Ableton’s Push 3 Upgrade Kit lets you make your Push standalone – for £879Ableton has launched a much-anticipated Upgrade Kit for its Push 3 workstation, allowing those with the non-standalone version to use it solely by itself without the need for the Ableton Live DAW.

READ MORE: Union Audio’s Elara.4 is an analogue DJ mixer that’s “tiny but mighty” with “exemplary” build quality

Until now, only users of the more expensive battery-powered Standalone Push 3, launched in June, were able to use it by itself, thanks to an in-built processor. Now, with this Upgrade Kit provided by Ableton, in as little as thirty minutes, the brand says, you can unplug your Push and use it anywhere.
Once the standalone components are integrated, your Push will mirror the functionality of a processor-equipped Push.

The Upgrade Kit includes all the components to turn your Push 3 into a standalone unit, according to Ableton. There’s an Intel 11th Gen Core i3-1115G4 processor with 8GB of RAM, a 256GB SSD hard drive, a lithium iron phosphate battery and a heatsink. It also includes screws, a screwdriver, a backplate lifter, and a protective mat.
The Intel NUC Compute Element is made up of a processor, combined with RAM and WiFi. According to the brand, this is the first Intel processor to have ever been adapted for Push.
What is the Ableton Push 3?
The Ableton Push 3 is a standalone expressive instrument and workstation created so you can move away from staring at a screen and produce with a more hands-on feel. With the standalone version – or the non-standalone version with the new Upgrade Kit implemented – you can essentially take your DAW anywhere, with the ability to continue projects started in your DAW, and then send them back again to continue later.
It has 64 MPE pads, an LED screen, a built-in audio interface, ADAT optical in and out, MIDI in and out, USB-A and USB-C ports, DC power in, two 6.3mm footswitch jacks and a 6.3mm headphone out.
The Upgrade Kit costs £879. In June, MusicTech spoke to J Black, producer and Ableton ambassador, who defended the arguably high price.
“For what you’re [paying], you’re getting something really strong,” J Black said at the time. “That price is fair because it’s a modular system. So you can upgrade the battery, and [Ableton] said you can maybe update the processing in the future. I think that right there alone makes it already a high-grade machine, right? You can give this a terabyte [storage] and [Intel] i7 processor if you want to in the future, you know.
“I think that’s Ableton saying, ‘this is going to be the piece of equipment for a long time. We’re not getting another one anytime soon.”
Find out more about the Ableton Push 3 Upgrade Kit via Ableton.
The post Ableton’s Push 3 Upgrade Kit lets you make your Push standalone – for £879 appeared first on MusicTech.

Tom Petty’s Love is a Long Road sees 36,979% increase in Spotify streams following GTA 6 trailer launchThe GTA 6 launch trailer sent the world – at least temporarily – into a frenzy. Fans of the franchise have waited 10 years since the release of GTA V for a morsel of concrete information regarding its followup, and yesterday (5 December), the sixth instalment of the series was confirmed.

READ MORE: Spotify set to lay off 17 percent of its team in a “hard but crucial step”

But while the bulk of the attention was aimed at the forthcoming game itself – the launch trailer has received over 100 million views at the time of writing – late rock musician Tom Petty has received a spike in interest following the inclusion of his song, Love is a Long Road, in the trailer.

So much interest, in fact, that Spotify tells BBC Newsbeat streams for the track have increased 36,979 percent compared to this time last week.
Love is a Long Road was released in 1989 as a B-side to Tom Petty’s biggest hit, Free Fallin’. The track now has over 11 million streams at the time of writing.

A Rock and Roll Hall of Fame inductee, Petty – who died in 2017 at the age of 66 – is also known for such songs as American Girl, Don’t Do Me Like That and I Won’t Back Down.
This isn’t the first time a movie or video game has led to a rapid increase in interest in the musician behind its soundtrack. For example, Spotify says that when Linda Rondstadt’s Long Long Time was featured in the TV adaptation of The Last of Us, streams increased by 4,900 percent.
And when Stranger Things featured both Kate Bush’s Running Up That Hill and Metallica’s Master of Puppets in its fifth season, streams and plays of both tracks skyrocketed.
In the GTA 6 trailer, the track – which features a classic rock arrangement driven by crunchy electric guitar lines and smooth keyboard stabs – sets the scene in Leonida, an open-world zone based on the US state of Florida, and its Miami-inspired Vice City.
GTA 6 will feature the series’ first female protagonist since 1999, following her Bonnie and Clyde-style escapades with her romantic partner.
The post Tom Petty’s Love is a Long Road sees 36,979% increase in Spotify streams following GTA 6 trailer launch appeared first on MusicTech.

