The MLC Strengthens its Outreach and Education, Member Services and OperationsAs the Mechanical Licensing Collective (The MLC) approaches the end of its fourth full year of operations, it remains committed to seeking – and acting upon – Member feedback. Since beginning full operations, The MLC has consistently sought feedback from its Members to enhance its tools, resources and operations. This feedback has continuously validated The MLC's focus on conducting extensive outreach and education activities aimed at reaching as many prospective members as possible, providing best-in-class support services to its Members, and strengthening internal operations to ensure they are both effective and efficient. To further support its activities in these key areas identified by Member feedback, The MLC has elevated five existing leaders whose work focuses on these activities. This will allow The MLC to amplify its efforts to engage and educate more new Members, enhance the support services it provides to those Members, and continue to improve its internal operations for the benefit of its Members and its other stakeholders.

As the statutory mechanical licensing collective established under the Music Modernization Act (MMA), The MLC is responsible for administering the blanket compulsory mechanical license available to eligible digital service providers (DSPs) in the United States. Since the first royalty distribution in April 2021, The MLC has enrolled over 45,000 Members and completed every one of its 41 monthly royalty distributions on time or early. As a result, The MLC has achieved total royalties distributed of over $2 billion.

Both the MMA and the guidance issued by the U.S. Copyright Office require The MLC to undertake extensive efforts to conduct outreach and educational activities aimed at reaching the full cross-section of the rightsholder community. Since beginning full operations, The MLC has conducted extensive outreach and educational activities that have allowed The MLC to reach rightsholders wherever in the world they are located, while also strengthening partnerships and industry relations. Ellen Truley has led these efforts since before The MLC first began full operations, enabling The MLC to reach hundreds of thousands of stakeholders in the U.S. and around the world and to enroll over 45,000 Members to date. To further these efforts, Ellen has been elevated to Chief Marketing and External Affairs Officer. In this role, Ellen will continue to lead The MLC’s effort to develop and execute its overall marketing strategy and oversee the organization’s advertising, marketing and communications efforts, while also coordinating its educational activities, songwriter relations, industry partnerships, government relations, and other external affairs.

As The MLC continues to expand its membership across the U.S. and around the world, the organization remains steadfast in its commitment to continuously enhance and improve the service and support it provides to its Members. At the heart of The MLC’s service functions lies its industry leading Support Team, which was created and has since been managed by Lindsey Major. To further enhance The MLC’s member services, Lindsey has been elevated to Chief Member Experience Officer. In her role, Lindsey is responsible for designing, implementing and coordinating the delivery of world-class experiences to The MLC's growing membership. This includes coordinating the development and enhancement of The MLC’s growing suite of tools that enable Members to register works, claim their shares of previously registered works, submit proposed matches of their works to unmatched usage, and more.

The MLC has undertaken extensive efforts to accurately match sound recordings to the corresponding musical works, in order to fulfill its mission of striving to ensure that rightsholders receive all of their mechanical royalties from services operating under the blanket compulsory license. As a result, The MLC has achieved current match rates of roughly 90% for all royalties processed. Andrew Mitchell has led The MLC’s matching efforts from the start. As part of a larger plan to bolster The MLC’s matching capabilities, Andrew has been elevated to Chief Analytics and Automation Officer. Andrew will continue to oversee matching – including The MLC’s internal Matching Team and The MLC’s recently announced Supplemental Matching Vendor Network – while also designing, developing and implementing new strategies for harnessing the MLC’s data, leading the MLC’s fraud prevention efforts, and developing new ways to automate The MLC’s internal business processes.

Since completing its first royalty distribution in April of 2021, The MLC has completed every single monthly royalty distribution on-time or early, which has allowed The MLC to achieve total royalties distributed of over $2 billion. Joya Carmichael has led The MLC’s efforts to create, document and manage the end-to-end royalty distribution process starting with the very first monthly royalty distribution. Building upon this track record of success, Joya has been elevated to Chief Administrative Officer. Joya will continue to lead the team that coordinates and manages The MLC’s end-to-end royalty distribution process, while expanding her remit to manage other key internal processes and lead various process documentation and process improvement initiatives for the company.

