Harrison launch 32 Classic console Harrison's new 32 Classic console delivers the sound of their iconic early designs and introduces some powerful modern functionality.

“Don’t just showcase what you can do” in sessions, advises Post Malone producer, Carter LangPost Malone, SZA and Omar Apollo producer Carter Lang has shared his advice for collaborative producers, saying they should give artists “space” to “experiment and have fun”.

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The advice comes from a recent interview with MusicTech in which the producer and musician, who’s been nominated for five Grammy awards and produced SZA’s last two albums, shows off his vintage gear collection, tells readers how he uses it and discusses collaborating.
At one point, when talking about making music with some of these major artists such as Rihanna and Chance The Rapper. He says that it’s important to avoid making the session all about the producer and create room for the artist to take the limelight.
“For me,” he says, “it’s about making the experience comfortable and memorable for the artist. It’s not about showcasing what I can do but creating a fun and enjoyable atmosphere.
“I like to sit down with others and write together rather than having everything pre-prepared. It’s essential to let people experiment and have fun. You also need to know when to stop without being dismissive. It’s about giving space to let creativity flow naturally.”
Lang made the track Sunflower with Post Malone. The track, which you can listen to below, now has nearly three billion streams on Spotify.

 
He goes on to say that he feels privileged to be working with many of these artists. The collaboration doesn’t simply end at the close of a studio session, he says, and it can change either party’s perspectives on music making. It’s important to embrace the impact a collaboration can have on someone’s artistic outlook, Lang points out.
“It’s a privilege. Sometimes, you know, when you’re in a situation like that, you’re going to look back on it, and things are never going to be the same,” Carter tells MusicTech. “We have the opportunity to keep those things going with our friends, you know, with SZA, with Omar, with Post. These are things that are not one-and-done. We’re changing. We’re growing, and we’re allowing new relationships and new opportunities to come into our lives. And we deserve that for each other. That’s why we do it, you know?”
Read the full feature via MusicTech.
The post “Don’t just showcase what you can do” in sessions, advises Post Malone producer, Carter Lang appeared first on MusicTech.

How the Smartphones changed music and the music industry [Kyle Bylin]Kyle Bylin explores how the smartphone and the apps that followed have reshaped and continue to reshape music and the music industry. by Kyle Bylin SEVERAL WEEKS AGO, I found a. Continue reading
The post How the Smartphones changed music and the music industry [Kyle Bylin] appeared first on Hypebot.

QUICK HITS: BMG, UMG form alliance • Moises adds AI Voice Studio • Dice enters Canada • Patreon acquires Moment • Tixr CEO honoredBMG and Universal Music Group (UMG) have announced an alliance to explore a range of collaborative initiatives to expand opportunities for BMG-signed artists globally. The first project under this alliance will be. Continue reading
The post QUICK HITS: BMG, UMG form alliance • Moises adds AI Voice Studio • Dice enters Canada • Patreon acquires Moment • Tixr CEO honored appeared first on Hypebot.

Warm Audio unveil WA-1B compressor The latest addition to Warm Audio’s range of hardware compressors offers the company’s take on the sought-after sound of Tube-Tech’s CL 1B.

RME ADI-2 Remote released Users of RME's ADI-2 series converters and headphone amplifiers can now control their device’s settings from a computer or iPad.

How To Write A Song: A Beginner’s Guide To Songwriting
Learning how to write a song is one of the most rewarding things you can do as a musician. As a songwriter, the buzz of creating something from nothing is a feeling you can’t get from playing other people’s music. However, writing songs for the first time can be daunting. So today, we’re breaking down [...]
View post: How To Write A Song: A Beginner’s Guide To Songwriting

LANDR launches a plugin, bringing its AI-powered auto-mastering to DAWsLANDR has launched Mastering Plugin, which brings it’s AI-powered auto-mastering to digital audio workstations for the first time.