Basso Profondo & Vienna Boys Choirs from VSL VSL's latest releases capture two choral ensembles: the Vienna Boys Choir, and the Basso Profondo Choir, a group of six contrabass singers with a range that extends down to A1. 

UVI HX-20 HX-20 - Iconic Semi-Modular Analog Synth : Unique hardware-based wavetable + sample oscillators. Each oscillator section driven through physically-modeled filters. Powerful, modern... Read More

Love Hultén collaborates with Chase Bliss on custom synth which integrates its new Lossy pedalQuirky synth crafter Love Hultén has teamed up with Chase Bliss for an all-new, not-for-sale synthesiser which integrates some of Chase Bliss’s new products.
The mint green coloured wonder utilises a Korg Minilogue, Yamaha Reface CP, and a Roland TR-08, as well as Chase Bliss’s own Mood MKII and newly launched Lossy.

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The unique synth was built as a gift for Chase Bliss’s EU Director, Tyler Devonald, and will be housed at the brand’s EU hub in Amsterdam. The integrated Lossy pedal landed just last month (November), and offers Y2K nostalgic imperfections which occur with audio degradation when sounds are shrunk, transferred, and compromised.

“It’s dream-come-true time today! We made a @lovehulten,” says Chase Bliss on Facebook. “It will be living at the EU Hub in Amsterdam and was a workplace anniversary gift for one of our very early employees and EU Director, @ty.devo.
“Lossy didn’t exist when we started work on this thing but @lovehulten was kind enough to swap it in at the last minute (thank youuu). The tower portion (with the screen) is a MOOD MKII and Lossy, with a whole bundle of switches to control the dip switch functions. It’s got a drum machine, synth, and electric piano, and everything is all synced up (including the pedals of course).”
It adds, “There are other goodies as well and we’ll definitely film some stuff once it’s settled into its new home. Really can’t thank you enough for doing this with us @lovehulten. What a special thing.”

It’s dream-come-true time today! We made a @lovehulten.It will be living at the EU Hub in Amsterdam and was a…
Posted by chase bliss on Monday, December 4, 2023

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A post shared by Love Hulten (@lovehulten)

Another of Love Hultén’s recent crafts includes a synth featuring “black goo” which responds to sound. The substance was inspired by the FAV (Fluid Audio Visualiser) project developed by South Korean artist, Dakd Jung, at BurnSlap art and tech studio.
Discover more from Love Hultén and Chase Bliss.
The post Love Hultén collaborates with Chase Bliss on custom synth which integrates its new Lossy pedal appeared first on MusicTech.

DAACI announces AI music editing tool Natural EditsAI music startup DAACI has launched ‘Natural Series’, a comprehensive product portfolio that will see the release of plugins, music tools and editing technology over the next year.
Kicking off the Natural Series is Natural Edits, a “powerful music editing tool for the global sync market to make any track instantly adaptive”.

READ MORE: In new online course, Vulfpeck’s Jack Stratton asks: “Does mixing matter?”

With Natural Edits, users of any skill level can create and deliver a personalised edit of any track in just a few clicks. This not only enhances discoverability but also maximises the licensing potential of a track.
“Users will be exposed to the track’s latent potential to fit countless contexts from looping beds for background music, to topped-and-tailed snippets for adverts, extended pieces for arbitrary length videos, and precise edits matching specific narratives and music briefs,” DACCI describes the tool.
As the company explains, Natural Edits brings patented music editing technology to Rights Holders and their Licensees in the global sync market. Rights-holders can integrate the tool into their entire catalogues on existing web-based platforms, allowing both internal and external users to interact with a track.
Natural Edits can also be added to web-based platforms incrementally with functionality initially added to a small number of test tracks, then scaled up. DAACI will be providing an API for web-based platforms to inquire about supported tracks and incorporating an ‘edit’ button on them.
In addition, the company says that future elements of the series will include Natural Sync which will enable any type of user, with any ability to create new track edits against films, to supercharge the creative process.
“Our ethical, artist-led approach has been welcomed by our partners and the music industry and we’ve been eagerly asked when there will be products to test, ‘buttons to press’. Now we have them,” said DAACI CEO Rachel Lyske.
Natural Edits has also been adopted by music platforms including Pure Sync.
Julian Goodkind, CEO of Pure Sync commented: “Pure Sync are delighted to be incorporating Natural Edits. We see this as a pivotal moment in our adoption and utilisation of Ethical AI tools. This elevates and amplifies our creative capabilities as Music Supervisors within the Sync world, to deliver more creatively, efficiently and cost effectively.”
Learn more at DAACI.
The post DAACI announces AI music editing tool Natural Edits appeared first on MusicTech.