Since being initially designated by the U.S. Copyright Office 2019, The MLC has met every operational milestone set by Congress and successfully fulfilled the statutory mandates outlined in the MMA. Rick Marshall has been instrumental in ensuring The MLC’s compliance with its statutory and regulatory obligations since joining the organization in 2021, while also managing The MLC’s interactions with DSPs and the blanket compulsory licensing process. Earlier this summer, Rick was elevated to General Counsel. In this new role, Rick will now lead The MLC’s in-house legal team and coordinate all of the organization’s legal matters, including its interactions with the U.S. Copyright Office, the conduct of The MLC’s important enforcement obligations under the MMA, the management of any pending litigations, and the provision of legal advice and guidance to the rest of The MLC’s team.

Strengthening its operations in these key areas reaffirm The MLC’s commitment to support its growing membership, drive innovation and transform rights administration in the music industry.

For more information about The MLC, visit www.themlc.com.The post The MLC Strengthens its Outreach and Education, Member Services and Operations first appeared on Music Connection Magazine.

The new multitrack recorder via built-in mic in #Apple iPhone16 with #AI recorded-tracks-separation is rather interesting go-to solution for drafts in #musicproduction. Good feature but the cost idk... #Tech #Musicians #Producers

Apple’s new iPhones apparently have four “studio-quality” mics and multi-track recording in Voice MemosIt’s that time of the year again, as Apple unveils its latest generation of iPhones at Monday’s ‘It’s Glowtime’ keynote event.
Between the new A18 chip, an added Camera Control button, and the arrival of Apple Intelligence — the Cupertino giant’s very own artificial intelligence software, the iPhone 16 boasts a slew of exciting hardware and software upgrades for both serious and casual users alike.
For musicians and producers who rely on their iPhones for music-making and capturing song ideas, the new lineup introduces a range of audio enhancements designed to level-up your creative process.

READ MORE: Spotify wins lawsuit over Eminem’s publisher in licensing rights dispute

To start, the brand’s top-of-the-line iPhone 16 Pro and Pro Max models are said to deliver a “big leap in audio performance” with not just one, but four “studio-quality” mics for higher-quality recording. The mics provide a lower noise floor so you get more true-to-life sounds without the need for extra gear.
Multi-track recording will also be coming to the Voice Memo app later this year. Users can now layer another track on top of existing recordings, which will come in handy for when you want to record your singing over guitar instrumentals, for example.
According to Apple, Voice Memos plays the guitar track through the iPhone speakers while simultaneously recording your voice. The system then uses “advanced processing” to isolate your new vocals and cancel the background audio for a professional result — without the need for headphones, or another app.

The iPhone 16 will hit the shelves officially on Friday, 20 September, with prices starting at $799 for the base model and $999 for the Pro model.
Grammy-winning producer and songwriter Tourist previously spoke about his love for Apple’s Voice Memos app, calling it an “absolute no-brainer” for music production.
“I mean there’s even a part of me that’s really happy with that built-in iPhone mic because it has such a character,” he said on MusicTech’s My Forever Studio podcast. “It sounds like the year that the phone was made. And the compression, whatever they do with that compression… I think people can hear an iPhone mic. I like that.”
Learn more at Apple.
The post Apple’s new iPhones apparently have four “studio-quality” mics and multi-track recording in Voice Memos appeared first on MusicTech.

Meta and Instagram spotted developing a new social music-sharing featureMeta and Spotify are exploring deeper music integration in Meta’s Instagram app. New findings indicate the companies are testing a feature that would allow users to continuously share what music they’re listening to through Instagram’s Notes. The new functionality was first spotted by reverse engineer Alessandro Paluzzi, who often finds unreleased features while they’re still […]
© 2024 TechCrunch. All rights reserved. For personal use only.

Essential Financial Strategies for Touring Musicians #Musicians #artists #MusicBusiness #touring

Watch Aphex Twin DJ at his friend’s weddingImagine celebrating one of the most important days of your life with one of the greatest electronic musicians of the 21st century spinning tracks just for you.
Last weekend, Aphex Twin – real name – Richard David James – was spotted DJing at a private wedding in what’s probably one of the most overqualified wedding gigs ever.

