Overloud Choptones Bogie F100 CHOPTONES BOGIE F100 - RIG LIBRARY Choptones Bogie F100 is the TH-U expansion library, created by Choptones, seeking to recreate the sound of an authentic Mesa Boogie F100*... Read More

Anghami could be delisted from the Nasdaq this week (or in the very near future)Anghami has received a 'delist determination letter' from the Nasdaq
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Overloud Hybrid Premium – IR Library for REmatrix Reverb Collection with hybrid reverb sources for unique sound textures (250 IRs). HYBRID REVERB SOURCES. UNIQUE SOUND TEXTURES. Hybrid is a Reverb Impulse library,... Read More

Bandcamp Union files Songtradr labor complaint, points to racial biasThe Bandcamp United Union has filed an unfair labor practices complaint with the National Labor Relations Board against Songtradr, who recently purchased the indie music marketplace from Epic Games. The. Continue reading
The post Bandcamp Union files Songtradr labor complaint, points to racial bias appeared first on Hypebot.

Four things we learned from Sir Lucian Grainge on Universal’s Q3 earnings call… that wasn’t ‘Merchants of Garbage’From Deezer to AI and China, UMG's leadership team discussed a number of key topics for the business
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Eventide reintroduce the Omnipressor To celebrate the 50th anniversary of their versatile Omnipressor dynamics unit, Eventide have announced an upcoming reissue that stays true to the original design. 

Rick Rubin: “The way sounds interact on a micro level to create something is the whole game”Iconic music producer and Def Jam co-founder Rick Rubin has publicly highlighted the importance of “feel” in rhythm, caused by combining two instruments.

READ MORE: “I’ve never been a fan of making 60 beats in one night”: DJ Shadow prefers quality over quantity

He makes the comments during a recent episode of his podcast, Tetragrammaton with Rick Rubin, in which he sits down with fellow hip-hop producer Kenny Beats. In the nearly two-hour conversation, they discuss swing, their musical heroes, making music visually, collecting music as teenagers and loads more. If you’re a production nerd, it’s an absolute gold mine and worth checking out.
The two are discussing drums and rhythm, when Rubin says, “I had a revelation just recently in the past few weeks: it’s all about rhythm. And when I say rhythm, I don’t mean the beat. I mean, the little internal relationships between whatever is playing, the feel between those things. I don’t think anything else matters. The way the sounds interact on a micro level to create something is the whole game.”
They go on to talk about Chris Dave, drummer, composer, and bandleader whom they both admire because of his impressively tight syncopation and unique “feel”.
“I mean, you said something to me, probably five years ago about Chris Dave,” Kenny Beats says, “and how he could play kick, snare, kick – the simplest beat in the world, and would make it 10 times more interesting than anybody else just because of his feel. And Robert Glasper has said the same thing to me about Chris Dave. Thundercat has said the same thing to me about Chris Dave.
“It’s the reason why [J] Dilla is Dilla for people, why Slayer is Slayer,” he adds.
Also in the podcast, they go on to discuss swing, with Kenny Beats saying he “sees swing and bounce visually” and that he “grew up with a grid” and instead of learning how the likes of J Dilla created a loose sense of swing by jamming into an MPC, he would zoom in to identify the nuances in rhythms within his DAW.
Subscribe to Rick Rubin’s Tetragrammaton podcast via YouTube.
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Researchers find a way to use “off-the-shelf” earphones to measure heart rateThe days of using special equipment to measure heart rate could be over, as researchers have found a way to use everyday earphones instead.
Researchers at Google are using “off-the-shelf” active noise-cancelling earphones to measure heart rates, simply by using ingenuity and updated software.

READ MORE: Dance music has sped up in recent years – and social media is the cause, says Sam Paganini

In a new research blog, spotted by 9to5 Google, the scientists explain that something called photoplethysmography (PTG) uses light pulses to measure blood activity, but has limitations. Instead, the scientists are trying a different approach called audioplethsymography (APG), which uses ultrasound to measure the heart rate.
Put simply, it works by bouncing low-intensity ultrasound waves off the ear canal and using a tiny microphone to detect how the skin surface moves as blood pumps through. For some people, it is quite common to feel your heartbeat in your ears, and this technology builds off of that.
According to the blog, the technique was “resilient” regardless of ear canal size or skin tone. This seems quite ground-breaking as dark skin tones and even dark tattoos can often cause issues with heart rate accuracy with smartwatches.
“APG enables [active noise-cancelling earbuds] to monitor a user’s physiological signals, such as heart rate and heart rate variability, without adding extra sensors or compromising battery life,” the blog explains.
The exact earbud used in this experiment is unknown, but from what the researchers describe, it can be used in any off the shelf earphone with active noise-cancelling technology.
The post Researchers find a way to use “off-the-shelf” earphones to measure heart rate appeared first on MusicTech.