Synth-pop producer Merry Lamb Lamb experiments with autotune to create “hazy”, “feisty” and “chaotic” soundscapesMerry Lamb Lamb is a Hong Kong-born, South London-based musician, songwriter and producer. As a self-proclaimed nomad who chooses to make music in her room away from burdensome bustling, uninspiring studios, she makes 80s-inspired club-ready synth-pop sounds laden with vocals sung in English, Cantonese and Mandarin. Following 2022’s Genesis album, Merry’s latest EP Exodus, out on Diplo’s Mad Decent label, drifts from dreamy trap beats to all-out high-tempo IDM and minimal wave house.

READ MORE: Kenya Grace is leading the next generation of bedroom producers: “If you can use a DAW, you can do anything you want”

With a hardware setup including a Roland TR-8S, Elektron Analog Keys, Roland GAIA and a Teenage Engineering OP-Z, Merry, along with her performing partner, Lung, who creates visuals for live shows, uses her creative space to do everything from producing to mixing and mastering. We speak to Merry Lamb Lamb and find out more about her music production process and how she used gear specifically for this EP.
Exodus by Merry Lamb Lamb
Hey, Merry Lamb Lamb. We hear a range of genres such as house, IDM, trance and hyperpop in your music – what sounds are you inspired by?
Growing up, I listened to a lot of J-pop, J-anime, and J-electronica music. People like Namie Amuro, SPEED, and Perfume opened my vision to music. They’re people I’d only see on TV, wearing Barbie-like clothes, constantly dancing and waving at you. They are very utopian-like, almost out-of-this-world.
Merry Lamb Lamb
How do you use your studio?
My studio is versatile, and it’s where Lung and I do everything there to create the magic. We’re so used to DIYing everything we do, from music production and recording to mixing and mastering, from creating visuals to music video production and edits.
For workflow, I usually start with demos based on loops that I jammed with Lung on Ableton Live, field recordings on my iPhone or vulnerable poems I wrote in my diary. I start production based on those fragment ideas and go with it.
I don’t usually do a lot of live recordings; instead, I will use my iPhone to field-record instruments. I find it more interesting that way to add an extra texture or touch to the sound. In Tranquility, there’s an ambulance-like vocoder instrument in the chorus, where I recorded an ambulance on my phone and turned it into a groove.
Merry Lamb Lamb’s VJ partner Lung
Which DAW do you use?
I find Ableton Live fun to use because there’s no structure or a frame for producing – you can create out-of-this-world soundscapes by using Granulator II or Beat Repeat, and start from there. I like how natural and instant it is to produce songs on Ableton Live.
What’s your favourite piece of gear?
I enjoy using my Elektron Analog Keys a lot. When I first used it, I was shocked at how powerful and convenient it was to use as a drum machine and synthesizer simultaneously. I also love to use it as an acid bassline and an ethereal synth lead.
Toys and trinkets in Merry Lamb Lamb’s studio
What synth or effect can be heard the most on your new release?
Many of the synths and bass lines you’ve heard on the EP are from my favourite Elektron Analog Keys. I use only 3-4 synths and bass sounds, such as violin pads, piano melodic pads and 808 basslines, to produce the whole EP. I love to limit my equipment and try not to lean on DAWs so I force myself to be more creative.
Throughout the EP, I incorporated many amp effects into my synth leads, vocals and field recordings. Effects like Screamer and CLA Effects are my favourite ones to use. In the song Tranquility, I used a lot of vocal stacking with guitar amp effects in the second chorus to create a more dynamic and intense feeling to the music.
How do you use autotune as an effect on your voice?
I’ve used a lot of auto-tune throughout this EP but I never used that much autotune before on my first album Genesis. Reflecting on what I’ve produced, I’ve found that using autotune might be a unique way and an open gate to accentuate my airy voice.
I like how autotune creates a mysterious aura. It can be used as a fun instrument to play around with. In slower and more moody songs like Romantic and Night, I used autotune with more delay to create a hazy effect. In Tranquility, I incorporate an angry and feisty element into it. I added autotune to my panned left and right vocal stackings to produce a more chaotic and stressful feeling to dynamise the song. On experimental parts that come in on Empathy, I chopped off many of my unwanted autotune vocals, reversed them using a granulator and stacked them up to create a soundscape.
Merry Lamb Lamb
How did you use layers of your voice to create soundscapes in Empathy?
I used chopped samples from old demos and transformed them into an almost alien-like language as an ad-lib. I intentionally picked out old demos I felt ashamed to show people and reversed them.
I also recorded ghost-like ad-libs and stacked them up into five to ten audio tracks, layering them and panning them severely with Auto Pan towards the back of the song. I like to use Auto Pan a lot; it feels like a delay to me but with a more potent punch and bounce-back feeling to it, which I love.
Trinkets and artwork in Merry Lamb Lamb’s studio
What is next on your shopping list studio-wise?
I’m constantly on the gear hunt on sites like Thomann and want to buy everything from there. But if there’s one thing I want to buy, it’s a Moog Grandmother. I’ve been using my Korg Monologue a lot for basslines, but it’s time to upgrade to a more bass-centric synthesizer.
What is your top piece of production advice?
Don’t overdo things on production; try to finish a song within a month, trust your instinct and where it’s taking you, be confident about what you’re producing, and let go of your ego.
And it’s okay to fail a bit sometimes because you will eventually learn from your mistakes. Remember and reflect on that, and grow.
Check out all of Merry Lamb Lamb’s releases via Bandcamp and follow her on Instagram.
The post Synth-pop producer Merry Lamb Lamb experiments with autotune to create “hazy”, “feisty” and “chaotic” soundscapes appeared first on MusicTech.