READ MORE: Watch deadmau5 play the medieval EP-1320 while wearing a suit of armour. No, seriously

The precious moment, which has since been immortalised on TikTok and Twitter/ X, sees the musician performing for a small crowd of under a 100 people at the wedding venue. One of the songs featured in James’s set was The Bells by drum and bass producer Jonny L. The DJ’s signature visuals were also projected on the screen behind him during the show.
According to an attendee on TikTok, Aphex Twin and the groom have been friends for years, and that the DJing gig was a wedding gift. The evening also featured British electronic musician Luke Vibert and a DJ from the London-based record label futureRetro behind the decks.
Check out the moment below.

aphex twin playing his friends wedding party yesterday. (luke vibert also played).
currently drowning in an endless sea of envy. pic.twitter.com/RjLZ0rLXI8
— babybera (@babyberafinance) August 18, 2024

Went to a friend's wedding reception last night and they had APHEX TWIN DJing! pic.twitter.com/nMHT14UaO3
— Heather (@_hthr_) August 17, 2024

Meanwhile, Aphex Twin is celebrating the 30th anniversary of his 1994 sophomore album Selected Ambient Works Volume II with a new box set arriving on 4 October. The collection will be available in digital, 3xCD, double-cassette, and 4xLP standard and box set editions.
This marks the first time that every track from the album will be universally accessible across all formats, bridging a gap that previously limited access to certain tracks, notably the vinyl-only release #19. The expanded edition also features two additional songs, th1 [evnslower] and Rhubarb Orc. 19.53 Rev.
Fans can pre-order the record from Aphex Twin’s web store.
The post Watch Aphex Twin DJ at his friend’s wedding appeared first on MusicTech.

New Twitch DJ Program: Everything You Need To KnowThe new Twitch DJ program offers groundbreaking opportunities to expand reach, make money, and engage with audiences. Here's what you need to know to leverage this platform effectively.
The post New Twitch DJ Program: Everything You Need To Know appeared first on Hypebot.

Roblox strikes deal with DistroKid – but indie artists won’t be paid any money from itRoblox revenues are forecast to hit $3.5bn across the course of this year
Source

Drake just dropped 100GB of unreleased content – and it gives you a peek into the sound of Abbey Road StudiosDrake has once again surprised the music world with his latest content drop, offering fans a glimpse into his creative process at the legendary Abbey Road Studios via 100GB of unreleased content.
This treasure trove, available on the newly launched website 100gigs.org, includes unreleased tracks, demos, and exclusive behind-the-scenes footage. It also marks the first major release from the Canadian rapper following his ongoing feud with Kendrick Lamar.
The pair have been trading diss tracks for the last couple of months, with Drake only featuring on tracks like Snowd4y’s Wag Gwan Delilah and Gordo’s Sideways during this period.

READ MORE: The beat for Kendrick Lamar’s Drake diss Not Like Us was created in 30 minutes

With the new drop, fans now have an epic 100GB worth of fresh material to explore. Among the highlights of Drake’s latest release are three brand-new songs: It’s Up, featuring the dynamic duo of Young Thug and 21 Savage, Housekeeping Knows, a collaboration with Bitch From Da Souf rapper Latto, and a new Drake track titled Blue Green Red.
Beyond the music, fans can also dive into intimate studio sessions from the iconic Abbey Road Studios as well as from Barbados, alongside a variety of never-before-seen video content. In a moment that epitomises the behind-the-scenes chaos of music production, we see Drake’s producer, Noah “40” Shebib, working on tracks at Abbey Road before he accidentally knocks out the power for the audio interface running Pro Tools.
In short, it’s a lot of footage for a lot of stuff. Drake and his label OVO Sound have also shared screenshots of the site via their socials, inviting fans to dig away at the media dump.
Check out the new tracks via Drake’s new “plottttwistttttt” Instagram account below.

View this post on Instagram

A post shared by @plottttwistttttt

View this post on Instagram

A post shared by @plottttwistttttt

View this post on Instagram

A post shared by @plottttwistttttt

The post Drake just dropped 100GB of unreleased content – and it gives you a peek into the sound of Abbey Road Studios appeared first on MusicTech.

Learn how to use a spectrogram in #musicproduction, posted at #Splice. #Audio #Editing #Education

#twitch #DJ category to appear, was quite predictable to provide it for #artists and #Musicians

Twitch to launch official DJ categoryAfter earlier this year announcing that DJs would soon have to share streaming revenue with record labels, Twitch is launching an official DJ category to further facilitate DJs who wish to stream and perform on the platform.
Arriving tomorrow (Thursday, 8 August), the new DJ category will sit beside Twitch’s existing categories including Just Chatting, Fortnite, Counter-Strike, League of Legends and more, per Mashable. The platform already has a Music category, but DJ will sit as a category on its own.

