AI-powered music creation app Moises launches new tools for easier productionMoises, an AI-powered app for music creation, has launched three new features which aid the production process.
The new features – AI Lyrics Transcription, Song Sections, and Extended Chords – will “empower singers, songwriters, and musicians to unlock their full potential”, according to the brand.

READ MORE: New music platform Myvox lets artists licence and monetise their own AI voice models

The app’s new AI Lyrics Transcription tool can transcribe lyrics from songs in multiple languages, such as English, Spanish, Portuguese, Italian, and French, and can synchronise lyrics with “word-by-word precision”.
Users can also access their transcribed lyrics on all platforms, so you record an idea on a mobile device, import it into Moises, and continue to work on the same project on a desktop device for easier collaboration, or producing on the go.
Also now in the app is Advanced Chords, a new addition to the Chord Detection feature. This provides more accurate chord detection and advanced chord capabilities so that users can access complex jazz chords and more.
Chords are also categorised into three different types (easy, medium, and advanced) so that musicians have the right chords for their skill level.
And finally, due to user requests, the platform is also now offering an AI-powered Song Sections feature which automatically detects and can loop different parts of a song such as the intro, verse, and bridge. The tool has been created to offer gigging musicians who need to learn fast a swifter way to practice.
“Each of these features provides new functionality unique to Moises,” says Spencer Mann, VP of Growth at Moises in a press release. “Our product team has listened to our incredible customers and these new features are the result. They are all designed to help intermediate and advanced musicians get the most from their experience in Moises.”
Find out more at Moises.
The post AI-powered music creation app Moises launches new tools for easier production appeared first on MusicTech.

Andrew Huang teams up with Baby Audio on new FX plugin, TransitProducer extraordinaire Andrew Huang has teamed up with Baby Audio to create Transit, a multi-effects plugin that will give your mix “transitions super powers”.

READ MORE: AI-powered music creation app Moises launches new tools for easier production

Transit hosts 18 powerful effect-modules, freely loadable across 7 slots. You get classic modulation effects, distortion and degradation options, motion FX, reverb, delay, two filter types – and even a synth oscillator and noise generator for adding risers and sweeps to your transitions. All effect parameters can be linked to a global Macro Control, which you automate to create complex FX transitions with one knob movement.
There’s also a Sequencer Mode allowing users to program and trigger DAW-synced automations at the click of a button. Perfect for live use or for writing perfectly timed automations into your mix session without entering the automation lanes.
In addition, Transit comes preloaded with more than 300 presets created by Huang and sound designers at Baby Audio. Users can also get creative with a flexible randomisation engine that lets you set specific random-ranges and lock modules/ parameters to only randomise certain parts of the plugin.
“We wanted to create a type of plugin that hadn’t been done before – one that would make it easier and more creative to dial-in the transitions and ‘ear candy’ that modern tracks rely on,” a statement from Baby Audio reads. “Transit delivers on this idea, and its semi-modular architecture, along with 300+ high quality presets, makes it as deep or as fast as you need it to be.”
“Initially the concept was about speeding up the workflow when you’re creating transitions in songs, but as the development process went on, we just kept discovering new, really cool possibilities with it,” Huang says, adding that he’d had this plugin idea “kicking around for a while”.
“And then I decided there’s no way I could make it myself. And when I started thinking about who I’d want to collaborate on with it, Baby Audio was at the top of my list just for their sound quality, their aesthetic… So I reached out to them and it was just this amazing moment of serendipity because they got back to me and they were like, ‘hey, we were actually thinking of reaching out to you just because we think you have cool ideas and maybe you’d wanna do a plugin together.’”
The plugin is compatible with all major DAWs for Mac and PC and is fully Mac M1 native.
You can now pick up Transit at an intro price of $59 (U.P $99).

Learn more at babyaud.io
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Songwriters are worried about BMI’s private equity sale – and if it will hurt their royalties. What happens now?MBW has heard rumors from senior music biz figures that BMI has explored talks with a number of potential backers/suitors, with the latest name on the lips of the business being New Mountain Capital
Source

Agree with Calvin Harris.

Producer reveals how he made over $1,000,000 selling beats on YouTubeRap producer and YouTuber KXVI has posted a video explaining how he made over $1,000,000 selling beats and collaborating with type beat producers.