Nutty Traxx Serum Soundset Vol.3 Nutty Traxx present another full on soundset for Serum. Unleashing 95 hard hitting presets for Hardstyle, Rawstyle, Industrial Techno and other hard hitting genres. With Snarling Acid,... Read More

🆕 Hey there! We are facing the PublMe platform updates for data storage, monetization, etc. and after this we'll be ready to restart the uploads to the community Music Store: https://explore.publme.com/ 🎶

RELEASE DETAILS
Release title:
Mexican Santa
Main artist name:
KingPollo,Gavino Rico
Release date:
1st Dec, 2023
https://publme.lnk.to/MexicanSanta
#newmusic #Release #Music #indepedent #artist #Latin #RnB

Serato DJ 3.1 adds integrated accessory control of Serato Stems
This new update to Serato DJ has been in the mix for a bit, but this week Serato fully released Serato DJ 3.1. This new update means that owners of Official Serato Accessories (list below) can quickly and easily control Serato Stems as a pad mode, no need for a custom MIDI mapping.
The post Serato DJ 3.1 adds integrated accessory control of Serato Stems appeared first on DJ TechTools.

Did you attend Google’s K&I Black Summit this summer?If you or a loved one attended this Summit please, let's get brunch.
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Bitcoin price hit 2023 high, so why are retail traders waiting on the sidelines?Bitcoin price keeps going up but retail traders are not piling in yet. Cointelegraph explores why.

Layoffs to cost Spotify $140M – $155M as its stock continues to riseIt was another down day on Wall Street, but Spotify [NYSE: SPOT] stock rose 2.65% on Tuesday, after a jump of 7.46%. Monday. The sharp uptick came after the streamer. Continue reading
The post Layoffs to cost Spotify $140M – $155M as its stock continues to rise appeared first on Hypebot.

Moog Music Mariana Mariana is a dual-layer synthesizer, allowing you to mix together two completely different synthesizer sounds that can dynamically complement each other or be played duophonically. Each... Read More