Avid to be acquired by STG Avid have entered into a definitive agreement to be acquired in an all-cash transaction by an affiliate of private equity firm STG.

My Forever Studio: Jungle’s foley and fake horn revelationJungle are back. The beloved UK production duo, comprising J Lloyd and Tom McFarland, return for their fourth studio album, Volcano, replete with soulful vocal ensembles and erupting with slick basslines, intricate rhythms and flowing rhymes from featured artists.
J Lloyd joins MusicTech for a bonus episode of the My Forever Studio podcast, sharing stories of the early beginnings of recording foley sounds on his family PC, through to his first treasured synthesizer. Along the way, hear a revelation about the horn sound on the pair’s legendary 2012 single, Busy Earnin’, which plug-in was his secret weapon in the band’s early days, and which beloved producer he’d reproduce as an animatronic simulacrum.

READ MORE: Jungle: “We’re in a place now where we know what’s good. We’ve got our instinct back”

After a decade in the game, Jungle have seared their sound into the ears of listeners across the globe, with hits such as Busy Earnin’, Casio, Heavy California and Keep Moving racking up hundreds of millions of streams, receiving critical acclaim, and featured in countless soundtracks and commercials.
With their sophomore album, For Ever, the duo began collaborating with fellow producers such as Diplo and Inflo, and featuring vocalists to expand and innovate their distinguished sonic signature. With Volcano, J and Tom enlisted revered artists such as Roots Manuva, Erick the Architect, Channel Tres and Bas to leave their imprint on the album.
Alongside his revered work for Jungle, J Lloyd has also produced for artists such as Little Simz, NAO and Aluna.
The My Forever Studio podcast sees artists, producers and engineers create their dream fantasy Forever Studio, wherever they want in the universe. However, there are strict rules in the Forever Studio. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles!
Follow the podcast on Apple Podcasts, Spotify and Castbox.
The post My Forever Studio: Jungle’s foley and fake horn revelation appeared first on MusicTech.

Apple patent documents show proposed MacBook with attachable turntableAn Apple patent document filed with the United States Patent & Trademark Office on 25 July this year appears to outline prospective “modularised computing and input devices”.
In the file, drawings show a MacBook-like device with switchable parts, including what appears to be an attachable turntable.

READ MORE: First-generation iPod sells for $29,000

In the document, Apple summarises the proposed product in an abstract which states: “A computing device can be reconfigurable to include one or more electrical devices in various configurations.
“The computing device can include a base forming an input surface configured to receive user input. The base can receive one or more input devices, such as, displays or keyboards.”
Later on in the document, it also reads, “In some examples, one or more other input devices can be positioned at the input surface of the base, such as, one or more displays, knobs, switches, buttons, turntables, or other input devices.”
Drawings shown throughout propose a range of interchangeable attachments such as an iPad-like drawing surface, dual screens, and keyboards, some of which appear to be stackable.
Apple is yet to comment on this document publicly, and the brand has filed documents such as this one before with products that are yet to see the light of day. Back in April, the US Patent & Trademark Office granted a patent to the brand for AirPods cases featuring a built-in interactive touchscreen with an Apple Watch-esque interface.
The papers filed listed various app functionalities for the interactive display such as maps, weather, movies, messaging, radio as well as voice commands, which should indicate Siri functionality for interacting with apps.
Apple’s M3 Macs, however, are currently rumoured to land this October. Apple expert Mark Gurman said earlier this year that Apple was working on a number of new iMac models that would feature its next-gen M3 silicon, and that they were at a “late stage” of development. The new chipset will potentially offer higher performance and power.
Keep up to date with the latest tech news over at Apple.
The post Apple patent documents show proposed MacBook with attachable turntable appeared first on MusicTech.

