Warner Music Group is looking for a temporary Coordinator for the Global CatalogThe new coordinator has the opportunity to work alongside and learn from the strategists, marketers, and A&R directors responsible for some of the most critically acclaimed releases in recent years from beloved artists including Joni Mitchell, The Doors, Busta Rhymes, CSNY, Fleetwood Mac, The Replacements, Aretha Franklin, and more. This person will be part of a dynamic team re-imagining what it means to develop and market catalog albums in a streaming world, crafting releases that will introduce timeless hits and forgotten gems to new generations of fans, and help protect and grow the legacies of iconic artists for the foreseeable future. “This position is a great platform for someone looking to get into the music industry to learn the foundational skills at the intersection of art and commerce, and to use those skills to grow inside the company.” Apply at LinkedIn.

Getting It Done: The week in D.I.Y. & Indie MusicThis week, our tips and advice for all the independent, do-it-yourselfers out there covered how to build a bigger audience easily, navigate the corporate music industry, and more. Guide to. Continue reading
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REWIND: The new music industry’s week in reviewA busy week by any definition, and the music industry was no exception, with new updates regarding a possible TikTok ban, Metallica making big money moves, and more… Influencers protest. Continue reading
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Universal Music Group is seeking a Credit SpecialistThey are currently seeking a Credit & Collections Specialist who will play a key role in recommending new credit and extensions of credit through research and analysis of financial documents. The role manages a portfolio of accounts that may carry credit lines up to $1M, practices, and procedures in a manner that will result in maximum sales, sound receivables and the prompt conversion of receivables into cash with a minimum of past due accounts. The position will use discretion as it relates to being in accordance with established policies. The role is also responsible for creating, managing, and maintaining relationships with not only the customers but also operating personnel within other UMG departments. Apply at Glassdoor.

From $26.2 billion to TikTok defending itself… it’s MBW’s Weekly Round-UpThe biggest stories on MBW from the past seven days
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Kakao Entertainment plots global expansion via the US, strikes partnership with Sony’s Columbia RecordsPartnership includes 'global management' of rising K-Pop stars, IVE
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U.S. TikTok ban seems more likely after Congressional hearing“Your platform should be banned,” Chair Cathy McMorris-Rodgers (R-WA) said in her opening statement to Thursday’s hearing on TikTok before the House Energy and Commerce Committee. “I expect today you’ll. Continue reading
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Why are concert tickets so expensive?With ticket prices, fees, scalping, and ticket resale under increased scrutiny and the subject of new state and federal legislation, it’s important to understand what role artists play in high. Continue reading
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Why you need to use Facebook’s Premium Music Video (PMV) distribution serviceSince its launch in 2020, Facebook’s Premium Music Video (PMV) distribution service only continues to grow in popularity and scale. In this post, our Video Distribution Manager, Vanessa Schiano, breaks. Continue reading
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Huart Will Keynote Capital's WorkshopFollowing closely on the heels of the launch of his landmark comprehensive and reference text, Home Studio Recording, The Complete Guide, renowned producer, engineer and musician Warren Huart has been chosen as the 2023 Keynote Presenter for the 11th Annual Capital University Creative Arts Workshop. Held this Saturday, March 25, from 9am-5pm EDT at the Convergent Media Center at Capital University in Columbus, OH, the free event is a community celebration for all things music, audio, video, and other creative arts productions. Using Capital University’s immersive technology spaces and classrooms, area professionals and current students will host workshops and presentations throughout the day.  

