How to get past the clutter and algorithms to build a fanbaseHow does a band build an audience? Where do you find fans, and how do you communicate with them? The answers are not what you might expect. Recently, I joined. Continue reading
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Spitfire Audio co-founder Christian Henson returns with new project, The Crow Hill CompanyChristian Henson, the co-founder of Spitfire Audio who stepped back from his active role in the company in 2022 after making allegedly transphobic comments, has returned with a new venture called The Crow Hill Company.

READ MORE: Annie Mac tells MPs about the music industry’s “tidal wave” of sexual abuse cases

It’s a platform offering a wide range of services for artists, where musicians can interact, provide feedback and share ideas with one another. There will apparently be useful resources available such as tutorial videos and subscribers will receive free plugins and high-quality professional sound libraries.
The Bafta- and Ivor Novello-nominated TV, film and games composer, Christian Henson, has, he says, continued scoring feature films and TV series, including Inside No.9, during his time away from Spitfire Audio.
He revealed this and announced his return in a video posted to YouTube on Thursday 19 October. In it, Henson says, “So, for the past six months, I’ve been on gardening leave. I fucking hate gardening.” If you don’t know, gardening leave is when an employee, who has either resigned or had their employment terminated, is required to stay away from work during the notice period while being paid.

Why did Christian Henson step down from Spitfire Audio?
The co-founder decided to take leave from Spitfire Audio due to comments he made online that were interpreted as transphobic. Henson expressed support for JK Rowling and Graham ‘Glinner’ Linehan, both of whom have faced criticism for their views on transgender issues, in a now-deleted tweet.
This tweet sparked a backlash from Spitfire Audio’s followers and artists like Ólafur Arnalds, who wrote, “Blanket statements like that hurt those in the communities you have helped created and those who most need our support.” As a result, Henson’s tweet, posted for less than 24 hours, led to a significant number of Spitfire Audio users announcing their intent to boycott the company.
Spitfire Audio’s CEO at the time, Will Evans, later released a statement, writing, “We’ve worked hard to be a beacon for the industry and have a responsibility to do better”. He also announced that Henson would be “taking a break” until the company worked out how to move forward from the situation.
In social media post reacting to Henson’s return, producer and content creator Jeremy Blake AKA Red Means Recording calls Henson an “unrepentant transphobe”. He writes: “I’m not telling anyone to harass him. I don’t think that would help. I’m spreading this word so that people know what the company is called so they can spend their money elsewhere, and also help people avoid working for this company if they care about trans rights.”

A heads up for those who care:
Unrepentant transphobe Christian Henson is debuting his new company today, after being disgracefully kicked from Spitfire Audio, the company he helped found, after aligning with Glinner and Rowling.
Video premiere: https://t.co/vCs6R9qTyl
— Jeremy Blake (@jjbbllkk) October 19, 2023

Read more industry news via MusicTech.
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“We saw a clear opportunity to work with all their amazing DSP and improve on everything that was lacking”: Baby Audio acquires Denise AudioLA music software company Baby Audio has acquired Berlin/Amsterdam-based Denise Audio. In a new blog post, the company confirms that both brands will continue to exist independent of one another.
However, Baby Audio says it is currently working on a “full revamp” of the Denise catalogue. “The Denise Audio plugins have some amazing DSP [digital signal processing] inside them – while needing a little bit of love in other areas,” the post states.

READ MORE: Baby Audio Transit breathes life into your transitions, courtesy of Andrew Huang

On the motivation for acquiring Denise Audio, Baby Audio writes: “Honestly, we were not looking to acquire other companies. Baby Audio is an entirely independent company, with no external investors or private equity influence – so any M&A [merger and acquisitions] activity was not in the cards.
“However, we were presented with the opportunity on some fair terms and quickly realised that the Denise Audio plugins were significantly more powerful on the inside than they’re sometimes perceived to be.
“We saw a clear opportunity to work with all the amazing DSP and improve on everything that was lacking. This, combined with being able to hire more developers once we had a second outlet for products, made us decide to do it.”
The company adds that having two brands will help fuel research and development for plugins in the future.
“Having two outlets for our work will allow us to hire more specialised developers and release more experimental products,” it writes. “We will be able to treat Denise Audio as a playground for bringing out esoteric concepts, as this is aligned with the brand’s profile, while we can continue to increase the ambition level for Baby Audio with a bigger development team. Operating two brands will give us the bandwidth to do things with improved muscle and purpose.”
In a statement following the sale of Denise Audio, CEO Rob Stegeman writes: “We started Denise Audio in 2018 and it’s been a great journey. But after 5 years in the plugin industry I wanted to pursue other passions (more on that to be announced soon).
“This meant we began looking for a new owner of Denise Audio who would carry on – and improve upon – our work with a respect for the user base and new ideas for the future. To me, Baby Audio was the perfect buyer as I’ve always admired their attention to detail and product quality. I’m sure they will continue the journey for Denise Audio and take the brand further. I’m very happy with the deal and excited to share what I have coming in the near future.”
Baby Audio says Denise Audio users will have seen improvements already: the company has rebuilt all Denise plugins for full compatibility with the most recent operating systems, and looks to release “new products based on the existing Denise Audio catalogue and DSP”.
For more information, head to Baby Audio.
The post “We saw a clear opportunity to work with all their amazing DSP and improve on everything that was lacking”: Baby Audio acquires Denise Audio appeared first on MusicTech.