READ MORE: Nearly 120 historic hip-hop artefacts – including a ring designed by Tupac – go on sale in Sotheby’s auction

Speaking in a video entitled How I Made $1,062,634 Selling Beats Online, the producer explains his journey to success, highlighting that it was through selling beats on digital production marketplace BeatStars, that helped, as well as reaching out to popular producers on YouTube.
The producer – who now collaborates with the likes of Lil Tjay and in 2022 helped produce DJ Khaled, Future and SZA’s BEAUTIFUL – mentions that reaching out to ‘type beat’ producers on the platform played a role in the success story. If you don’t know, ‘type beat’ producers are those – typically in hip-hop – who make beats emulating the style of a specific artist or producer.
KXVI explains how he started to make success selling beats online, especially off one instrumental, Elevate which made him $1,000 – $2,000 a month. Then, a few years later, he met fellow producer Dilly Got It Bumpin’, who showed him how he’d made $30,000 from selling beats on BeatStars in a matter of days, inspiring him to reach the same level of success.

He goes on to say how by sending loops every day to hugely popular type beat producers, resulting in collaborations, he began getting a 50% cut on the beats they sold together via BeatStars. He also started making his own sample packs, later bringing in session musicians for a pack called Elements of Soul, thus improving the quality of the packs, which paid off in terms of popularity and more revenue.
At the end he says, “If I’ve learnt anything form my journey, it’s just that you’ve just got to keep going… everyone I used to make music with when I was 14, everyone who’s kept going for the seven years that I’ve been doing this, they’ve had major placements or made money online from their music. If you keep going, you’re going to find some success from your music.”
Subscribe to KXVI’s YouTube channel.
The post Producer reveals how he made over $1,000,000 selling beats on YouTube appeared first on MusicTech.

YouTube launches #AI #Music Incubator with #artists #Producers #Songwriters from Universal Music Group.
When market changes, majors step in.
#MusicBusiness #MusicIndustry

IK Multimedia’s UNO Synth Pro X is what the synth community deserved from the startEnrico Dell’Aversana is effusive when he talks about the new IK Multimedia UNO Synth Pro X. As well he might be – as the brand’s product manager, he has overseen a complete user interface redesign that reimagines its predecessor as an instrument focused on creation, performance and experimentation (he describes previous version as a ‘preset machine’).
“We really thought about how people use and experience the synth and we wanted as many people as possible to be able to have a good experience using it” he tells us from his base in Italy.
The new model is the result of extensive consultation and feedback from the synth community. Building on the powerful synth engine from the UNO Synth Pro, taking control of the redesign process gave Enrico and his team the chance to address what some producers felt were the shortcomings of the original. Largely, in the lack of hands-on control that it offered.
Image: Simon Vinall
“We wanted to gather as much information as possible about how people were using the synth and how they wanted to use it – otherwise it would just be just my point of view. When we did the first UNO Synth Pro, I wasn’t fully involved in the project; the interface wasn’t something I had a lot of input into. But with the Pro X, I took complete control of everything from the user experience to the decisions about which potentiometers to use. I think, with the mechanical designers, it took us a month and a half to come up with the knob specifications.“
This approach is applauded by YouTuber and synth aficionado BoBeats, who provided feedback not only on the original synth but on where he thought its successor should be aiming, as a self-professed ‘synth nerd.’
“It started when I was checking out the original UNO Synth Pro”, he tells us. “It was a great synth but I sort of knew immediately that the physical UI and the colour scheme didn’t quite do it justice. I talked to IK about the expectations when you are a synth nerd and you have something that is this advanced – you don’t really see features like these on an analogue synth under $1,000. I tried to convey to them what I’m drawn to as a user.”