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Much like the LANDR’s online mastering platform, the plugin analyses any track and adapts its engine to its sonic characteristics, in turn delivering a personalised master.
To use the plugin, you simply need to load it into your master track and play the loudest section of the song. The plugin then detects the genre and pull together a mastering chain based on what it’s hearing. It then gives you three different mastering styles to choose from: warm, balanced and open.
Users can then further tweak the sound with the other mastering controls such as EQ and compression. There is also the option to dial in additional vocal presence, tweak the loudness or increase the width and spatialisation of the mix.
Other areas that can be changed is the level of the de-esser, and the saturation of the mix.
You can find out more below:

A free “test drive” of LANDR’s AI auto-mastering plug in is available, while users can either purchase the plug-in for $299 or access it as part of LANDR’s Studio Pro monthly subscription for $15.99.
In more LANDR news, it only recently announced the new Studio Pro monthly subscription service, offering over ten tools and LANDR Studio services. This also includes royalty-free samples and sounds, plug-ins and LANDR’s “groundbreaking” mastering technology, as well as distribution tools to release your music. You can also chat and share files with fellow users, and even hire vetted industry professionals directly from the platform,
Daniel Rowland, head of strategy and partnerships at LANDR, insists LANDR Studio is “the most feature-rich, high-value subscription offering ever created,” adding that the brand’s goal is “to meet creators of all kinds”.
For more information, you can head to LANDR.
The post LANDR launches a plugin, bringing its AI-powered auto-mastering to DAWs appeared first on MusicTech.

“I like to find weird stuff that’s mad rare”: Inside Carter Lang’s overflowing hardware havenCarter Lang, the prolific Post Malone, Doja Cat, Lil Nas X producer and the man behind SZA’s Ctrl, points at his kitchen counter. “I got a little space right here,” he says. It’s the only living space left in his house that’s not fallen victim his music gear obession.
It really is wild. He’s sacrificed 90 per cent of his LA-based home for swathes of instruments and studio gear. We’re aghast as he shows us, pacing around the space, passing stacked synths, towers of effects units and cables snaking throughout the house like it’s some sort of hacker’s hideout. The craziest thing is – the studio wasn’t even meant to be in the house in the first place.

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“The story of the spot is,” he begins, “I found this place to rent three years ago.” The house was airy and bright, he tells us – just what Carter was looking for.
Carter Lang in his studio. Image: Nate Guenther
He walks across the driveway to where his actual studio is in the external shed/garage: “I turned the shed into a super studio with tons of synths. I tried to max out the patch bay and make it user-friendly. I built a little booth that never gets used and put my old high school drum kit in there. So, this was the space where I’d cook up for a while. The gear overflow was imminent, so I started putting stuff in my house.”