READ MORE: Universal Music deepens its partnership with Twitch for exclusive artist experiences

Twitch DJs are able to use a catalogue of approved music in their livestreams, and also have access to promo and sponsorship opportunities via the Twitch homepage.
In celebration of its landmark DJ category, Twitch is hosting a 24-hour livestream on 8 August from 8AM BST/3AM ET, featuring sets from Zedd, Sofi Tukker, BAYNK, Sam Feldt, Aluna and more.
“Today’s DJ category launch is a major moment for Twitch, the music industry, and our creators,” says Twitch CEO Dan Clancy. “There is something special in the way DJs on Twitch introduce music to their listeners. It’s personal and it’s community-oriented, so we’ve built a stable, long-term home where they can invest in building their brand and community.”
In a blog post announcing its new DJ programme in June, Twitch said the number of DJs streaming on its platform “has more than quadrupled” since 2020 and the pandemic lockdowns.
But until now, DJs have often seen their sets tampered with in some way, with muted sections and takedowns for using copyrighted music. With its DJ programme designed in partnership with major labels UMG, Warner and Sony, Twitch is aiming to ensure both fair compensation for DJs and copyright holders alike, and that streams stay unmuted on the platform.
To learn more about its new DJ category, head to Twitch.
The post Twitch to launch official DJ category appeared first on MusicTech.

BandLab partners with London’s Strongroom Studios for “treasure trove” of royalty-free sample packsBandLab has partnered with Strongroom Studios for a “treasure trove” of exclusive royalty-free sample packs recorded by producers, engineers and artists who have worked at the Shoreditch, London recording facility.
Available both free within Studio, BandLab’s online DAW, and directly through BandLab Sounds, the Strongroom packs add to BandLab’s existing library currently comprising over 100,000 samples.

READ MORE: BandLab mobile users can now experiment with beats for free before buying

The new Strongroom packs series includes “breathtaking and inventive” piano sounds by Fi Roberts, “blissful and twinkling” pop elements by TATYANA, Jelly Cleaver’s smooth soul guitar and piano textures, Alex O’Donovan’s warping synth tones and gritty drums, and much more.
Strongroom Studios has, during its 40-year history, hosted the likes of Lorde, Dua Lipa, Charli XCX and Radiohead, but this new partnership with BandLab marks its first foray into the world of sample packs.
In other BandLab news, the platform last month rolled out advanced features for mobile users including automation, an expanded library of vocal effects and improved filters.
It later introduced BandLab users the ability to experiment with beats on the platform for free before buying, even allowing them to add additional tracks and apply effects to a beat with no up-front financial commitment.
“This is the latest among many updates that demonstrate BandLab’s commitment to eliminating any barriers to creativity and making music creation accessible,” said BandLab. “This feature encourages users to try Beats in real-time, experiment freely, and immediately put their inspiration to work without upfront costs.”
You can learn more about the BandLab x Strongroom collaboration and have a listen to some of the sounds over at BandLab.
Editor’s note: BandLab and MusicTech are both part of the Caldecott Music Group.
The post BandLab partners with London’s Strongroom Studios for “treasure trove” of royalty-free sample packs appeared first on MusicTech.

Why indie labels are mastering the art of reissuing musicArthur Verocai, Mary Clark, Gloria Ann Taylor, William Onyeabor, The Supreme Jubilees, — all artists that, before recent reissues, you’d likely never heard of. Thanks to the relentless devotion of independent labels and crate diggers, these artists and countless others have seen a second wave of renown and success. With their music being remastered and redistributed, these old-school gems have found their way to DJs, dancefloors and streaming algorithms, which are letting them shine decades past their original release.

READ MORE: How will young people learn music and production in a post-AI music industry?

