Get the AIR Music Tech Channel Strip plugin for FREE this July
AIR Music Tech has released Channel Strip as a standalone plugin for the first time (previously available as part of a bundle), and it’s free throughout July 2025. If you want a streamlined, mixing-oriented channel strip with all the essentials in one place, this freebie is well worth grabbing. Previously bundled with other AIR products, [...]
View post: Get the AIR Music Tech Channel Strip plugin for FREE this July

Deerhoof leaves Spotify, but not over royalties: Full StatementTrailblazing indie band Deerhoof leaves Spotify, pulling all of their music off the streamer. Their music will still be available on Apple Music, Amazon Music and other streaming platforms.
The post Deerhoof leaves Spotify, but not over royalties: Full Statement appeared first on Hypebot.

MIDiA Research 2025-2032 global music forecasts | RecalibrationWe are pleased to announce the release of MIDiA’s annual music forecasts report. This is always a labour of love and takes a bit longer than some other entities’ forecasts as our approach is more Etsy than Amazon, with every single line of data (and there are thousands of them) being hand crafted, individually stress tested and cross checked. 

It might not be a very scalable approach, but as so many stakeholders in the music business rely on our numbers for business and investment strategy, it is a responsibility we take very seriously. As tempting as it would be just to say ‘CAGR is…’ and populate across the 39 different markets, we know from experience that short cut approaches almost always result in short comings. Perhaps most important of all is the thinking and industry expertise that goes into the numbers. There are no facts about the future, so forecasts are always a mathematical representation of human thought (and, no, I am not opening the AI can of worms). MIDiA clients can get the full 83-page report and 50+ sheet Excel here. Here are some highlights.

First off, the big number: by 2032, global recorded music revenues will be $110.8 billion. This figure is retail terms (i.e., includes DSP / retailer and publishing revenues) and includes:

Traditional revenues (streaming, downloads, physical, performance, sync)

Non-DSP streaming (TikTok, etc.)

Expanded Rights (labels’ share of live, merch, branding, etc.)

Label licensing revenue for audio visual content (documentaries, biopics, etc.)

Production music

Full representation of the long tail of independent artists and labels

That is the maximalist view. The more minimalist view (label revenues excluding Expanded Rights) sees 2032 revenues reach $51.2 billion.

After something of a boom year in 2023, revenue growth slowed to 4.3% in 2024. In fact, 2024 continued an oscillating growth pattern we have seen all decade, with strong growth years followed by weaker ones. The years with weaker growth coincided with declines in physical and (most often) weaker streaming growth. While this gives physical a kingmaker status, it also reflects maturing streaming growth: when the main revenue source grows at more modest rates, shifts in smaller revenue sources is the difference between strong and weaker growth.

We titled this year’s report ‘Recalibration’ as everything points in this direction:

New growth dynamics: Oscillation and slowing streaming are the new growth framework for the global market

Clear shift away from the West: Close to four firths of subscriber growth came from non-Western markets and China became the world’s fourth largest recorded music market. We titled last year’s report ‘Rise of the Global South’. This is the market’s new reality. Which helps explain why so many Western rightsholders are snapping up Global South repertoire and rightsholders. Will catalogue investors follow suit?

New DSP power dynamics: DSPs are growing influence and power, as reflected the ‘bundles’ licensing discounts. Labels got their ‘artist centric’ licensing in return but the long-term implication is DSPs have the precedent of reducing the royalty pot

New outlook for ad supported streaming: Revenue was flat in 2024. Part of this was actually a good news story (more music videos being monetised in the higher value confines of YouTube Premium). Part of it was another reflection of DSP power, with advertisers increasingly opting for the better targeting of podcast inventory versus music

Rapid rise of AI: While rightsholders were locked in legal battles, the marketplace has become awash with generative AI companies and this music is flooding DSPs. While some of these companies are seeking to operate ethically and in partnership with rightsholders, many are pursuing the ’do first, ask forgiveness later’ approach that served earlier disruptors like YouTube and TikTok so well

As you can imagine, with an 83-page report, this is but a tiny taster of the report, but hopefully it has given you a sense of the macro dynamics at play in today’s and tomorrow’s music business. If you want to go a little deeper still, keep an eye out for an exclusive video of the report’s analysts talking through some more of our thinking and numbers. In the meantime, if you are a client, you can find the report here.

Music Tectonics Startup Competition Opens 2025 ApplicationsThe popular Swimming with Narwhals Music Tectonics Startup Competition has opened applications for 2025.
The post Music Tectonics Startup Competition Opens 2025 Applications appeared first on Hypebot.

Here’s my perfect vocal chain and the plugins that get me thereEven an impeccable vocal recording can sound out of place without proper mixing. You may know how to record and edit your takes, but processing them requires understanding effects like pitch correction, EQ, compression, saturation, reverb and delay. By the end of this tutorial, you’ll be equipped with the building blocks to create your vocal chain from scratch.