Carter Lang gained recognition for his significant contributions to SZA’s acclaimed 2017 album Ctrl. His journey began in Chicago’s thriving R&B/Hip-Hop scene, where he collaborated with artists from the Savemoney collective and Chance The Rapper. Trained in classical piano and bass guitar, he expanded his horizons during his time at Loyola University New Orleans, where he was exposed to diverse musical influences.
Back in his LA home, Carter recalls a period when he was really into collecting guitars, mentioning his beloved Hofner bass. That “kick”, as he calls it, then transformed into vintage rack delays from the ’60s, ’70s, and ’80s.
Carter Lang playing a Fender Jazzmaster. Image: Nate Guenther
It was just the start of Carter Lang’s vintage gear haul, however. “I like to find weird, funky stuff that might not be uber expensive but is mad rare,” he says. “The research leads me to those things. I love to geek out on that. It’s all about having unique pieces that inspire creativity.”
Carter recently acquired a chunky, vintage Mirano echo chamber, he proudly reveals. He also shows off a Scottish-made eight-track drum machine called Bandmaster, which gives you pre-recorded “weird disco beats and grooves” in the form of chunky tapes. There’s also a delicious-looking OpAmp Labs mixer.
The wall to wall collection of hardware doesn’t go unused, we must add, unless it’s broken. Truly dedicated to his craft, a usual day sees Carter move from room to room, figuring out which combinations of gear achieve the coolest results. He creates microsetups with a vision for the future, using his house as a test bed in which to experiment with and create a setup he could integrate into a proper studio.
Carter Lang and his synths. Image: Nate Guenther
“It becomes like this tower – even my coffee table got taken over!” He laughs, showing us an unstable stone tower of electronic studio gear slabs. “That’s like my space station of sorts. I keep stacking stuff on top of each other.
“Some gear should be stationary on the wall: you set it up and forget about it – EQs, compressors, and other boring things that don’t make noise. The fun gear, you want to move around.” He refers to a big modular synthesizer unit that can be wheeled around like a sofa. “Different instruments should have that ability without needing a patch bay. Sometimes you just want to break the rules and go direct. It doesn’t have to be super clean.”
Carter’s collaborations
The Chicago-born producer and songwriter isn’t just some mad scientist bouncing alone from room to room searching for a sonic formula. He’s a keen collaborator, having worked with the likes of Rihanna, Doja Cat and Mac Miller to just scratch the surface, and enjoys inviting artists to his home. In recent times, those artists have been the likes of Omar Apollo and Post Malone. In fact, Post’s track Sunflower, featuring rapper Swae Lee, was co-written and co-produced by Lang, featured on Spider-Man: Into the Spider-Verse, and is now close to three billion streams on Spotify.

“Getting to work with Omar Apollo on his Ivory record was eye-opening. There was a special bond between Omar and I. He’d just plop down on the couch and we’d write these records together.
“It’s a privilege. Sometimes, you know, when you’re in a situation like that, you’re going to look back on it, and things are never going to be the same,” he says with a serious tone. “We have the opportunity to keep those things going with our friends, you know, with SZA, with Omar, with Post. These are things that are not one and done. We’re changing. We’re growing, and we’re allowing new relationships and new opportunities to come into our lives. And we deserve that for each other. That’s why we do it, you know?”

“For me, it’s about making the experience comfortable and memorable for the artist,” Carter says. “It’s not about showcasing what I can do but creating a fun and enjoyable atmosphere.
“I like to sit down with others and write together rather than having everything pre-prepared. It’s essential to let people experiment and have fun. You also need to know when to stop without being dismissive. It’s about giving space to let creativity flow naturally.”
Carter Lang and his synths. Image: Nate Guenther
Carter Lang is still pacing around his house as he speaks, excitedly showing us whichever pieces of studio gear might be noteworthy. He clearly doesn’t get to nerd out to this extent too often.
Constantly working away, seeing how to achieve a unique sound by combining his wealth of meticulously researched rare gear in his chaotic cave, it’s clever to see that Carter Lang didn’t get three billion streams and five Grammy nominations by twiddling his thumbs.
Follow Carter Lang on Instagram.
The post “I like to find weird stuff that’s mad rare”: Inside Carter Lang’s overflowing hardware haven appeared first on MusicTech.

Sequoia faces Congressional scrutiny over investments in ChinaOne of Silicon Valley’s most prominent investment firms will face government scrutiny over its investments in China. Sequoia Capital has received a polite but pointed request from Congress to enter into more detail on how it will prevent further U.S. investment dollars from advancing Chinese interests. Sequoia announced in June that it would be splitting […]
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OpenAI partners with G42 in Dubai eyeing Middle East expansionThe two companies said they plan to use OpenAI’s models in industries in which G42 has connections and experience, such as energy, finance, healthcare and public services.

Producer Crosstalk: Noah Sierota of EchosmithNoah Sierota, bassist with the Chino, California sibling trio Echosmith, has dabbled in production ever since the band’s 2013 debut Talking Dreams. In fact, he was exposed to engineering from a young age through his father Jeffery David, who collaborates with the group and is also a musician. For Echosmith, the 2023 third Echosmith record, the siblings chose Noah to guide it. “Cool Kids” from Talking Dreams has earned more than 145 million YouTube listens and in total the band has amassed more than one billion streams.