Bo’s issues with the original synth were less about its powerful sound engine and more about the way it limited your access to its parameters. He explains “[IK] took a lot of the ideas from the original UNO Synth Pro and thought, ‘OK, we have to create something that has a look that’s equivalent to the power inside. I think the team figured out the balance between the complexity of the sound engine and an interface that is still accessible.
“On the original UNO Synth Pro, I found as a synth educator that you have all this power but only a few knobs to turn, and you’re going through lots of submenus, which can be difficult to demonstrate to users.”
Enrico confirms that opening up the incredible depth of programming capabilities to faster and easier control by the user was paramount when he approached the design of the new model. “The UNO Synth Pro was really a preset machine, so you went into your studio and prepared your presets and sounds and they were easy to call up. And the same for the keyboard version – you go to the stage and play without much experimentation.”
“With the Pro X, I wanted to create more of an experimentation machine; to really focus on the involvement of the user in creating the sounds instead of just recalling presets. So the interface had to be completely different – more tactile, easier and faster to use. And that’s why the sequencer is way more prominent in the interface. In 2023, a lot of synth aficionados aren’t necessarily keyboard players.”
Image: Simon Vinall
Bo concurs about swapping the prominence of the keyboard and sequencer, suggesting that it’s a better fit for the synth’s audience. “On the Pro X, IK have put the sequencer front and centre which makes a lot of sense because it’s something you interact with a lot. The keyboard now features less prominently – in fact, on the original, it wasn’t the greatest quality – and I think people are much more likely to program the Pro X using the sequencer than by playing its onboard keys.”
The Pro X (Enrico suggests, half-jokingly, that the ‘X’ is for experimentation) packs a lot of functionality into its compact and very portable frame, including three discrete wave morphing oscillators, dual filters with an OTA-based multimode filter, 10 stereo effects, a paraphonic 64-step sequencer, 10-mode arpeggiator and a host of CV/gate ins and outs to connect to your other analogue studio gear and computer, with a companion plug-in for preset management and remote operation. The extensive feature set sounds like it could exclude less-experienced creators, but neither the designers nor those who have used it extensively see that as being the case.
Discussing the kind of person who would get the most out of the Pro X, Bo suggests that it depends on how complex you want to go. “If someone just wants a simpler bass synth for example”, he says, “they might think about a Korg Minilogue XD or something like that.”
Image: Simon Vinall
He continues, “To be honest you can use it as a beginner or an advanced user but who is the ideal user? It’s an intermediate to advanced user that will get the most out of it. As a beginner, you can use its depth – a mod matrix, advanced sequence programming – as a learning tool.”
Enrico agrees. “What I had in mind was to make a synth where, even if you’re less experienced, you can get familiar with it because the layout makes sense – it’s very Moog-ish – so you know where things are. But as soon as you know what you’re doing you will discover new things, and start connecting things.
“When we were designing the synth, the idea was ‘maybe the user doesn’t know everything about synths yet but they want to be able later on to do more and more.’ So, yes, it’s for people who know what they’re doing but also for those that don’t yet, but will grow into it. You can do simple sounds but you can grow with it over time.
Image: Simon Vinall
“We designed it to be an investment for people. I’m the kind of guy who saves to buy the synths I like. When I go and buy something, it’s not because of the brand or how Instagrammable it is, but how long I’m going to be using it for, how much it’s going to give me in exchange for my money.”
Price is a factor that comes up in discussions about the Pro X, which IK has tried to keep as affordable as possible while maintaining a feature set that you don’t necessarily see in comparably priced synths. MusicRadar describes it as “well-priced” and while Bo suggests that trying to get the price down by $100 could potentially make it an easier sell, that’s arguably true of any product.
Most people who have tried it out agree that the Pro X occupies something of a unique position in terms of its features versus its price. In his review, Loopop identifies some monosynths out there that can be had for a couple of hundred less – mostly from Behringer – but generally lack onboard effects and sometimes presets, and are typically not paraphonic. For a little more money, he identifies the Behringer Deepmind 6 and Arturia MiniFreak as possible alternatives, albeit with different feature sets.

