Smart Chords, Multi-Layered Arpeggio and Macros, all specifically tailored to enhance musical output and production.” You also get custom ROLI soundpacks, which have been designed to work with MPE controllers, and the unit can naturally be used with any MIDI-capable software including your DAW and plugin software instruments too.
The future of MPE-based MIDI control has never looked brighter and, with the Seaboard BLOCK M, ROLI is making access to a new world of creative performance and control more affordable than ever. The Seaboard BLOCK M is available for preorder now for £299.95 / 349.95 EUR / $349.95 and the first batch is expected to ship in March 2024.
Find out more about the ROLI Seaboard BLOCK M here
The post Everything you need to know about the ROLI Seaboard BLOCK M appeared first on MusicTech.

This man releases a new album on Spotify every single day – here’s how much money he makesThe idea of recording an album a day might send the average person running for the hills, but for ambient artist Michiru Aoyama, the routine has been a part of his everyday life for the last two years.

READ MORE: Seth Troxler says he wants to resurrect the “anti hero” in dance music

The key, Aoyama says in a new Guardian feature, is having a rigorous routine that he dedicates himself to.
Each morning, the man wakes up at 5am, watches “a whole digest” of European football for 30 minutes, and then composes music from about 6am to midday. After which he goes on a two-hour walk, eats a meal, and then resumes composing again until 7pm, when he uploads the day’s work – which itself is a two-hour job.
“After that, I study a little,” says Aoyama, who goes to bed at around 11pm.
As for his creative process, the artist shares that he adopts a tried and true “compositional mould”, where his PRS McCarty guitar or Prophet-10 analog synth is run through an FX bank to create his own brand of ambient tunes.
For Aoyama, “Writing a song is like keeping a diary… I disclose all the good memories and bad memories, and writing songs every day has become a fun routine.”
“It is a trial and error process, but I release it all, the good sound quality and the bad sound quality without any concealment,” he adds. An approach that’s mostly certainly controversial, but not without reward, for the musician estimates that around 90% of his income is derived from the many Spotify playlists that feature his music. The rest, Aoyama says, comes from Bandcamp.
At present, the musician has more than 200,000 monthly listeners on Spotify and earns a total income of about £2,400 a month. In April this year, Aoyama “retired” from his role at the tech investment firm SoftBank, where he served as an event organiser and employee trainer.
Asked what he would do if he stopped writing someday, Aoyama replies: “For me, writing songs is like brushing my teeth. So I would not feel comfortable stopping.” When pressed, the man says: “I would take pictures, draw pictures, or write novels. But what I would most like to do is to make movies.”

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This egg-shaped personal audio chair from Solodome boasts a “flawless acoustic environment equal to pro studios”Let it be known that humanity has officially reached the peak of home audio with Solodome’s latest invention: an egg-shaped personal audio chair that offers its users a “flawless acoustic environment equal to pro studios”.

READ MORE: Apple to reward musicians who mix their songs in Dolby Atmos format

Custom-built in Southern California, Solodome is a personal media chair providing an ideal spatial audio experience without the inconvenience of installing speakers or sacrificing quality by relying on headphones alone.
As its name suggests, both the ‘solo’ and ‘dome’ aspect are key to the experience: The enclosed unit provides an individual media experience that does not encroach on others within the same space, while the dome-shaped furniture features 2 full range dynamic speakers and 2 subwoofers to optimise audio experiences for music, films, gaming and even wellness treatments.
In the words of the creators, Solodome is designed to leave no parallel surfaces for sound to create standing waves. Its natural sound-cancelling properties create a transparent environment that allows the listener to hear the properties of the source audio without the adultering effects of a room and individual speaker cabinets.
All you have to do is sit back, relax, and place your head in the “sweet spot” by the design of the headrest and seat cushions.
The chair’s cosy interior is also lined with durometer foam that dampens the speaker driver, allowing it to perform within its specifications while further diffusing reflective sound. You can feel free to turn things up, as the cave-like shape reduces the volume outside the chair by “more than 90 percent”.
By providing an enclosed acoustic space, Solodome users get a “full-spectrum visceral audio experience” exceeding a multi-speaker room set-up, all in a single unit that requires zero installation (connection is via Bluetooth or a 3.5mm audio jack) and just one power cable. Perfect for audio enthusiasts who lack the space or ability to dedicate an entire room.
Image: Solodome
Users can choose between three different sizes — the Solodome for personal listening, Solodome XL for those who want a little more wiggle room and the Solodome Mini for tiny listeners.
Order yours now at Solodome’s website.
The post This egg-shaped personal audio chair from Solodome boasts a “flawless acoustic environment equal to pro studios” appeared first on MusicTech.