“I always knew what I wanted this record to be,” Sierota says of producing Echosmith. “I’ve come to the point that I know the steps to get us there. I spent a lot of time figuring out how I wanted to tell our story through music. It’s been a joy to map out that journey. I approach my production as an artist first because I am an artist. I did bring in other writers, musicians and our [former band member] brother Jamie, who helped to co-produce. My sister Sydney’s input was also crucial. She’s not just the singer. She’s a huge part of what we do.”

 Echosmith was recorded largely in Sierota’s home studio, which he’s assembled over the past several years. But parts––drums in particular––were locked in at Lucy’s Meat Market in Eagle Rock. Indeed, studio owner Pete Min was also recruited to engineer parts of the record. “He’s smart and creative,” the artist observes. “We then brought in friends and even non-musicians to show them what we’d done and to get their feedback. I love seeing where those conversations lead.”

Organically or intentionally, bands will nearly always evolve. Certainly that’s happened with Echosmith, which Sierota ascribes to each song being like its own story or journal entry. “The storytelling on this record is more raw and honest,” he notes. “It feels more personal than before. Every song is related to a story or experience. Sonically it’s really different because we’ve grown as musicians and gave ourselves permission to do a lot more. I’m a big fan of capturing audio in high quality and then running it through something like a crappy foot pedal. You know: getting it perfectly and then humbling it.”

Many creatives struggle with completing projects not because they don’t have ideas but because when there’s no firm deadline, opportunities for change will always be found. Sierota isn’t immune to such challenges. “I don’t believe that a song can ever be finished,” he observes. “There’s always more that I could do. I’ll hear some of our old stuff and think ‘I wish I’d done something more.’ But there’s value in letting something be what it is. Outside input is helpful as is a timeframe. We announced that this record was coming out before it was finished. Ultimately, there’s no such thing as perfect but when our foster kids sing along or dance to a song, we know it’s ready.”

Among his favorite studio gear is the Blue Bottle condenser tube mic, Hazelrig compressors and Chase Bliss' CXM 1978 reverb effects pedal. “That thing is not just a guitar pedal,” he asserts. “I used it all over the record and it was a ton of fun. The sonic quality is incredible. Being able to use faders instead of knobs changes how you’re moving things. It feels organic. Every producer should have one.”

The three most important lessons he’s learned as a producer are:

Give yourself space for contentment.  

It’s okay to learn to do things in the way that you want to do them.

Find a balance between needing and appreciating outside input but not being directed by it. The song is what should direct the production.

Echosmith dropped July. A tour planned for the fall kicked off in Europe, with U.S. dates to follow in the New Year. Sierota aims to produce not only future Echosmith records but other bands as well. “When I move, I plan to build a full-on studio where I’ll bring in outside artists,” he says. “I want to be able to support them in the same way that I support my own band.”

Contact echosmith.com; all socials = @echosmith; music - stem.ffm.to/echosmith; Carla Senft and Amanda Curtis - Press Here PR, carla@pressherepublicity.com, amanda@pressherepublicity.com

AI company Anthropic recently secured up to $4bn in investment from Amazon. Now it’s being sued for copyright infringement by Universal Music Group.The lawsuit claims that 'Anthropic profits richly from its infringement of Publishers’ repertoires and other copyright owners’ works'
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Bitwig Studio 5.1 beta now available The latest version of Bitwig Studio introduces ten new modules and a pair of new FX containers, as well as implementing a variety of improvements to the software’s mixer and audio editing functionality.

BMG expects to spend another $400m on catalog acquisitions this year – and just made its largest ever recorded music acquisition in FranceBMG has acquired the recorded music catalog of superstar French DJ and electronic music artist Martin Solveig
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