Universal Music just opened a retail ‘superstore’ for ‘super fans’ in Tokyo – plus The Rolling Stones second flagship storeThe Store features RS No.9 HARAJUKU, the second permanent Rolling Stones retail store outside of London
Source

Bitwig Studio 5.1 update introduces new sound design and voice stacking toolsBitwig has launched Bitwig Studio 5.1, the latest version of its flagship DAW, bringing new sound design features such as filters and waveshapers.

READ MORE: PreSonus and Bitwig introduce new file format which lets users share sessions across different DAWs

Bitwig 5 launched in June 2023, introducing five different multi-stage envelope generators (MSEGs), new capabilities for the DAW’s Clip Launcher, a revamp of its browsers, and modulation system upgrades, such as the ability to control track and project-level parameters, and to expand modulators with pop-out windows.
Now, Bitwig is improving the DAW further, with a keen focus on sound design. This update introduces 10 fresh modules, comprising four filters and six waveshapers, each offering unique sound profiles suitable for diverse applications. These modules can be readily integrated into the DAW’s audio effects containers Filter+ and Sweep or serve as patch modules within The Grid.

Alongside these 10 modules, this update introduces a new oscillator, with the filters now accessible as modules in Polymer, Bitwig Studio’s semi-modular synthesizer. New enhancements to voice stacking modulators now provide an even richer sound layering experience.
Bitwig has also brought in workflow improvements aimed at streamlining audio editing and mixing, empowering users to work more efficiently. Additionally, Bitwig Studio 5.1 introduces a new oscillator known as Bite, a file format for seamless project exchange, and native integration with TouchDesigner for video performance.
MusicTech gave Bitwig 5 a review shortly after it was launched in August 2023. In it, we gave it a strong 10/10. We were impressed by its deep integration with devices and plugins, project-wide Modulators, and remarked that its Wavetable LFO brought a lot of creative potential. The Multi-Segment Envelope Generator modules were a handy addition, we wrote. We did, however, point out that it lacked some basic offline audio processing tools.
Find out more at Bitwig.
The post Bitwig Studio 5.1 update introduces new sound design and voice stacking tools appeared first on MusicTech.

How to write a music press releaseIf you are an independent musician and want to promote your latest single, album, music video, tour, or launch party, you will need to learn how to write a music. Continue reading
The post How to write a music press release appeared first on Hypebot.

How to maximize Digital Music Royalties: SoundExchange live online Q&AThree SoundExchange execs will be sitting down to share strategies and answer questions about digital royalties in a live online Q&A organized by Symphonic. Save yourself a virtual seat now.. Continue reading
The post How to maximize Digital Music Royalties: SoundExchange live online Q&A appeared first on Hypebot.

GIK Acoustics introduce SlatFusor Series GIK's new SlatFusor panels have been designed to smooth out inconsistencies in a room’s frequency response and decay time whilst avoiding the over-attenuation of mid- and high-frequency content.

The 45 King, producer for Jay-Z, Eminem and Queen Latifah, dies at 62Famed hitmaker The 45 King, who’s produced for Queen Latifah, Eminem, Jay-Z and more, has died at the age of 62.
The producer – real name Mark Howard James – passed away on Thursday (19 October), three days after his 62nd birthday. His death was announced by fellow hip-hop producer, DJ Premier, with representatives confirming the news to Rolling Stone. No cause of death has been revealed.
“His sound was unlike any other from his heavy drums and his horns were so distinct on every production,” DJ Premier wrote. “His vinyl releases of breakbeats are beyond any DJ of the ’80s/’90s Era, practically endless.”
Often hailed as one of the pioneers of New Jersey’s hip-hop scene in the 80s, James received his first big break with the breakbeat track The 900 Number in 1987. The song famously featured a looping baritone sax solo from the Marva Whitney track Unwind Yourself.