Soundiron Releases FREE Rainsong Kontakt Player Library
Soundiron’s free Rainsong sound library is now fully compatible with the free Kontakt Player plugin. I am a fan of repurposing mundane sounds and breathing new life into them. Someone must agree over at Soundiron, at least going by their wonderful Kontakt library called Rainsong. Rainsong is a different take on sampling and is based [...]
View post: Soundiron Releases FREE Rainsong Kontakt Player Library

Heavyocity Releases FREE Foundations Staccato Brass For Kontakt Player
Heavyocity releases Foundations Staccato Brass, a free orchestral brass sound library for Kontakt Player. I absolutely love the Foundations collection from Heavyocity! It offers a bit of everything from Nylon Guitar to Piano and Synth Bass, and it’s all free. Staccato Brass captures the unique impact of various staccato articulations from a modern brass ensemble. [...]
View post: Heavyocity Releases FREE Foundations Staccato Brass For Kontakt Player

The next step for remote music collaboration? Abbey Road-backed Audiomovers adds MIDI streaming to its Listento platformAudiomovers has added live MIDI streaming to the capabilities of its renowned Listento software suite, unlocking a new phase of remote collaboration.

READ MORE: Someone just spent $100k on the microphone Cardi B threw at a fan

Released in 2017, Listento already lets users stream, listen to and record uncompressed multichannel audio remotely and in real time from anywhere in the world. The addition of comprehensive MIDI transmission functionality now allows Listento Pro subscribers to simply transmit real-time MIDI data directly from any DAW over the internet.
This means several things for remote collaboration: firstly, musicians can now work remotely with MIDI synthesizers, sound modules, or manage remote MIDI control surfaces while listening back to the results using Listento with low latency.
Secondly, using the Listento application, engineers can synchronise remote DAWs with transmitted MIDI Time Codes generated by Listento streams — where the current playback position is conveyed as part of the stream. Musicians can also stream audio and MIDI simultaneously for real-time remote creative collaboration – by working on tracks together, streaming beats and keyboard lines to each other.
“With the evolution of software, it’s great to see how far you can push it, and the remote collaboration made possible by using MIDI over Listento is really exciting,” says Andrew Dudman, a senior recording engineer at Abbey Road Studios, Audiomovers’ parent company.
“If you’ve got a remote performer that you really want to work with, you’ll be able to simply record their performances live as they happen and then be able to utilise any sound design elements you like at your end, such as instruments the performer might not have at their disposal. I think this will increase the use and benefit of remote collaboration tenfold.”
“The potential for syncing up two computers is also exciting,” he adds. “With this technology, you can spread MIDI around very easily for a sync between different programs and computers. Using the built-in MIDI Time Code generator in the desktop app, you can synchronise remote DAWs or video playback when streaming a scoring session between studios, so that you can sync video playback to audio coming from the remote scoring session.”
Listento MIDI is now available in VST3, AU, AAX plugin formats and as a desktop application. It is included in the Listento Pro subscription price – $24.99/month or $199.99/year.

Learn more at Audiomovers.
The post The next step for remote music collaboration? Abbey Road-backed Audiomovers adds MIDI streaming to its Listento platform appeared first on MusicTech.

Spitfire Audio announce Jupiter by Trevor Horn Containg a range of sounds recorded and produced by Trevor Horn himself, Spitfire's latest release promises to capture the style and otherworldly sonic character the legendary producer is renowned for.

Argentine agency opens investigation into Worldcoin over biometric dataThe Agency for Access to Public Information in Argentina was the latest government body to investigate Worldcoin, with reports suggesting probes in Germany, France and Kenya.

