Korg announce Modwave mkII The new Modwave doubles the voice count of its predecessor and introduces some useful new LFO modes.

Two-tier licensing is about to become a reality With the dust still far from settled on the UMG / Deezer streaming royalty proposal, something even bigger is coming: Spotify is turning the concept into reality in Q1 2024. The behind-the-scenes conversations have been ongoing for some time, but the details were stated publicly on panels at last week’s ADE conference, meaning that the information is now firmly in the public domain. Obviously, nothing is official at this stage, so consider this ‘as reported’ information. Even if the final details end up varying, what is clear is that two-tier licensing is about to become a reality.

Things are moving fast, going from ‘limited trial’ to ‘actually happening’ in the proverbial blink of the eye. If Spotify is indeed set to launch two-tier royalties just months from now, it begs the question as to what the Deezer trial was about in the first place? If decisions had already been made elsewhere, then the likelihood is that it was a way of softening up industry opinion before the big news hit next year, to acclimatise the industry community to the concept ahead of launch.

Streaming democratised access to the means of distribution, enabling an unprecedented growth in artists and releases. But the brake is now being firmly applied. Streams may have all been created equal, but now some streams are becoming more equal than others. 

There are, of course, compelling arguments for ‘fixing’ streaming royalties (arguments that we have discussed at length). But if consumers are choosing to listen to long-tail artists, or if the algorithms consider long-tail artists to be the right fit for their tastes, then the ‘problem’ lies with consumption patterns, not royalties. (And of course, what consumers are listening to is also the most precise way measure where and how subscribers allocate the value pf their subscription.)

Between 2019 and 2022, artists direct streaming revenue grew by 130% while the majors grew by 58%. Long-tail artists are growing their share of ear (even accounting for the fact that algorithms are not neutral agents). In 2022, artists direct accounted for 8% of global streaming revenue and at current trajectory would reach 10% by 2025. Consider that WMG’s share was 16% in 2022, and it becomes clear just how significant the long-tail pool is.

But here is where the cynical genius of the two-tier system comes into play. Right now, streams and revenue are effectively synonymous, but by this time next year, they will mean very different things. The majority of artists direct artists will no longer be paid for their contribution to the value of the $11.99 subscription. The c.10% of consumption they will generate will disappear from the streaming revenue map. They will be othered, their revenue becoming a new black box for the biggest artists to share between themselves. Which means that, hey presto, all that annoying artists direct market share suddenly gets reallocated to everyone else. Market share erosion? What market share erosion?

The two-tier system does not even try to turn back the clock on the rise of independence, it simply funnels the growing revenue from this cultural paradigm shift to the bigger artists who are losing share. If DSP streaming was the only game in town, then the risks of antagonising long-tail artists (label and direct) would be relatively low. But the music consumption and creation landscapes are changing. Non-DSP streaming revenue is outgrowing DSP streaming, while creators choosing to release only on non-DSP platforms is growing twice as fast as artists releasing onto DSPs.

Perhaps it would serve bigger labels and artists well, to have smaller artists and labels focus their attention elsewhere. But if they do so, then they will take audience attention and cultural capital with them. At some stage or another, that kind of shift will start to bite into DSP acquisition and retention rates. By which stage it may be too late to halt the decline. 

RoEx says AI mixing tool AutoMix could be “Instagram filter of music production”RoEx, a UK-based music tech startup, has launched AutoMix, a plugin that uses AI technology to streamline and simpify the mixing process for producers.

READ MORE: UMG and BandLab Technologies team up for “first of its kind” ethical AI collaboration

AutoMix, RoEx claims, lets you mix down projects to a professional standard in a non-technical or complex way, “transforming them into professionally finished pieces within minutes”, it says.
To use AutoMix, you simply upload the individual audio stems of your project into the online platform in a format. From here, you select the instrument type of the audio stems you’ve uploaded, e.g. bass guitar, vocals, synth etc., so the system has an understanding of how each should traditionally sit within your mix.

After selecting the instrument type, you can add basic mix settings such as reverb, the amount of presence each stem should have in the mix, and panning. While adjusting these might take time manually in your DAW, AutoMix aims to make mixing “accessible and efficient for all creatives, without any barriers” by condensing complex processing techniques into the click of a button.
Once you’ve mixed down your stems, you can adjust the volume levels of each and preview how it all sounds together. You can then download your finished track by simply clicking ‘master’. Each master can be downloaded in exchange for one download credit, which can be purchased via RoEx’s website for $11.99 each or included as part of a subscription package.
David Ronan, RoEx CEO comments: “Just as Instagram transformed photography by making filters universally accessible, we aspire to revolutionise the world of music production. We recognise the modern musician’s desire for professional sound without the intimidating complexities of compressors, EQ settings, or the necessity for costly studios and intricate plugins. Our mission is to make top-tier production quality both accessible and efficient for all creatives, without any barriers.
“Looking to the future, we envisage our technology integrating seamlessly with various DAWs, whether they are traditional desktop systems or emerging cloud-based platforms. While the exact roadmap is still unfolding, our direction is unwavering: to democratise professional music creation, making it accessible and intuitive for all,” continues Ronan.
RoEx is a small London-based startup that originated from a PhD project at Queen Mary University of London, focused on simplifying music production. Led by David Ronan, their mission is to democratise music creation, taking away technical obstacles.
Online mastering service LANDR has also launched a tool to streamline mixing for producers within the DAW. The online mastering tool’s new Mastering Plugin brings its AI-powered auto-mastering to DAWs for the first time.
Find out more at RoEx.
The post RoEx says AI mixing tool AutoMix could be “Instagram filter of music production” appeared first on MusicTech.