Known for his production work with such leading acts as Aerosmith, The Fray, Disturbed, Korn, Trevor Hall, Ace Frehley and more, Huart is also the creator and host of the amazingly popular TEC Award-winning Produce Like A Pro educational channel on YouTube (with an audience nearing 700,000 subscribers) and his online Produce Like A Pro Academy and Pro Mix Academy, where he shares his knowledge of recording, production, mixing and more with the goal of helping people make great music. At this year’s Creative Arts Workshop, in addition to holding two back-to-back sessions on Microphone Placement Techniques (10:00-10:45am EDT and 11:00-11:45am EDT in Studio F), Huart will be giving the closing Music Tech Keynote address (3:30-4:30pm EDT), where he will discuss his early musical influences and mentors, key events from his career, recording The Fray, meeting and working with legendary producer Jack Douglas, starting Produce Like a Pro, and the creation of his latest book, Home Studio Recording, The Complete Guide.  

“I am pleased to be involved with this year’s Capital University Creative Arts Workshop, and to be chosen to give the closing keynote address,” states Huart. “Today’s program covers a wide range of topics, and I am privileged to be able to share my experience and insights to attendees.” 

Immediately following the keynote, there will be a community mixer and networking event.  

38 million tracks on music streaming service were played ZERO times in 2022. (Or: why Spotify should take a leaf out of Elon Musk’s book.)Should Spotify, in a quest to improve its margin, start playing hardball with its least successful artists?
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‘Yes, AI is the future of music – but not in the way you’d think.’The following op-ed comes from Oleg Stavitsky, CEO of AI-powered sound app Endel
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A2IM announces 2023 Libera indie awards nomineesThe American Association of Independent Music (A2IM) has announced the 2023 Libera Awards nominees. The ceremony will be held on June 15 at the Town Hall in New York City.  2023 Libera Awards. Continue reading
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5 tips for promoting music events for 2023Everyone is still adjusting to a post-pandemic world, and the music industry finds ways to adapt each year. Here are some tips for concert promoters in our current state this. Continue reading
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Rare Focusrite Console Installed in PhoenixOne of only a handful of historic Focusrite audio consoles has been brought back to life and installed in The Focusrite Room, a unique 1500-square-foot control room, part of a 6,000-square-foot recording complex in the Phoenix area. The Focusrite Studio Console, one of only 10 ever built (specifically, unit #5) and one of only four known to still exist, was installed in the facility late last year and has just finished its commissioning phase. The console was originally located at BOP Studios in South Africa, itself a pioneering world-music venture. Now, one of the world’s few remaining Focusrite Studio Consoles is back in operation, ready to make music – and history – again.   

[Explore The Focusrite Room in 3D here.]  

“Bringing Number Five back was a life-changing event,” says The Focusrite Room and Platinum Underground studio owner and longtime Focusrite aficionado John Aquilino, referring to the nickname the desk has acquired. “When I was a teenager, instead of a poster of Farrah Fawcett on my wall, I had a picture of a Focusrite Studio Console, so you could say I’m a pretty big fan of the brand and its technology. Now, this console is ready for the next chapter in its life.”  

BOP Studios began with the best of intentions: to be a world-class music-production facility in one of the world’s most remote yet creatively fertile locations. South Africa was thrust upon the global music stage with the release of Paul Simon’s Graceland album in 1986, which opened the world’s ears to the music and musicians of that part of the world, with some of that LP (which won the GRAMMY® Award for Album of the Year in 1987) recorded at Ovation Studios in Johannesburg, South Africa, by Simon and engineer/producer Roy Halee. Despite the country being under the oppressive thumb of Apartheid at the time, BOP Studios, financed by a combination of private investment and state and local pension funds, opened in 1991, intended as a destination where African and Western artists and musicians could intersect and collaborate, with state-of-the-art technology, acoustical design (the studio’s architect was the legendary late Tom Hidley) and resort-level accommodations. The Focusrite Studio Console was a centerpiece in BOP’s flagship Studio 1, where it operated alongside consoles from Neve (Studio 2) and SSL (Studio 3) – all three were the largest of their kind ever installed at the time.  