Manatt’s music streaming royalty calculator is the best we’ve seenSince streaming services began paying musicians and labels, we’ve seen dozens of calculators purporting to predict earnings, but one just launched by consultancy Manatt looks to be the most up-to-date. Continue reading
The post Manatt’s music streaming royalty calculator is the best we’ve seen appeared first on Hypebot.

Live Nation responds to Sen. Klobuchar’s all-in ticket pricing concernsLast week, U.S. Senator Amy Klobuchar wrote to Live Nation CEO Michael Rapino over concerns that the concert giant and its ticketing arm Ticketmaster were not moving fast enough to. Continue reading
The post Live Nation responds to Sen. Klobuchar’s all-in ticket pricing concerns appeared first on Hypebot.

Torsion Audio’s Syclone Is A FREE Neural Transfer Plugin
Torsion Audio releases Syclone, a FREE neural transfer plugin for macOS and Windows, promising a new approach to audio production. The Syclone plugin uses neural timbre transfer technology to deliver a new artificial layering technique. In short and simple terms, Syclone transfers the timbre of a given sound/instrument (trained model) to the original input. The [...]
View post: Torsion Audio’s Syclone Is A FREE Neural Transfer Plugin

State Machine instrument range from Cradle The latest three software instruments from Cradle cover a range of bass, synth and keys sounds, and all share a common set of controls and sound design tools. 

Will Apple’s “scary fast” M3 chips boost speeds for music producers?Apple has announced its new M3 family of processor chips, made up of the M3, M3 Pro, and M3 Max.

READ MORE: Apple patent documents show proposed MacBook with attachable turntable

The announcement was made during Apple’s latest Apple Event, dubbed the “scary fast” event, yesterday on Monday 30 October, which you can watch below. The announcement event revolved around the new M3 family, with Apple outlining how the chips will benefit MacBook and iMac users.

The M3, M3 Pro, and M3 Max chips are the first to use 3-nanometer technology, featuring a more efficient GPU, dynamic caching, and hardware-accelerated rendering features. These chips represent a significant leap in graphics architecture for Apple Silicon (Apple’s own system used in chips), targeting a wide range of users, from students to music producers and video editors.
The different M3 chips are used in various MacBook Pro models to cater to different user needs. The all-new MacBook Pro, now available in Space Black, with M3, is ideal for students, business owners, musicians, and video editors, offering a 60 percent speed boost over the 13-inch MacBook Pro with M1.
Credit: Apple
The MacBook Pro with M3 Pro is designed for coders, creatives, and researchers, providing up to 40 per cent more performance than the 16-inch model with M1 Pro.
Lastly, the MacBook Pro with M3 Max targets machine learning programmers, 3D artists, and video editors, offering up to 11 times the speed of the fastest Intel-based MacBook Pro model and supporting up to 128GB of unified memory for large and complex projects.
Will the Apple M3 chips be useful for music producers?
The short answer is ‘yes’. The M3 chips bring big benefits to music producers. With enhanced performance and rendering capabilities, they streamline music production tasks, making the MacBook Pro with M3 a solid choice for professionals using resource-intensive digital audio workstations.
The M3 Max, with its rapid speed and support for up to 128GB of memory, is especially useful for complex projects on the likes of Ableton Live or Logic Pro. These chips empower music producers with the processing power needed for more efficient and seamless music creation.
This Apple Event followed another announcement briefing made by the company in September. At this event, Apple announced the second generation of AirPods Pro, alongside the iPhone 15 and a new Apple Watch.
Find out more about the M3 chips via Apple.
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BPB Cassette Drums Is A FREE Tape Drum Machine Plugin
Bedroom Producers Blog releases BPB Cassette Drums, a free sample-based virtual drum machine featuring the sounds of a Roland TR-808, TR-909, TR-606, and the MFB-522 Drum Computer. BPB Cassette Drums is the new and improved edition of our old cassette drum bundle. The new version of the plugin combines all the drum kits into a single unit [...]
View post: BPB Cassette Drums Is A FREE Tape Drum Machine Plugin

Max MSP Beginners Guide: Creating an Input and Oscillator on a software synthesizerIn this tutorial, you will learn how to build a basic synthesiser, just using an input/output and an oscillator. We’ll be providing the foundations for you to add important functions such as an envelope and filters in the next few tutorials.