Trevor Milton to reimburse Nikola $165M per arbitration proceedingElectric and hydrogen-powered heavy truck maker Nikola was awarded $165 million from its founder and former executive chairman, Trevor Milton, in an arbitration proceeding. Nikola said in a filing with the Securities and Exchange Commission that an arbitration panel in New York awarded the funds to Nikola on October 20. The company had sought reimbursement […]
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School of Rock Opens 350th Location in ChileSchool of Rock, a leader in performance-based music education, unveiled its 350th worldwide location in Providencia, Chile, last week. The milestone marks School of Rock’s progression to a scale that few franchises achieve and underscores the company’s position as the premier music education brand with more than 62,000 active students and hundreds of thousands of alumni rocking around the globe.

“Opening the 350th School of Rock location in Chile is a significant milestone in our journey. It reflects not only our desire to continue international expansion but also the unparalleled passion and dedication of our franchise partners, instructors, and students all over the world,” said Rob Price, CEO of School of Rock. “Music has the power to unite and inspire the creative spirit in us all. As we hit this milestone, we're not just counting schools, we're celebrating the countless stories and dreams that have found a home within our walls.”

School of Rock Providencia marks the 13th school in Latin America under master franchisee Matias Puga Hamilton, who was recently named as a 2023 Franchisee of the Year by The International Franchise Association. The new school in Santiago will be owned and operated by Danilo Giakoni. Giakoni's connection to music traces back to inheriting his maternal grandmother's grand piano, which became the centerpiece of their family gatherings. His father's passion for rock and roll, specifically Elvis Presley, also played a significant role, with Giakoni inheriting his father’s extensive vinyl record collection. Today, Giakoni’s family home reflects their musical heritage, housing the piano, his mother's accordion and multiple guitars.Giakoni’s journey to open a School of Rock was inspired by a desire to contribute to the development of children and adolescents, while still leveraging his background as a finance manager. After discovering the School of Rock model for adults during a live performance by a friend and subsequently reading about it in a Chilean newspaper, Giakoni felt a connection to the idea of opening a school in his culturally rich hometown of Providencia. 

“Opening this School of Rock is the fulfillment of a lifelong dream for me. It's been an incredible journey to this point, allowing me to connect with an amazing team of talented musicians and teachers, create a vibrant cultural hub within the community and witness firsthand the transformative impact this concept has on young individuals,” said Giakoni. "Being a part of this incredible organization and opening School of Rock's 350th location is a truly special experience.”

The opening of this 350th location punctuates two years of dramatic growth for School of Rock, with highlights including:

Footprint growth from 245 domestic schools and 55 international schools in 12 markets to 276 domestic schools and 74 international schools in 15 markets, with new flagship schools in Mexico, Ireland and Portugal;

Increased total active enrollment from 22,000 students in 2016 to nearly 62,000 students today, along with a 7.6% average annual growth in student enrollment;

Acknowledged among best in the industry for franchisee and corporate culture; 

Named the Grand Champion of 2023 by Global Franchise Awards, top 50 Most Profitable Franchises, top 100 Most Innovative Franchises and Top Recession-Proof Business for 2023 by Franchise Business Review

International Franchise Association (IFA) named Matias Puga Hamilton, master franchisee of School of Rock in Latin America, as a 2023 Franchisee of the Year; 

School of Rock is actively seeking expansion opportunities, both nationally and internationally, as it looks to grow beyond its 350 locations. For more information on School of Rock, visit www.SchoolofRock.com or call 866-695-5515.

To learn more about School of Rock franchise opportunities head to schoolofrock.com/franchising

Pro-crypto lawmaker Tom Emmer ends hours-long speaker campaign: ReportThe Minnesota congressman was one of only a few crypto proponents in Congress being considered as a possible speaker of the House by Republican lawmakers.

Spotify stock closed up 10% Tuesday on strong Q3 Report, solid Q4 forecastSpotify [NYSE: SPOT] stock was up 10.36% Tuesday, closing at $170.63 after a strong Q3 earnings and user growth report. It was the streamer’s first profitable quarter since 2021. In. Continue reading
The post Spotify stock closed up 10% Tuesday on strong Q3 Report, solid Q4 forecast appeared first on Hypebot.