READ MORE: How to record vocals on your phone and mix them to perfection

Pitch correction
With stock plugins and third-party options, there are many ways to tune a vocal performance. In this case, I want to preserve the natural quality of my voice. Melodyne Studio is helpful here — it lets you tune some notes while leaving others untouched.
Pro tip: If your edited vocal is free of room sounds, digital artefacts after tuning will be minimal.
Here, applying a low-cut EQ at 100Hz before transferring the vocal into Melodyne helps combat plosives and interference in the sub range.

Controlling the dynamics
Too little compression, and you’ll lose the quieter details in the performance. Too much, and you’ll hear sudden dips in volume with aggressive transients.
If your take has a wide dynamic range, try an effect like Waves’ Vocal Rider, which imitates volume automation automatically. Start with the Smooth Ride preset and increase or decrease the Target level, expand the Range, or switch to the Fast setting if necessary.
After that, a couple of compressors should suffice to get most of the volume fluctuations under control. With the first compressor, your goal should be to compress only the loudest moments. A compressor like FabFilter’s Pro-C 2 in Classic style with fast Attack and Release times and a 4:1 ratio gets the job done. Adjust the Threshold until you see 3-6 dBs of gain reduction.
Catching the transients requires a fast-acting compressor, but the second one doesn’t need to be as aggressive. UAD’s API Vision Channel Strip works well here; try a 2:1 ratio with a slower release, and adjust the threshold to taste. You can also make broad tone-shaping EQ tweaks in the same plugin.

De-essing automatically and manually
After compression, previously mild sibilant moments may become too piercing. With a de-esser like FabFilter’s Pro-DS, you can reduce sibilance within a specific frequency and volume range.
While a de-esser eliminates most of the sibilance issues, manual gain and EQ adjustments may still be necessary. At this stage, fine-tune the dynamics and frequencies via EQ and gain automation.
Subtractive and additive EQ
Earlier, I used the API Vision Channel Strip to shape the tone, adding 2dB at 800Hz and 400Hz, and subtracting 2dB at 180Hz. Reducing unwanted resonances calls for a more surgical approach.
Since FabFilter Pro-Q 3 allows you to isolate frequencies without boosting, you can easily detect the harsh and shrill moments throughout the performance. Automating the gain of each subtractive EQ band yields transparent results.

Pro tip: Overtones become more pronounced with reverb and delay. If you’re unsure about which frequencies to target, wait until the final stages of your mix.
Parallel compression and saturation
Using parallel processing, you can add fatness and harmonic excitement to your mix. Employ a return channel to combine a compressor with a saturator.
Klanghelm’s free MJUC jr compressor handles heavy gain reduction smoothly in Auto mode. Next, Soundtoys Decapitator in Style E with plenty of Drive can colour the harmonics beautifully. Tweak the Low Cut, Tone and High Cut parameters to taste. Add a de-esser and EQ to tame harshness.

Building layers of reverb
Try layering three reverbs from closest and shortest to farthest and longest.
I start with Logic Pro’s ChromaVerb using the Vocal Room preset. On another return channel, I insert Crystalline from Baby Audio and chose the Basic Plate preset for a longer reverb effect. Altering the Depth and Shape settings and activating the Ducker feature created lush reverberations while maintaining the vocal’s clarity. Next, I apply a long reverb with Valhalla VintageVerb in Chamber mode.

Adding depth with delay
Short echoes add width; long ones add depth.
Start with a tape delay effect like Waves Audio’s J37. The Retro Vocal Slap preset in Send/Return Mode can provide quick, widening reflections. Bring the Noise Level down for a cleaner mix.
With longer echoes, you can get creative. In Native Instruments’ Replika XT, I chose the Analogue setting, boosted the Depth and Rate for Warm modulating echoes, and trapped them in the midrange using the LoCut and HiCut knobs. Spreading eighth note triplets in Ping Pong mode with 37% feedback worked best for my mix.
If you want to achieve a delay effect with a tighter pitch centre, insert an automatic tuning plugin ahead of Replika XT. To keep muddiness at bay, use sidechain compression to move the echoes out of the way of the vocal.

Pro tip: Set all the effects on the return channels to 100% wet. That way, you can EQ and automate the volume of each effect separately for a polished and engaging mix.
Here’s the final result:

Remember, there’s no one-size-fits-all vocal chain. But by trying these tools and techniques, you’ll be better equipped to shape a vocal sound that cuts through the mix and fits your track perfectly.
The post Here’s my perfect vocal chain and the plugins that get me there appeared first on MusicTech.

Vienna Symphonic Library releases Synchron Stage Reverb Lite for macOS and Windows
Vienna Symphonic Library is a developer known for creating exceptional orchestral libraries, whether single instruments like the Studio Bösendorfer Imperial or sections like Synchron Special Woodwinds. Their latest release is the Synchron Stage Reverb Lite for macOS and Windows. A fundamental element of VSL libraries’ success is the use of the Vienna Synchron Stage, one [...]
View post: Vienna Symphonic Library releases Synchron Stage Reverb Lite for macOS and Windows

Sampleson release Tactile Tactile combines a ‘spectral freezing’ technique with granular synthesis, and features an X-Y interface that allows users to blend between layers of audio and create continually evolving soundscapes. 