The beat was later sampled in DJ Kool’s Let Me Clear My Throat in 1996, and honoured by Questlove as one of the fifty greatest hip-hop songs in 2012.
As a producer, James worked closely with Queen Latifah, a fellow member of his music crew known as the Flavor Unit. He played a pivotal role in producing solo projects for the crew’s members (including Chill Rob G, Apache, and Lakim Shabazz) and was a major driving force behind Latifah’s breakthrough record All Hail The Queen in 1989.
James also had a hand in many rap classics such as Jay-Z’s Hard Knock Life (Ghetto Anthem) and Stan by Eminem.
Tributes from fans and fellow artists around the world have poured in following news of the producer’s passing.
“Legends are never over,” Eminem wrote on X. “RIP Mark Howard James aka The 45 King… I’m forever grateful!”
Queen Latifah said in a statement: “He believed in me before anyone else. He touched every life he encountered. I’ve never met someone like him; he wanted everyone around him to win. His spirit was magic and will certainly live forever.”
Read more tributes below.

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Jay-Z releases statement in response to DJ Mark the 45 King’s passing. pic.twitter.com/DJnDZ18Azt
— XXL Magazine (@XXL) October 19, 2023

Rest In Peace DJ Mark the 45 King
Producer of such hits as Jay-Z's "Hard Knock Life" & Eminem's "Stan" — as well as favorites from Rakim, Queen Latifah, Common & many more…
We can't forget "The 900 Number" and the Ed Lover dance. Thank you for everything. pic.twitter.com/CB6TtR7GBH
— Andrew Barber (@fakeshoredrive) October 19, 2023

Legends are never over. #RIP Mark Howard James aka The 45 King … I’m 4ever grateful!!! https://t.co/s4ywAw6r03
— Marshall Mathers (@Eminem) October 19, 2023

Rest easy 45 KING. One of the original architects of production / greatest of all time .
— Alchemist Type Beat (@Alchemist) October 19, 2023

RIP DJ MARK THE 45 KING
ONE OF THE GREATEST PRODUCERS/DRUM PROGRAMMERS IVE EVER HEARD pic.twitter.com/uEW0XUuO1j
— Nicholas Craven (@NicholasCraven_) October 19, 2023

The post The 45 King, producer for Jay-Z, Eminem and Queen Latifah, dies at 62 appeared first on MusicTech.

Digilogue Days 2023 Highlights: Day Two of the music tech conferenceDay 2 of the Digilogue Days conference at Industria studios in Brooklyn, New York was more of the same as Day One: entrepreneurs, executives, and artists mixing it up, sharing knowledge, success stories, and contact information. The second day of panels, keynotes, and workshops ran the gamut from advice on collaborators, ways to get paid, and how to find your audience.
READ MORE: Riot Games’ Brooke Rascoff: “Technology broke down the barrier to entry to music and democratised distribution – AI will do the
The day opened with a keynote discussion between Cierra Brooks (The Cî Agency) and Manny Wellz (Oulala) on the new creator economy, specifically how Wellz draws insights from the types of content that resonates with his fans to ensure he’s adding value to the experience.
Get a lawyer
A panel on building your team as an artist featured Jenna LoMonaco (ONErpm), Justin LaMotte (Black Wax), Rebekah Espinosa (Prescription Ownly), Shardé Simpson (Simpson & Reed PLLC), and Tate Henshaw (Arc Business Management). They discussed the often non-traditional paths they’ve seen to creating a successful artist team, and explained how even though the first person on your team is often a manager, you should seriously consider getting a lawyer.
Music distribution tips
In the middle of the day, Serona Elton, the head of educational partnerships at the Mechanical Licensing Collective (MLC) led a deep dive workshop on how the agency – formed after the passage of the Music Modernization Act, which changed the way digital mechanical licensing works – collects and distributes royalties from mechanical licenses on digital distribution platforms. Then two TIDAL product managers, Ashley Williams and Kara Lee, held a demonstration of the platform’s “Artist Home” dashboard, exploring the new “Fan Data” tab and showing how artists can use demographic information to target their marketing efforts.
Image: Respective Collective
Building audiences
Later in the afternoon, Ashley Hall (The Orchard), Faryal Khan-Thompson (CD Baby), Jason Johnson (Culture Impact Agency), and Soy Kim (Spotify) discussed the ongoing globalisation of music, specifically how language is no longer a barrier to building an audience, using the success of artists like Bad Bunny and K-Pop’s global domination to evidence how the lines between domestic and international markets have been blurred.
A panel on community building and partnerships featured Charleton Lamb (Stem Disintermedia/Tone), Hallie Cross (Save The Music), Paulina Vo (The Digilogue/Highnote), Vanessa Noguera (The Industry in Spanglish/Warner Music Group), and Yudu Gray Jr. (24/7 Artists). Despite acknowledging that “independent artists are looked down upon in the financial world,” the panel discussed the ways in which the communities they built around shared interests helped them overcome limited access to capital, and how leveraging the power of old-school tools like word of mouth and email lists can help manifest your digital community in the meatspace.
Image: Respective Collective
The Future of Music & Technology
The final two panels offered a glimpse into the future and a reflection on the recent past. The Future of Music & Technology panel, featuring Dani Deahl (BandLab), Kathy Baker (YouTube), Megh Vakharia (SymphonyOS/Integral Studio), and Melanie McClain (Blurred Lines), discussed the importance of leveraging all the data you collect about your fanbase, avoiding getting stuck in short-form video, and the challenges of fighting passive listening habits that limit your potential fanbase’s engagement with your music.
And the final panel of the conference collected four attendees from the previous two days, who shared their experiences on the show floor, in one-on-one sessions, and in the main stage lecture hall. The main takeaway? Gratitude for the opportunity to meet and share ideas with hundreds of like-minded people, all seeking a sustainable path to a career surrounded by the thing they love most: the music.
The post Digilogue Days 2023 Highlights: Day Two of the music tech conference appeared first on MusicTech.