Win $1,000 and get your beat featured on a high-profile cypher via our beat battle with SNIPES Soundbooth
We're partnering with SNIPES to find the soundtrack for the next 'Exchange' cypher.

Medasin on sound design and the art of crafting samples
Veteran producer and DJ Medasin speaks on his creative process, sound design, the art of crafting samples, and more.

Believe generated $234m in Q3, up 9.1% YoYParis-headquartered music company Believe has published its financial results for Q3 2023
Source

Wasted Audio WSTD MANGLR This is our weird distortion effect plugin. It is very easy to use, with some special controls. However the range of sounds can get pretty wide. It consists of 3 different distorting... Read More

Some Drums from Song Athletics Some Drums is the first release from a new company founded by former Spitfire Audio CEO Will Evans.

Tony Visconti walks out of Rolling Stones’ secret show early blaming Questlove’s DJ set – Questlove respondsQuestlove has responded after being criticised by Tony Visconti for his DJ set at a “secret” event in celebration of The Rolling Stones’ brand new album, Hackney Diamonds.
At the gig, which took place at Manhattan’s Racket club, the band performed a seven-song setlist including a guest slot from Lady Gaga. Before they took to the stage, Questlove got the crowd warmed up. Well, all aside from Visconti who left early.

READ MORE: Do producers need to be musicians themselves? Tony Visconti weighs in

In a post on Facebook, Visconti called the Roots drummer’s set “deafening,” and shared his disappointment in the event: “On top of that people came up to me and were screaming in my ears, attempting a conversation,” he says. “One guy said he listens to my productions all the time, I was so testy by then I snapped back, ‘You should!’”
The producer then goes on to recall how he flagged down someone “in charge” to ask when The Stones would arrive on stage, but they were unsure. “It was 9:30 now and the DJ was cranking it even louder,” he continues. “I thought, f**k it, I saw The Stones so many times back in the day with a better line up, even one gig with Brian Jones and Bill Wyman.”
Visconti later added that himself and his date walked out and were told by security that they would not be allowed to re-enter, and that he replied, “Thank God.”
Questlove has certainly seen the funny side of the situation, and has shared screen grabs of each part of Visconti’s post on Instagram. “Dog, the fact that I offended Tony Visconti in such a rock & roll fashion is prolly one of the highest compliments I’ve ever received in my 40 years as a professional musician,” he wrote in the caption among a row of laughing faces.
He also added that the late Roots manager, Rich Nichols who passed away in 2014, would have found the situation hilarious.

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A post shared by Questlove (@questlove)

Hackney Diamonds by The Rolling Stones is out now.
The post Tony Visconti walks out of Rolling Stones’ secret show early blaming Questlove’s DJ set – Questlove responds appeared first on MusicTech.

Chart data collection change will under-report physical sales by 95%, say indie music storesIndie music stores and labels are sounding the alarm over plans by Luminate, the music data provider for the Billboard charts, to change how it calculates physical sales at independent. Continue reading
The post Chart data collection change will under-report physical sales by 95%, say indie music stores appeared first on Hypebot.

Arturia launches new “flagship” interface AudioFuse 16Rig which is “set to challenge” the marketArturia has today (24 October) announced the launch of a brand new “flagship” interface – AudioFuse 16Rig – which the brand says will “challenge” the interface market.
The advanced audio and MIDI interface is designed for hardware users wanting to connect and synchronise their whole setup. Arturia says it features an “unmatched” variety of inputs, outputs, and creative features.

READ MORE: Arturia Acid V brings a clutch of useful additions to the little silver box

AudioFuse 16Rig is the latest in its Fuse line up which also features other products such as its Studio and 8Pre interfaces, but this offering appears to be the grandest one of the bunch so far.

Users can keep an entire setup connected via the rear I/O so that the front panel can be used for extra mics, instruments, or devices. It’s described as “perfect for a studio full of synths, dense band recordings, intricate monitoring, and more.”
The interface also gives recordings better shine and clarity with premium 24-bit AD/DA converters, and it can also be used for DAWless recording, live mixing, and computer-free audio configuration. AudioFuse 16Rig can process audio and MIDI signals without a computer connected due to dual internal MIDI-controllable mixers.
You can control settings via built-in controls or via included software, and configure your 16Rig for desktop use or rackmount operation. Users can save configurations and mix settings as presets, control modular gear with DC-coupled outputs, use the Reamp feature for versatile guitar tracking, and connect extra USB devices.
Back in September, MusicTech rounded up the best audio interfaces to buy in 2023 that retail for under $500. Included in our selection was the Arturia Minifuse 2 due to its elegant, compact casing and clean sound with plenty of headroom too.
A price point is yet to be unveiled for the AudioFuse 16Rig, but further details can be found via Arturia.
The post Arturia launches new “flagship” interface AudioFuse 16Rig which is “set to challenge” the market appeared first on MusicTech.