e-instruments release Desolate Guitars Desolate Guitars captures a selection of classic solid, hollow body and baritone guitars plugged straight into a pair of iconic vintage amps.

Why Spotify’s New Payment Model Falls Short For Emerging ArtistsListen on your favorite podcast platform: Spotify | Apple Podcasts | Acast This week, Ari discusses his recent Variety article entitled “Why Spotify’s New Payment Model Falls Short For Emerging Artists.” Read the full article on Variety: https://aristake.io/spotify-variety Articles mentioned: Spotify’s article (Modernizing Our Royalty System to Drive an Additional $1 Billion toward Emerging and Professional Artists): https://artists.spotify.com/blog/modernizing-our-royalty-system Streaming […]

AllMusic Loves 2023This year, our editors chose 271 different albums on their respective lists, so it shouldn't come as a surprise that the consensus picks were not records by emerging artists but rather institutions that continue to do remarkable work. Peruse these individual lists and you'll find all of these, plus dozens of other records, all giving AllMusic reason enough to love 2023.

How I Play: Stavroz
Belgian electronica band Stavroz joins us this week for our latest edition of How I Play as we explore their intricate live performance setup. The release of their latest EP Kick Up The Dust this fall – available now – came a full year after their last album and features four tracks that range across genres […]
The post How I Play: Stavroz appeared first on DJ TechTools.

Credit Karma co-founder Nichole Mustard stepping down after more than 16 yearsCredit Karma co-founder and Chief Revenue Officer Nichole Mustard is leaving the company after 16-and-a-half years, TechCrunch has exclusively learned today. A spokesperson of the consumer fintech, now a subsidiary of Intuit, confirmed Mustard’s departure via email, writing only: “I can confirm she decided to leave the company, her contributions have been significant and we […]
© 2023 TechCrunch. All rights reserved. For personal use only.

Hearing Amazônia: MIT musicians in Manaus, BrazilOn Dec. 13, the MIT community came together for the premiere of “We Are The Forest,” a documentary by MIT Video Productions that tells the story of the MIT musicians who traveled to the Brazilian Amazon seeking culture and scientific exchange.

The film features performances by Djuena Tikuna, Luciana Souza, Anat Cohen, and Evan Ziporyn, with music by Antônio Carlos Jobim. Fred Harris conducts the MIT Festival Jazz Ensemble and MIT Wind Ensemble and Laura Grill Jaye conducts the MIT Vocal Jazz Ensemble.
The impact of ecological devastation in the Amazon reflects the climate crisis worldwide. During the Institute's spring break in March 2023, nearly 80 student musicians became only the second student group from MIT to travel to the Brazilian Amazon. Inspired by the research and activism of Talia Khan ’20, who is currently a PhD candidate in MIT's Department of Mechanical Engineering, the trip built upon experiences of the 2020-21 academic year when virtual visiting artists Luciana Souza and Anat Cohen lectured on Brazilian music and culture before joining the November 2021 launch of Hearing Amazônia — The Responsibility of Existence.

This consciousness-raising project at MIT, sponsored by the Center for Art, Science and Technology (CAST), began with a concert featuring Brazilian and Amazonian music influenced by the natural world. The project was created and led by MIT director of wind and jazz ensembles and senior lecturer in music Frederick Harris Jr.