Electric aircraft makers Wisk and Archer end bitter legal dispute, agree to work togetherElectric aircraft rivals Wisk and Archer Aviation have settled their trade secret legal dispute more than two years after the lawsuit was originally filed.
In a somewhat surprise twist — given how bitterly the legal battle had become — the two companies have agreed to collaborate. Archer also agreed to make Wisk its exclusive provider of autonomy technology to be integrated into a future autonomous variant of Archer’s Midnight aircraft, in addition to the collaboration, according to a source familiar with the settlement.
In a separate piece of news that broke Thursday, Archer said it had raised $215 million in new capital from its manufacturing partner Stellantis, Boeing, United Airlines, Ark Investment Management LLC and others, to accelerate its path to commercialization. Boeing’s portion of that new investment is going to support the collaboration between Wisk and Archer on autonomy, the source said.
The exact amount of Boeing’s investment was not disclosed. Boeing has poured hundreds of millions into Wisk, including a $450 million investment in January 2022. Wisk became a fully-owned subsidiary of Boeing this year.
Under the terms of the settlement, Archer also agreed to give Wisk the option to purchase up to 13,176,636 shares of common stock at a price of $0.01 per share. The new agreement settles all previous claims and suits, including Archer’s counter-suit against Wisk seeking $1 billion in damages.
“We are pleased to have reached a mutually agreeable settlement with Archer that resolves our concerns while also eliminating the need for a costly and distracting trial,” a Wisk spokesperson said. “Wisk is committed to working collaboratively within the industry and leading in autonomous passenger flight.”
Thus closes the bitter court battle between the two electric aircraft developers, a battle that’s dragged on for over two years, after Wisk accused Archer in April 2021 for “brazen theft” of confidential information and intellectual property. Those included over fifty trade secrets that Wisk alleged were stolen by a former employee who was later hired by Archer.
Despite multiple mediation attempts, the two companies had been unable to come to an agreement. The lawsuit was scheduled to go to trial on September 12, so the settlement came right at the last minute.
As the lawsuit raged on, Archer continued on its path to commercializing its first electric aircraft, called Midnight. Along with the earnings and new investment, the company announced Thursday that it had received a key certification from regulators greenlighting Midnight for flight test operations. The certificate – called a Special Airworthiness Certificate from the U.S. Federal Aviation Administration – is a crucial step in certifying Midnight before it can start commercial service.
Archer has also landed a handful of other big wins this year, signaling that it is one of the unequivocal leaders in electric aviation: in June, the company announced that former FAA administrator Billy Nolen joined as chief safety officer; and last month, the U.S. Air Force agreed to purchase up to six electric aircraft from Archer, in a deal worth up to $142 million.

Local artists’ market share is rising on music services, and 3 other things we learned from Denis Ladegaillerie on Believe’s latest earnings callParis-headquartered music company published its financial results for the first half of 2023 on Wednesday (August 2)
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Alice Macedo Awarded 20th Annual peermusic Latin Music AwardBMI Foundation has named Miami-based singer-songwriter Alice Macedo the winner of the 2023 peermusic Latin Music Award. Macedo’s winning song, “Te Levo Comigo,” is a love song to her home country of Brazil.

Established in 2003 by peermusic CEO Ralph Peer II, the peermusic Latin Music Award is an annual competition for young songwriters and composers of Latin music. The award includes a $5,000 monetary prize for the best original song or instrumental composition in any Latin genre. For twenty years, this award has encouraged promising young musicians who have gone on to exciting careers in performance and songwriting.

In the last two decades, the award has recognized twenty emerging songwriting and composing talents who have gone on to careers as film and media composers, songwriters, actors, and performers. Notable past winners of the award include singer/actor Mane de la Parra and songwriter Daniela Blau. Judges for the award over the years have included composer Kike Santander, Latin Grammy President Gabriel Abaroa, composer Daniel Freiberg, producer Alcover, musician Linda Briceño, producer Andrés Saavedra, and musician Nicolás Junca from the band Monsieur Periné; and representatives have included superstars such as Juanes, Chayanne, and Prince Royce.

About the award, Macedo said, “I'm truly honored to receive this year's BMI Foundation Peermusic Latin Music Award! 'Te Levo Comigo' holds a special place in my heart, as it encapsulates the love I have for my country, Brazil, and how I carry it with me wherever I go. Working with my talented friends, Chella and Artur Vienna, to bring this song to life was an unforgettable experience, and to receive such recognition for a project that we poured our hearts into is the best feeling in the world. I'm so grateful for this achievement and look forward to continuing to create meaningful music that resonates with listeners.”

HYBE to fully acquire Enhypen label BeLift Lab in $100m+ deal (report)BeLift started out as a joint venture between HYBE and CJ ENM
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Edu Prado Sounds Sake Bottle The Sake Bottle Sample Library is a one-of-a-kind creative Kontakt Sampler Instrument, created by Edu Prado and Jan Pfitzer using only samples from a huge Sake Bottle. This... Read More

Edu Prado Sounds Electric Reed Organ The EPS Electric Reed Organ sample library is a creative collaboration between Edu Prado and Jan Pfitzer, resulting in an amazing virtual instrument built from a vintage Bontempi BN8 chord... Read More