Pubbas releases Sheepadoodle Phaser, a FREE phaser plugin for Windows and macOS
Pubbas has released Sheepadoodle Phaser, a free phaser plugin for Windows and macOS. Sheepadoodle Phaser is available in VST3 and AU formats. It combines vintage-style phasing with a couple of clever modern twists like modulated distortion and filter adjustment. These additions make it a more versatile utility for sound design than I’d expect from a [...]
View post: Pubbas releases Sheepadoodle Phaser, a FREE phaser plugin for Windows and macOS

💬🔥 Monthly Deals & Freebies Thread – July 2025
Welcome to the BPB Community Weekly Freebie Thread for July 2025! 😊 Read the Thread Guidelines 💬 This section of our community is where BPB readers can share links to the latest freeware news and deals with fellow music producers in the comments. Thank you for contributing! To keep the discussion helpful and relevant, please follow [...]
View post: 💬🔥 Monthly Deals & Freebies Thread – July 2025

Oak Felder (Demi Lovato, Nicki Minaj) cooks up a beat in Pro Tools
Watch GRAMMY-winning producer and songwriter Oak Felder react to the Splice x Pro Tools integration and make a beat with it.

Classical Highlights for June 2025As usual, we heard a wide-ranging variety of classical music this past month. What stands out in the best releases is the thoughtfulness, whether in the programming of the selected works or the interpretation of them. Anna Lapwood's (pictured) Firedove was meant to keep listeners guessing and engaged. Explore this recording and more in our June classical highlights.

Live Review of Cockney Rejects Contact: sue@opaquemanagement.co.uk Web: cockneyrejects.com Players: Jeff “Stinky” Turner, vocals; Michael “Olga” Algar, guitar; JJ Kaos, bass; Ray Dust, drums There was a feeling of togetherness at the Regent Theater on a Friday evening in May, a genuine vibe of punk family. Let's face it—no casual punk fans are venturing out to see English Oi! pioneers the Cockney Rejects in 2025. No, the people at the Regent for this show were lifers. It was a mixed bag of young and old, male and female, various cultures. A Cockney Rejects crowd is anything but one-dimensional. But the one thing they have in common is a commitment to punk. There was a long list of openers and we got to the Regent in time to see the last two—Castillo and The Voids. Both were appropriately riotous, noisy, and had a few gems on the setlist. If the job was to warm up the crowd for the Rejects while earning a few new fans, then it was a case of job well done. But nobody was upstaging the Rejects. It had somehow passed us by that Toy Dolls man Olga is now playing guitar for the CRs— vocalist Stinky Turner is the one remaining OG, and he assembled a new Rejects lineup in 2024. But Stinky, Olga, bassist JJ Kaos (Last Resort, Anti-Nowhere League) and drummer Ray Dust (The Business, Argy Bargy) are a formidable presence. The setlist was perfect. Opening with "Flares 'n' Slippers," they blasted through "We Are the Firm," "Are You Ready to Ruck," and "Bad Man" with no small amount of joy. Stinky did his shadow boxing thing, the veteran football/soccer warrior that he is. And when he introduced bonafide classic "The Greatest Cockney Rip Off" as a singalong, the crowd didn't let him down. That crowd, incidentally, didn't give the band a moment's peace. There was barely a second where at least one future stagediver wasn't up there with them, throwing sweaty limbs around and yelling into the mics. Hey, that's punk! They ended with their version of West Ham F.C.'s anthem "I'm Forever Blowing Bubbles," and then their trademark "Oi! Oi! Oi!" Everyone then spilled out onto the Downtown Los Angeles street, drained and sweat-soaked, but very, very happy. The post Live Review of Cockney Rejects first appeared on Music Connection Magazine.

Spanish authorities arrest five people in $541M crypto fraud caseEuropol reported that the investigation was ongoing, but authorities had made five arrests connected to a scheme that defrauded more than 5,000 people.

Tesla sends driverless Model Y from factory to customer to promote its robotaxi techThe car traveled around 15 miles on highways, surface streets, and even a roundabout. But many questions remain about the stunt.

Blowtorching Electroplated 3D Prints For Good ReasonWhat if you electroplated a plastic 3D print, and then melted off the plastic to leave just the metal behind? [HEN3DRIK] has been experimenting with just such a process, with some impressive results.
For this work, [HEN3DRIK] prints objects in a special PVB “casting filament” which has some useful properties. It can be smoothed with isopropanol, and it’s also intended to be burnt off when used in casting processes. Once the prints come off the printer, [HEN3DRIK] runs a vapor polishing process to improve the surface finish, and then coats the print with copper paint to make the plastic conductive on the surface. From there, the parts are electroplated with copper to create a shiny metallic surface approximately 240 micrometers thick. The final step was to blowtorch out the casting filament to leave behind just a metal shell. The only problem is that all the fire tends to leave an ugly oxide layer on the copper parts, so there’s some finishing work to be done to get them looking shiny again.
We’ve featured [HEN3DRIK]’s work before, particularly involving his creation of electroplated 3D prints with mirror finishes. That might be a great place to start your research if you’re interested in this new work. Video after the break.