Cool #free reverb #plugin for #Mixing.
#musicproduction #Musicians #Producers

Cacophony Is An Open-Source MIDI Sequencer By Subaltern Games
Subaltern Games has released an open-source MIDI sequencer called Cacophony, and it’s free if you want to compile the program for yourself. The developer wanted its strength to be its minimalist and ergonomic design, which is why the software looks like an old video game and has a strong tracker influence. It’s minimalist because it [...]
View post: Cacophony Is An Open-Source MIDI Sequencer By Subaltern Games

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.

Games need decentralized randomness to be fairDoes your RNG have sufficient randomness? Is it secure against tampering? Is it decentralized? These qualities are critical to building a viable metaverse.

Hey @drillbaz, there are buttons to apply right here in the group "Promote Yourself":
https://publme.space/groups/profile/12372/

The latest version of Reaper is now available with new features and bug fixesUS-based digital audio brand Cockos has announced the newest update to its Reaper DAW, including a range of new features and fixes.
Reaper 7.001 landed just earlier this week (16 October), and a huge changelog has been made available online listing all of the adjustments made to the software.

READ MORE: Universal launches claims-free music and sound effects subscription service for content creators

As also summed up by Sound On Sound, Reaper 7 most notably now has a Track Lanes feature, which allows users to manage and organise alternative versions or takes of their in-progress piece. Using a new Swipe Comping tool, you can also quickly create composite takes by selecting parts from multiple versions of your track, and you can also run A/B comparisons with just one click.
Reaper users can also store and recall self-contained FX chains, even with complex routing configurations, and apply parallel routing to multiple plugins and FX Containers. Track channel and MIDI In/Out counts have been increased, with tracks now supporting up to 128 channels.
MIDI routing is able to handle up to 128 buses, and there are no restrictions on the number of tracks, send/receive paths, FX and ReScripts you can use. Other key features include:

V6 option for overlapping recording to create new media items is replaced by option to add lanes, but playback behaviour is identical to V6
Supports adding lanes by dragging media to a hashed ‘parking area’, automatically removing empty lanes
Supports naming individual lanes, resizing lane name area
Supports reordering fixed lanes by dragging lane buttons up/down
Displays media item volume knob, FX button, mute button by default
Enables preference to record media, copy imported media to project media directory by default
MIDI editor defaults to one editor per project

The update is free to those with a licence. View the full list of changes and find out more via Reaper.
The post The latest version of Reaper is now available with new features and bug fixes appeared first on MusicTech.

Using Haas-effect quite a lot.
#musicproduction #Mixing

Warner-backed generative AI startup from co-inventor of Siri starts record labelAn AI startup co-founded by the inventor of Siri and backed by Warner has started its own record label, per Music Business Worldwide.
LifeScore Music, co-founded by Tom Gruber, launched the record label Kaleidoscope which is set to feature music that’s composed and performed by artists but then “amplified with LifeScore’s generative AI technology”.

READ MORE: Spotify “Supremium” subscription pricing and further details unveiled

The team at Kaleidoscope work with sound designers and experts around the world to create what it describes as ambisonic recordings, which are interwoven with musical elements to create a “sense of time and place”.
Mary Lockwood, LifeScore’s Chief Audio Officer, asks, “What if you could take the tracks you love so much and experience them in a totally new, different way?
“Whether we’re working with an artists’ existing catalogue, or creating our own new music, the original compositions always remain at the centre of the creative process. The technology is simply there to bring in a surprise factor at the end – to create an experience that’s still uniquely that artist’s music, but coloured by something new and delightful.”
The new record label is set to release a number of albums later this year, beginning with five wellness-focused releases. Riverside Flow was made for yoga, while Skywalk is based around the rainforest, and Castles In the Sand is a beach soundscape.
Twilight Jungle is tailored for sleep, lasting eight hours, while Alpenglow evokes the image of walking through the mountains.
Kaleidoscope is also set to launch collaborations with artists, and will release new music each Friday throughout October. Last Friday (6 October), Riverside Flow was released.