Music career advice: Supermassive Games’ Orion Zane on building a portfolio and enrolling in music production coursesIn partnership with dBs Institute.
What does it mean to be a music producer? Is it all about making beats and DJing clubs and festivals? Not quite. Some producers may venture into sample pack and preset creation, film and TV scoring, foley design, or music software creation. One viable route that’s rapidly becoming desirable is video game audio design. As the budget for AAA games continues to expand, opportunities in video game studios’ sound departments expand, too.
Orion Zane, a graduate of dBs Institute’s Sound for Games and Apps course, is carving his path as a sound designer for Supermassive Games. So far, Orion’s worked on titles in The Dark Pictures catalogue, including Switchback VR, House of Ashes and The Devil In Me, and is thriving in the creative nature of the job.
We catch up with Orion to talk about his journey into game audio design, how he benefitted from enrolling in the course at dBs Institute, and the advice he has for those looking to pursue a career in music.

Hi Orion! What does your role as a video game sound designer entail, exactly?
As an audio designer at Supermassive Games, my specific role involves designing sound effects, foley, and ambiences. I have a particular interest in creating dynamic ambience systems and spatial audio. We also implement the audio into the game using Audiokinetic’s Wwise and Unreal Engine 5.
What do you love about being an audio designer?
I absolutely love the creativity and immersive nature of my job. Creating a dynamic and evolving soundscape that responded to the player’s actions in the game is incredibly fulfilling. I am also a big horror fan, so working in spooky environments is very fun. You know the jumpscares work when you forget you put it in and it catches you off guard later on in the development process.
Have there been any stand-out moments for you in your career?
I have been lucky enough to work on a few games here for the 2 years I have been here. House of Ashes was the first, The Devil in Me, and most recently Switchback VR which was a PSVR 2 launch game. The Devil in Me was fun as it was my first full cycle of a video game from start to finish. The game is based on H.H. Holmes’s (America’s first serial killer) murder castle.

We had a great opportunity to do some location recording for this project. Going to a beautifully old English manor house to record all the sounds of an old building – Doors, cabinets, footsteps, creaks, room tones, throwing a book down a corridor, we did it all. Including capturing impulse responses of many rooms in the house that we used in the game.
What sparked your passion for audio in video games? Is there sound design from a particular game, perhaps for your childhood, that inspired you?
I’ve always been a big gamer since I was young. The first game I played was Legend of Zelda on the N64 and the music in those games growing up. I started playing piano at 12 years old and got into making music and learned how to use DAWs in secondary school. During college, I spent a lot of time in the studio experimenting with my style of music – I like to create soundscapes, sonically describing places using only sound was something I loved to do over electronic projects. I think this led to me experimenting with sound design, and eventually pursuing a career in game audio.
How did dBs Institute tailor its teaching to your specialist subject?
At dBs, I studied the Sound for Games and Apps course. It was tailored to my specialist subject by providing a curriculum that covered both technical skills and artistic creativity specific to game audio. The hands-on experience was great and the teachers (shout out to Rich, Jazz and Bruce!) were very supportive, encouraging and fun to learn with.
Image: dBs Institute
What other career paths can be followed as a music technology enthusiast/graduate from dBS?
As a game audio graduate from dBs, I know that there are a variety of courses that cater to various career paths. Such as music production, audio engineering, film and screen sound, and game audio.
Would you say you’re doing what you love? What are the benefits of working in a job you’re passionate about?
Yes, I can confidently say I’m doing what I love. Working in a job I’m passionate about allows me to stay motivated, continually learn, and push my creative boundaries. The audio team here at SMG are very close, I see them all as friends more than colleagues, so it makes work fun seeing them everyday and cracking on.

What advice would you give to anyone wanting to get into video game sound design?
For anyone aspiring to get into video game sound design, I would recommend building a strong portfolio showcasing your skills and collaborating on small indie game projects and game jams. Reach out to people! There are many resources and people to speak to when learning game audio – A good place to start would be to join the AirWiggles community and go to your local game audio monthly meetups.
What would you say to anyone thinking of enrolling on a dBs Institute course?
It’s a fantastic opportunity to receive specialized training and kickstart your career in the audio industry, plus Bristol is a great city to involve yourself in audio and to be creative! If you would like to know more about game audio, feel free to get in touch – you can find me on LinkedIn.
Find out more at dbsinstitute.ac.uk.
The post Music career advice: Supermassive Games’ Orion Zane on building a portfolio and enrolling in music production courses appeared first on MusicTech.