The performance was part eulogy and part praise song: a way of bearing witness to loss, while celebrating the living and evolving cultural heritage of Amazonia. The event included short talks, one of which was by Khan. As the first MIT student to study in the Brazilian Amazonia (via MISTI-Brazil), she spoke of her research on natural botanical resins and traditional carimbó music in Santarém, Pará, Brazil. Soon after, as a Fulbright Scholar, Khan continued her research in Manaus, setting the stage for the most complex trip in the history of MIT Music and Theater Arts.

“My experiences in the Brazilian Amazon changed my life,” enthuses Khan. “Getting to know Indigenous musicians and immersing myself in the culture of this part of the world helped me realize how we are all so connected.”

“Talia’s experiences in Brazil convinced me that the Hearing Amazônia project needed to take a next essential step,” explains Harris. “I wanted to provide as many students as possible with a similar opportunity to bring their musical and scientific talents together in a deep and spiritual manner. She provided a blueprint for our trip to Manaus.”

An experience of a lifetime

A multitude of musicians from three MTA ensembles traveled to Manaus, located in the middle of the world’s largest rainforest and home to the National Institute of Amazonian Research (Instituto Nacional de Pesquisas da Amazônia, or INPA), the most important center for scientific studies in the Amazon region for international sustainability issues.

Tour experiences included cultural/scientific exchanges with Indigenous Amazonians through Nobre Academia de Robótica and the São Sebastião community on the Tarumã Açu River, INPA, the Cultural Center of the Peoples of the Amazon, and the Museu da Amazônia. Musically, students connected with local Indigenous instrument builders and performed with the Amazonas State Jazz Orchestra and renowned vocalist and Indigenous activist Djuena Tikuna.

“Hearing Amazônia: Arte ê Resistência,” a major concert in the famed 19th century opera house Teatro Amazonas, concluded the trip on March 31. The packed event featured the MIT Wind Ensemble, MIT Festival Jazz Ensemble, MIT Vocal Jazz Ensemble, vocalist Luciana Souza, clarinetist Anat Cohen, MIT professor and composer-clarinetist Evan Ziporyn, and local musicians from Manaus. The program ended with “Nós Somos A Floresta (We Are The Forest) — Eware (Sacred Land) — Reflections on Amazonia,” a large-scale collaborative performance with Djuena Tikuna. The two songs were composed by Tikuna, with Eware newly arranged by Israeli composer-bassist Nadav Erlich for the occasion. It concluded with all musicians and audience members coming together in song: a moving and beautiful moment of mediation on the sacredness of the earth.

“It was humbling to see the grand display of beauty and diversity that nature developed in the Amazon rainforest,” reflects bass clarinetist and MIT sophomore Richard Chen. “By seeing the bird life, sloths, and other species and the flora, and eating the fruits of the region, I received lessons on my harmony and connection to the natural world around us. I developed a deeper awareness of the urgency of resolving conflicts and stopping the destruction of the Amazon rainforest, and to listening to and celebrating the stories and experiences of those around me.”

Indigenous musicians embodying the natural world

“The trip expanded the scope of what music means,” MIT Vocal Jazz Ensemble member and biomedical researcher Autumn Geil explains. “It’s living the music, and you can’t feel that unless you put yourself in new experiences and get yourself out of your comfort zone.”

Over two Indigenous music immersion days, students spent time listening to, and playing and singing with, musicians who broadened their scope of music’s relationship to nature and cultural sustainability. Indigenous percussionist and instrument builder Eliberto Barroncas and music producer-arranger César Lima presented contrasting approaches with a shared objective — connecting people to the natural world through Indigenous instruments.

Barroncas played instruments built from materials from the rainforest and from found objects in Manaus that others might consider trash, creating ethereal tones bespeaking his life as one with nature. Students had the opportunity to play his instruments and create a spontaneous composition playing their own instruments and singing with him in a kind of “Amazonia jam session.”

“Eliberto expressed that making music is visceral; it’s best when it comes from the gut and is tangible and coming from one’s natural environment. When we cannot understand each other using language, using words, logic and thinking, we go back to the body,” notes oboist and ocean engineer Michelle Kornberg ’20. “There's a difference between teaching music as a skill you learn and teaching music as something you feel, that you experience and give — as a gift.”