According to LifeScore, the process of making music starts with raw materials sourced from some of the best studios around the world, as well as master recordings provided by artists.
The recordings are then transformed with AI, with remixes and alternate versions made, and many of the releases supporting activities such as sleep, energy, relaxation, and focus.
The post Warner-backed generative AI startup from co-inventor of Siri starts record label appeared first on MusicTech.

"How are you doing with this insane pace of the music industry?..
There is so much flux. A couple weeks ago MIDiA Research’s Mark Mulligan told us if you are following the rise of daily music releases from 60,000 per day to 120,000 per day, it’s time to get ready for the reality of 1 million tracks per day! What photographers faced with the release of the iPhone and the rise of Instagram, music is finally facing. The appetite for music has never been stronger and the tools for new music creators have never been cheaper and more plentiful, including a way to reach a massive audience. Mark says the post-streaming era is already here and it brings together the creator economy, super fandom, and AI." Well said Dmitri Vietze ( #MusicTectonics ).
#MusicIndustry #MusicBusiness #MusicTechnology

Raised fees are “shattering” Discogs’ community, sellers sayRising fees are “shattering” Discogs’ vinyl community, The Verge is reporting.
In recent years, Discogs has been huge among vinyl collectors and music fans, the platform giving them the chance to buy even the most obscure records and look up information about numerous artists and releases too.

READ MORE: Early Indian electronic music found on tapes in a university cupboard released in a compilation

“Some people just buy records for the album art hanging on the wall,” says Doug Martin, who’s been selling on Discogs since 2020, in comparison to Discogs users. “These were real fans listening to real music who cared about the format and the medium. That’s what attracted me in the beginning.”
But while Discogs has been a huge part of the internet for music aficionados, many sellers are unhappy with rising fees and restrictions, and the slightly outdated feel of the site.
One seller from Connecticut tells The Verge, “I’ve made my living with this company for the past decade. It’s just the frustration that you have no control over what they’re doing, and it doesn’t even make any sense.
“They’re under the impression that they’re the only game in town. The fees were relatively low, but now that they’re higher, there doesn’t seem to be a reason to use that anymore.”Indeed, one seller based in Europe says that he does 80% of his business on Discogs, and makes around €20,000 a month on the site. However, his sales have halved over the past year, and he’s in the process of ditching the site and building his own.
Issues first began when Discogs raised its fee from 8% to 9% in May, and began charging the same fee on shipping costs too – making international transactions, often popular on the site, more difficult.
Discogs suggested that sellers use a tool it had created to raise the prices of all of their products by the same percentage, or offer free shipping. Doug Martin, another Discogs seller, says of their communication with sellers, “It’s like, ‘I said what I said, and we’re done.’ Well, you’re really not, because we all have to live with this and so do you.”

The post Raised fees are “shattering” Discogs’ community, sellers say appeared first on MusicTech.

Songtradr says it will ‘work towards a fair and equitable outcome’ for Bandcamp workforce, following layoffs at Bandcamp made by former owner Epic GamesOne of the biggest music industry stories of the year arrived last week with the news that Songtradr is to acquire Bandcamp from Epic Games. The announcement arrived a year and a half after Epic (the maker of the hit video game Fortnite, and Unreal Engine) itself acquired Bandcamp – an online music store and direct-to-fan … Continued
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Spotify prompt-driven AI playlists risk devaluing many artists, genresSpotify is testing AI-generated playlists based on custom prompts. The streamer successfully launched its AI-powered DJ feature last year. Code pointing to prompt-driven AI playlists was discovered within the Spotify. Continue reading
The post Spotify prompt-driven AI playlists risk devaluing many artists, genres appeared first on Hypebot.

YouTube Shorts sponsors Manager of the Year category at A&R AwardsShort-form video platform backs management showdown at UK industry's elite awards night
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"If a number of popular "artists" today would follow even a handful of these, I think that the music of today would be much much better!" - one posted comment in 2012.
Advice to Young Musicians, by Robert Schumann.
#Artist #Musicians #Music #Education