Do producers need to be musicians themselves? Tony Visconti weighs inSuper-producer Tony Visconti has offered his thoughts on whether or not producers need to be musicians or understand music themselves to succeed at what they do.

READ MORE: “Don’t just showcase what you can do” in sessions, advises Post Malone producer, Carter Lang

In a new interview with Super Deluxe Edition, Visconti, who’s worked with the likes of David Bowie and Marc Bolan, speaks about the degree to which his musical knowledge has shaped his role as a producer.
“Well, in my case, I am musically trained, and I learned to write scores before I left high school,” Visconti explains. “So I was writing scores at 16 years old. And I was taken under the wing of the head of the music department, a lovely man called Dr. Silberman. And he gave me private lessons as well; my parents couldn’t afford to send me to a university. So this was it.”
“Shortly after I left high school, I was writing arrangements for people, always remembering the lessons of voicings that Dr. Silberman taught me.”
Citing Beethoven and George Martin as his musical idols, Visconti says that while the former was a “very accomplished musician”, he was “never in a recording studio”.
“But George Martin used all of his musical training, and it didn’t hurt, to have that kind of a background,” says the producer.
He adds: “I don’t have to impose that upon people, but when I’m called upon to help them with their backing vocals, that comes from my musical training background, I know a lot about this stuff, without coming down heavy on them, you know.”
“And a lot of people know that I have this and they want it. So it depends. I’m flexible.”
Also in the chat, Visconti discusses how the role of the record producer has changed in the modern age, saying “With the record industry now, they almost bypass producers completely and go with some young person who is a whiz on the laptop and make their own stuff.”
“They make their own videos. And I think that’s very admirable, but it has less dimensions in it than the organic music does.”
On the other side of the debate, joining those who believe producers don’t need to be musicians themselves, is Rick Rubin, who boldly admitted his lack of “technical ability” earlier this year, adding: “I know nothing about music.”
“I know what I like and what I don’t like. I’m decisive about what I like and what I don’t like,” he said. “The confidence that I have in my taste, and my ability to express what I feel, has proven helpful for artists.”
The post Do producers need to be musicians themselves? Tony Visconti weighs in appeared first on MusicTech.

Hello, How can I submit my song to Publme's Spotify Playlist?!

Hemisphere Mic Modeling Plug-in & SC-1 mic from Universal Audio UA have added a third model to their Standard Series mic range, along with a new plug-in that offers dozens of authentic emulations of classic mic models. 

Settlements giant DTTC acquires blockchain infrastructure developer SecurrencySecurrency will help DTTC increase its role in developing digital asset clearance options. DTTC settled $2.5 quadrillion worth of securities transactions in 2022.

All I want from the internet is Homer Simpson singing ‘Smells Like Teen Spirit’In a recent New Yorker essay, Kyle Chayka poses a dread-inducing question: when was the last time you had fun on the internet? For his example of pure online fun, he points to a retro Flash gaming site, but I have a more recent answer: the last time I had fun on the internet was […]
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