BOP Studios briefly achieved some of its aspirations. Visiting artists included Laura Branigan, Ladysmith Black Mambazo, Miriam Makeba, and the Soweto String Quartet; Disney’s The Lion King soundtrack was also recorded and produced at the studio. But political and economic complications posed significant challenges to keeping the facility viable, and it has been closed for much of the last 20-plus years. However, the Focusrite Studio Console was remarkably intact when Aquilino discovered it. He organized a team including his partner in the studio, Ken Hirsch of Orphan Audio, as well as guidance from Phil Dudderidge, Chairman of Focusrite Audio Engineering, who had acquired Focusrite from founder Rupert Neve in 1989. The team went to BOP Studios in September 2019, where they purchased and disassembled the console over the course of ten days, then shipped it back to Platinum Underground, where Aquilino had already designed (with Hanson Hsu of Delta H Design) a new studio room to be built around it. (Platinum Underground, which opened in 2016, was designed by the late Vincent Van Haaff and is constructed 30 feet below ground; the new Focusrite Room is above and to the side of that.)   

Not surprisingly after all that time, the relocated console needed some refurbishing, which included a complete recapping and new switches, as well as the replacement of 4,600 LEDs. The restoration process was initially started by Joel Gette of Thermal Relief Design in Las Vegas, before the desk was moved to its new site in the Phoenix suburb of Mesa for its full and complete restoration and recommissioning by Ken Hirsch and his team at Orphan Audio. Once inside the studio, additional HVAC, with a custom plenum and silent-running fans, had to be installed to keep the console at a constant 72 to 74 degrees F. The console’s original two 7-foot-tall power racks have been replaced with just 3 feet of modern, high efficiency supplies designed by Hirsch. The ancient GML automation is replaced with the Tangerine Automation Interface for GML Automation from THD Labs, which integrates directly with the console faders on a fader-by-fader, bucket-by-bucket basis, with all of that control information sent over a USB bus to the computer. “The automation is now seamless and transparent between the hardware of the desk and the user’s DAW,” Aquilino explains. “Any user can come in to the studio, fire up a session, load up this plug-in and just go, and not have to worry about knowing some archaic, proprietary software.”  

The Focusrite Studio Console came back to life late last year and did a series of local productions with Aquilino, an accomplished engineer for artists including Metal Allegiance, Sacred Reich, and SoulFly, at the board. “I needed a great team to make this happen, like TRD, everyone at Ken’s shop, and of course, Phil,” he says. “But the result is the kind of console that made classic recordings. You cannot duplicate this in today’s business — the console’s cabling is silver wire….. kilometers of it! There is nothing like it anywhere. And now, it's an amazing console in an amazing space.”  

As remarkable as the resuscitated Focusrite Studio Console is, that’s far from the only Focusrite technology in the facility. Aquilino says that the studio is in the process of implementing Dante® connectivity between both the new Focusrite Room and The Platinum Underground‘s existing SSL control room, large tracking room, and isolation booths, complemented by RedNet A16R and HD32R interfaces throughout both studios. “This will allow us to smoothly move projects between spaces, as well as increase flexibility of session management,” he explains, adding that having both vintage and contemporary Focusrite gear in the same facility is the best of both worlds. The studio also has 12 Focusrite ISA 215 dual rack mount mic pre-EQs, for a total of 24 channels of original ISA 110s (each 215 contains two of the original ISA 110 mic pre /EQ circuits in each box). Finally, Aquilino says he’s chosen the S5H speaker from ADAM Audio – part of the Focusrite family – for the mains in The Focusrite Room. “They are absolutely amazing speakers. Just stunning sounding,” he says. “They are the perfect complement to #5. Incredible depth, amazing detail, and the imaging is spectacular.”  

The Focusrite Studio Console had a deep impact on many people’s lives and careers and is much loved by the engineers, producers, and musicians who have experienced it up close. Using Rupert Neve's original design of the ISA 110 EQ processor as inspiration, the Focusrite Studio Console is thought of as the pinnacle of British audio-console innovation. A documentary about it can be seen here.