Reissuers spend countless hours securing audible gold to democratise access to PVC slices of tropical cool; music from far off lands that would only exist with exorbitant price tags, if available at all. If done right, reissuing contextualises the music and the culture it originates from – distributing revenue fairly and ultimately bringing new attention to deserving artists.
This, however, is no easy job. So, here, we learn from some of the most interesting reissuing labels around, the artists who’ve benefited from the process, and an award-winning audio technician who’s remastered and pressed much of this work to glossy new vinyl.
The process
“There’s always a story, and never an easy licence”, says Kevin Griffiths, who founded the wonderfully eclectic Isle of Jura Records in 2016. First, you choose a piece of music that deserves to be more accessible. Next, through a lot of “mundane detective work” you find the best quality physical copy you can and contact the licence holders – preferably the artist and original record label but, failing that, the producer, writer, or artist’s next of kin. From here, you work out a licensing arrangement; commonly five years of streaming, plus the remastering, repressing, and distribution of newly-pressed physical media.
Some reissues come together easily, such as Parisian Afrobeat and Afrofunk label Hot Casa’s reissue of Benin singer Stanislas Tohon’s killer 1985 four EP Owhaaou…! — as the French label had mutual connections with Stanislas. Others… not so much. Julien Le Brun, the label’s founder took seven years and eight or so trips into Togo to make its Togo Soul 2 compilation, a 13-track treasure-trove of rare and unusual music from the West African state.
A successful reissue often relies on strong personal connections and networks to find the original physical media and the original artist or label. Hot Casa’s musical connections, as well as the shared culture and language between France and its former colonial subjects in sub-Saharan Africa, are vital assets to founder Hot Casa’s reissuing catalogue.
Napo de mi Amor, an artist whose music was reissued by Hot Casa for their ‘Togo Soul’ compilation series.
When mutual connections aren’t present, it gets tricky. The quest to find the original creator of great music has even led Isle of Jura, based in Australia, to hire a private detective to hunt down the original creator of a record that has never had a full release, from 1982 New York.
Griffiths says he was introduced to the PI through a friend at another label who’d also used his services. It’s “unusual” for the label to go down this route, and this was the only time Isle of Jura had done it, but all other avenues were exhausted and there was little info online. Although he was successful in finding out who the artist was, they’d unfortunately passed away. Griffiths managed to find a family member, but at the time of writing, no licensing agreement has been arranged.
Even when you find the original creators, it isn’t certain that it will result in a reissue. After many hours, Hot Casa tracked an artist who wouldn’t give the rights over on religious grounds, as they became a devout pastor. The label has over 20 pieces of music they want to reissue but can’t because they either can’t find the person or said person won’t give permission.
The ethics
The benefits that reissuing provides to the original artists, both artistically and monetarily, are undeniable. Although some relationships between label and artist are inevitably shaped by the historical legacy of colonialism, the original artist still benefits greatly and withholds all artistic licence and responsibility. The benefit may be mutual, but it is far from exploitative; it’s symbiotic.
However, we can’t ignore streaming platforms’ insufficient contribution to original artists or labels. Josh FB from Discoteque Tropicales, a London-based brand specialising in Zouk and other classic French African dance music, adds that, despite the significant reach streaming can provide, this isn’t “sufficient to support artists”. Purchasing digital copies of music, if and when possible (particularly off Bandcamp, where fans have paid artists and their labels $1.3 billion to date), is still, and probably always will be, better than listening on streaming services.
Ronnie Lion x Isle of Jura
When considering the circumstances, however, even limited income from streaming is better than nothing — which may be what these artists would receive if their music stayed locked in insular markets, and only available on physical media; and this is before we consider any future potential revenue this new-found audience could provide through vinyl sales and concerts further down the line.
Reissuing is a positive force economically. Culturally, however, there is a fine line to tread; like timeless art or historical objects in museums, care must be taken to properly contextualise the artist and the art to pay homage to their work and the culture that created it.
It wasn’t made in a vacuum — and a reissue is merely a reflection of the powerful work already done by someone else; the limelight is theirs. Focusing the story on this, rather than picking it up from where and when the label found it, is essential to not whitewashing art and erasing the culture that made it. This should be as much of an act of historicising and story-telling as remastering, marketing, and distribution.
Sound quality
Some audio purists debate about reissues, often claiming that they’re not reproduced from analogue source material and, therefore, are of lower audio quality.
There is some truth to this. It’s unlikely you’d find the original lacquer cutting of an old recording, especially rare productions from developing countries. However, the reason the quality may be poor isn’t due to digital technologies poisoning the analogue process – particularly in this context.
Digital doesn’t necessarily mean worse. In fact, we’ve never had access to better-sounding material thanks to all the digital tools that can complement the work done by analogue workhorses. This “wasn’t true in the 90s” due to limited technologies and “flawed” CD formats, says Frank Merritt, leading technician and owner of The Carvery – a multiple Grammy-nominated vinyl cutting and mastering studio in East London. But it certainly is now. “It’s all contextual, and a hybrid approach is best.”
Frank Merritt of The Carvery.
Access to the original master copy, if made by a purely analogue process and if stored in perfect condition, would likely create the best copy reissue. Since this is far from likely, however, the best quality reissues today are made via hybrid technologies. Merret says that digital tools can remove “80 to 90 per cent of clicks to clean up a damaged physical copy” – a real asset for potentially damaged physical media.
The main pieces of tech Merret uses for reissues are the following, although he stresses he doesn’t always need them all:

Neumann W492 and W495B equalisers
Maselec MTC-1X Mastering Transfer Console
Thermionic Culture Phoenix tube compressor
Maselec MEA-2 equaliser
Klark-Teknik DN-50 reverb
Gyraf Audio Gyratec XXI Magneto-Dynamic Infundibulum multi-band analogue soft clipper
CEDAR restoration software
iZotope RX

All things considered, putting new material to wax is best done via analogue. There have been cases of big labels skimping on quality for profit – which led the excellent folk and country duo Gillian Welch and David Rawlings to press their own cuttings following the Dutch label Music On Vinyl using a CD source to make “poor–sounding” vinyl copies of Ms. Welch’s 2003 album Soul Journey.
“What people do nowadays is take a digital file and just run vinyl off that,” says Rawlings. “In my mind, if we were going to do it, I wanted to do it the way the records I love were made – from analogue tapes.” So, in 2000, the pair spent $100,000 on their own record-cutting lathe to make sure the labels pressed analogue-sourced material.
Reissues shouldn’t be held to the same standards as a new, original pressing. The remastering process for a reissue is just doing the best it can to improve flawed copies of old music which can’t be re-recorded, and which otherwise wouldn’t be heard at all.
As Zag Erlot, the man behind the hit YouTube channel and mix series My Analog Journal, says: “When you know the reissuing label won’t disappoint, I cannot see a reason why anyone would spend hundreds, if not thousands, on an original pressing that is probably not going to be in great condition. At the end of the day, a DJ shouldn’t play a tune with lots of crackles.”
The people behind the music
We should be grateful, then, to those who undertake the mammoth task of a successful reissue. It’s an act that can mean far more than may appear at first glance. Yes, previously unheard and unappreciated music can now grace more peoples’ ears and the turntables of enthusiasts, but what’s more beautiful is that new life that can be given to original artists following a successful reissue.
Sometimes, this simply reignites a passion; a wonderful thing when four decades or so after your work, someone tracks you down and wants to invest in your art and spread it to new listeners.
Other times, it starts a chain reaction worthy of a biopic. Reissues have shone a light on genius artists, who are now perhaps forgotten and stuck in everyday drudgery – inspiring a second wind in their musical career. Sometimes, this even results in new music and tours decades after their original creations.
This is best summed up by Discoteque Tropicales, whose killer reissue of Guadeloupean Manix’s 1988 EP Voyager, inspired the artist to say: “Now in my 70s, what a joy it is to discover my songs are being loved in new parts of the world that I could never have imagined them spreading to in the mad 80s. A reissue is like a renaissance, a second wind that reaffirms my belief that both music and love will never die.”
Discotheque Tropicales with Manix following his reissue
One particularly impressive story is Who is William Onyeabor?, a 2013 compilation album by William Onyeabor released by Luaka Bop. This was the first official reissue of the artist, who was widely heard in Nigeria in the late 70s and early 80s, but remained reclusive and had little influence outside of his home country.
Following the reissue, William found a new international interest in his music. In 2014, Noisey released Fantastic Man, which documented Onyeabor’s legacy as well as Noisey’s attempt to track him down for an interview. His song Fantastic Man was also featured in a television commercial for Apple’s iPhone 7 Plus in 2017, as well as a 2023 commercial for H&M. Onyeabor died at his home in Enugu from natural causes in 2017, aged 70.
The consequences
Pioneering artists, particularly from the broad musical umbrella of Afrobeat and Afrofunk, made (and still make) timeless music – but it’s often unavailable to those outside of their regional markets. Through significant effort, investment, and time taken, reissuing labels and their remastering engineers change this.
So, let’s salute the record hunters trawling through dusty boxes in far-off lands or those closer to home. They take the time to find lost gems, restore their natural shine, and democratise access, so everyday people like myself can feel the warm glow of cool success as we get a rare record out and place it gently onto the platter.
The post Why indie labels are mastering the art of reissuing music appeared first on MusicTech.

TINA amp modelling neural DSP 😎