READ MORE: Max MSP Beginners Guide: How to build a monophonic software synthesizer

To start, create a new patch page, following the instructions in the last guide. Then, we recommend that you use the comment tool to write the labels ‘input’, ‘oscillator’ and ‘output’ at the top of the patch. These will act as headers and will help you understand what part of the patch is doing what.
The Input
Building the input ensures that you can connect your MIDI controller to the patch, then convert the MIDI numbers to a frequency value, or pitch. You’ll need to make it so all the values are in Hz – this will make it a lot easier to work with going forward.
Firstly, add the object ‘notein’ – this receives MIDI note messages. If you hover your mouse under the outlets of the object, they’ll read Pitch, Velocity and MIDI channel.
So that you can can see which MIDI data is coming in from your MIDI keyboard, connect two ‘Number’ objects to Pitch and Velocity.
Next, create the object ‘Kslider’, which will provide a visual representation of what key you are pressing on your MIDI keyboard. Connect the bottom left inlet of the Pitch number to the top left inlet of the Kslider, and the bottom left inlet of the Velocity number to the top left inlet of the Kslider.
It should look something like this:
After connecting MIDI controller to patch and converting MIDI numbers to frequency value/pitch
The next step is to convert the MIDI data to frequency values. You can do this simply through the object named ‘mtof’, which you will need to connect from the bottom left inlet of the ‘Kslider’.
A top tip here, to make it easier to see what ‘mtof’ is actually doing to the signal, is to add a number box to the wire above the ‘mtof’ object, and a floating number below.
Your finished input should look like this:
After converting MIDI data to frequency values
The Oscillator
Now you’ll find that your MIDI Keyboard is controlling the patch but isn’t triggering any noise. This is where the oscillator (and the output) comes in.
An oscillator is made up of a series of waveforms. Commonly, this will include a sine wave, triangle wave, square wave, and sawtooth wave. Luckily, Max MSP has objects that produce these different sound waves, so we simply need to put them into the patch and set them to the desired level using a gain slider.
This is where synthesizers can differ depending on which sound waves you employ. We’ll be using a blend of all four so we can create presets (which will be discussed in tutorial five) to change the levels of each sound wave.
Under the Oscillator heading, create four objects: cycle~ (sine), tri~ (triangle), rect~ (rectangle), and saw~ (sawtooth). This is how the synth will generate sound. However, to control how much of each wave you’re hearing, you will need to attach a gain slider, using ‘gain~’ to each sound wave object, using the bottom outlet.
If you are ever confused about the purpose of an object, you can hold down alt/option and click on an object. A help tab will pop up and give you all the information you need.
In order to make the connection between the input and the oscillator simpler and less messy, you can use a floating number object both after the ‘mtof’, and before your sound waves, so that the connection between the input and oscillator is one wire, rather than four.
This is what the finished input and connected oscillator should look like. However if you are using a different sound wave configuration, don’t worry if yours looks different:
Finished input and connected oscillator
The Output
So that you can hear the lovely sounds being created by the oscillator, you need to build and attach the all-important output.
Understandably, if you just attached the gain sliders straight to an output object (‘ezdac’), it would be very loud – there are four different signals being output, after all. To mitigate this, you’ll need to find a way to attenuate the signal before it reaches the output. There are two ways to do this.
First, you can multiply all four of the signals by 0.5, which will cut the volume in half. To do so, you need to create the object ‘*~ 0.5’, and connect all four of the gain sliders to it from their bottom left inlets. You can use either the left or right top inlet of the multiplication object, but just so you can add the envelope on to it in the next tutorial, it will be best to attach them to the right inlet.
Secondly, create two more gain sliders to control the left and right audio channels. You need to connect these to the bottom of the multiplication object using the respective outlets and inlets. The volume of the attenuated signal can now be controlled before it is output to our speaker.

As this is a monophonic synthesiser, you need to join the right and left audio channels by connecting a wire between the bottom right of the left audio channel gain slider to the top left of the right channel gain slider. When you control the left channel, the right one should move too.
Now you’ve attenuated the signal and added in a volume control, connect it to an output object, using ‘ezdac’. Once it has been put into the patch, join the left outlets of the gain sliders to both the left and right inlets on the ‘ezdac’ objects to ensure that both the left and right channels sound monophonic.
Another top tip from us: You might find that the wires are not as neat as you might want. To get them in order, you need to press ctrl/command +A to highlight the patch, and then press ctrl/command + shift + Y.
You’ll find that, even though you are no longer holding down a key, it still plays out, but don’t worry. This is why, in the next guide, we will be building an envelope that controls how long a note plays for.
You now have a basic but functioning monophonic synthesiser. Feel free to have a tinker with the oscillator, adding as many sound waves in whatever combinations you like.
If you haven’t downloaded Max MSP yet, you can access a four week trial on Cycling74.com
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