Enrico highlights the tradeoffs that he feels other synths appear to make when balancing features with cost – and why he feels they got the balance right with the Pro X. “For the price, it really doesn’t have that many compromises compared to the competition. You can have a polyphonic synth, but it won’t have a sequencer with this level of depth. Or it doesn’t have this breadth of effects. Or you get a monophonic synth that has a keyboard but no effects or lacks a good sequencer. Or doesn’t have presets! Even if some people don’t need them in 2023, you need to provide the facility to save presets.”
Bo tells us that, in his opinion, the decision to go with a more portable build as opposed to super-premium for cost reasons is the right one. “If IK had gone with an even more expensive build and a higher price, that could have been problematic because UNO Synth is supposed to be accessible; it’s not supposed to be a super-premium and expensive product. I think it’s on the reasonably priced side of things. It’s really about what IK is aiming for here.”
But for him, its position as the flagship of the UNO range still makes sense. “I like what IK is doing – it would have been easy to make another super budget synth but its saying, ‘OK, let’s increase the budget and improve the physical design and focus on the small details.’ And it’s a synth that’s designed for enthusiasts, so I think that’s the right way to go.”
Image: Simon Vinall
Enrico expands on the design decisions that were made when re-imagining the physical interface and software for the Pro X – not all of them financial by any means. “We have a very powerful analogue synth engine that’s quite hard to find for the price. Very few have two filters – maybe the Korg MS20, of which I am a huge fan. I traded off some features in the Pro for others in the Pro X.
“A simple example is that, in the original, there was a compare function that toggled between saved and current versions of a sound. But in the Pro X, there’s a record function. The idea is that someone might be experimenting with a sound and not necessarily know how they arrived at the end result so now they can wind back and find out.”
And it’s not just a case of adding a bunch of features either – a lot of tweaks were made along the way. Enrico continues; “we dropped the old phaser and flanger; great effects but not that popular any more. And I went for a Univibe effect which is weirder.”
Other changes were mostly in the refinement of the analogue engine. “The presets between old and new machines aren’t compatible for the simple reason that I changed so much about the internal design of the engine –smoothing off the rough edges. And we added the bass mode. I’m a huge fan of the TB-303 so that’s a feel that we wanted to give to the users.”
Image: Simon Vinall
However, IK is keen to stress that, unlike some other synth manufacturers, it isn’t trying to imitate any particular sound or chase trends but leave its mark in a crowded field. Discussing the wider market, Enrico opines: “To me, it shows that some other companies are holding back from giving everything they could. So with the UNO Synth Pro X, you get something that has all these features for the price or less than the price of something that doesn’t, but that has a brand.”
“We’re not a clone company and we’re not trying to be somebody else – we have our own sound. We’re going to give you another choice of sound, adding another flavour into your cooking, as it were. And how could you do that without doing something different? We give you a new flavour, without being someone else, and for a price that is reasonable – and that was the whole idea!”
Image: Simon Vinall
He credits his team, Davide Mancini and Luca Starna from Soundmachines, Francesco Spelta (mechanical and UX designer) and Enrico Lori, the CEO of IK “who helped in many ways and let us go for it”) for the success of the project.
The last word goes to Bo, clearly enamoured of the Pro X. “IK has really listened to the feedback it got from the whole synth community – improve the build quality, give us more hands-on control and show us on the front panel how deep and complex it is. I feel like the team pushed really hard within the company to get what they wanted. With the original, I had a lot of suggestions but with this one, they took my wish list – not literally – but they took it and made it happen.”
No doubt, however, that even the UNO Synth Pro X will leave producers with a new wish list of features; no doubt IK Multimedia and Enrico will be on the lookout for more ideas.
Learn more about the UNO Synth Pro X at ikmultimedia.com.
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It seems really interesting scientific research and reminds a bit of a project by DJ Fresh called Mindtunes.
Scientists reconstructed Another Brick In The Wall listening to people's electrical brain activity.
#MusicTechnology #science #Music #MusicIndustry

SoundExchange sues SiriusXM for more than $150M in unpaid royaltiesSoundExchange has filed a lawsuit against SiriusXM to recover what it says are substantial unpaid royalties and late fees owed under the Copyright Act for the use of recordings on. Continue reading
The post SoundExchange sues SiriusXM for more than $150M in unpaid royalties appeared first on Hypebot.

How much #Music #AI is really enough?
Hey #MusicIndustry, wtf... I like #MusicTechnology but for which purpose do we need all that stuff in these crazy scales?!
PS: New music generator can [again] generate more than billion soundtracks.
It is understandable from the tech startup point of view but currently already 2 tracks a second are being released.
#MusicBusiness #Musicians #artists #Producers

MNTRA Instruments releases Mirage, the FREE cinematic instrument for macOS and Windows.
Mirage is a musical collaboration that blends the ancient art of Dhrupad vocals with the deep resonance of a rare 1830 Church Bass.
#musicproduction #free #plugin #Film

The Chainsmokers to support fellow musicians in NY

Public places music detection tool for #royalties by Audoo with PRS and PPL support.
#Music #Musicians #artists #MusicIndustry #Tools #MusicTechnology

#AI voice generation technology for artists to license their voices.
#musictech #musicproduction #MusicIndustry #Musicians #artists #Licensing

The Recording Academy has revealed its key dates and deadlines for the upcoming 2024 GRAMMYs which will be held on February 4 2024. Submissions are now open until August 31st, with the nominees to be announced on November 10th. Grammy submissions now open.
#Grammy #Musicians #artists #Producers #Music #MusicNews