Over the pandemic, César Lima developed an app, “The Roots VR,” as a vehicle for people to discover over 100 Amazonia instruments. Users choose settings to interact with instruments and create pieces using a variety of instrumental combinations; a novel melding of technology with nature to expand the reach of these Indigenous instruments and their cultural significance.

At the Cultural Center of the Peoples of the Amazon, students gathered around a tree, hand-in-hand singing with Djuena Tikuna, accompanied by percussionist Diego Janatã. “She spoke about being one of the first Indigenous musicians ever to sing in the Teatro Amazonas, which was built on the labor and blood of Indigenous people,” recalls flutist and atmospheric engineer Phoebe Lin, an MIT junior. “And then to hold hands and close our eyes and step back and forth; a rare moment of connection in a tumultuous world — it felt like we were all one.”

Bringing the forest back to MIT

On April 29, Djuena Tikuna made her MIT debut at “We Are the Forest — Music of Resilience and Activism,” a special concert for MIT President Sally Kornbluth’s inauguration, presenting music from the Teatro Amazonas event. Led and curated by Harris, the performance included new assistant professor in jazz and saxophonist-composer Miguel Zenón, director of the MIT Vocal Jazz Ensemble; Laura Grill Jaye; and vocalist Sara Serpa, among others. 

“Music unites people and through art we can draw the world’s attention to the most urgent global challenges such as climate change,” says Djuena Tikuna. “My songs bring the message that every seed will one day germinate to reforest hearts, because we are all from the same village.”

Hearing Amazônia has set the stage for the blossoming of artistic and scientific collaborations in the Amazon and beyond.

“The struggle of Indigenous peoples to keep their territories alive should concern us all, and it will take more than science and research to help find solutions for climate change,” notes President Kornbluth. “It will take artists, too, to unite us and raise awareness across all communities. The inclusivity and expressive power of music can help get us all rowing in the same direction — it’s a great way to encourage us all to care and act!”

Italian EDM Artist Giacomo “jayover” Uber Works On-the-go With KRKProducer, Writer, and Artist Giacomo Uber, also known as jayover, fell in love with electronic music and music production when he was a kid, and has been pursuing these passions ever since. While working in his Italy-based studio, Area 23, Giacomo has produced and written music for artists such as Gabry Ponte, Don Diablo, LUM!X, Martin Jensen, and JP Cooper, among others, cumulating in around 400 million streams and two gold records. Giacomo’s love for creating music has also translated into his personal career, where he works on his current artistic project, “jayover.”

As someone who is constantly on the move, Giacomo needs the proper tools to help him create his long list of projects, no matter where he finds himself. That is why he turned to the KRK GoAux 4 Portable Studio Monitor System. “I travel quite often, so having portable speakers is great for when I am on the go,” he says. “Usually, when I’m not in my studio, I work on headphones, but that can get tiring after a while. Having small reference speakers like the KRK GoAux helps so much. I use them mainly when I am writing and starting productions; I think those are the scenarios where they really shine.”

Giacomo says that one of his favorite features of the KRK GoAux 4 is the built-in auto-calibration system. “Obviously, hotels and living rooms are not meant to be studios, so the acoustics in these spaces can be a problem,” he explains. “With the auto-calibration system of the KRK GoAux, I can improve the sound of a space in just a couple of minutes! I take them with me quite often, so that’s important. They’re also great for outdoor spaces ― I use them in my garden when I get tired of staying inside my studio. Overall, the KRK GoAux work very well, and having the bag is a plus to carry and protect them!”

Universal launches Beat Galaxy music hub on Roblox, featuring ‘one of the largest song catalogs of any experience’ on the gaming platformUMG partnered with virtual world developer Supersocial to launch the new music hub
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Warner’s ADA Worldwide strikes global distribution deal with historical music label OmnivoreOmnivore specializes in historical releases and reissues, as well as previously unreleased vintage recordings.
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