The need for scarcity in Music and Entertainment [MIDiA]AI may be causing an exciting Christmas Day-like boom of content and creativity, but is the industry showing real signs of significant growth? by Hanna Kahlert of MIDiA AI has. Continue reading
The post The need for scarcity in Music and Entertainment [MIDiA] appeared first on Hypebot.

Antelope Audio enters the speaker game with Atlas i8 isobaric studio monitorAntelope Audio, a brand usually associated with audio interfaces, high-quality converters, master clocks and modelling microphones, has announced its first-ever monitor speaker.

READ MORE: KRK GoAux monitor speakers review: Small and mobile with a sound that’s big and accurate

The Atlas i8 was teased at the NAMM Show in April, but has now been given an official release date.
It has an active three-way design, which means the bass is delivered via eight-inch low-frequency drivers with the mids and highs coming through coaxial mid- and high-frequency drivers.
Inside, the drivers are configured in an isobaric way, which, if you don’t know, is the process of fitting one identical driver in front of the other, improving the low-end frequencies. This means it can achieve low-end performance which would typically require a larger cabinet. It offers a response down to 35Hz with minimal distortion and delivers a high SPL output.
Antelope has developed its own DSP system for the Atlas i8. This enables the monitor to offer a range of helpful features, including EQ adjustments, tailored speaker modes for different work scenarios, preset saving, and delay offset settings. You can control these settings remotely via USB using a software control application.
The Atlas i8 is also equipped with Antelope’s proprietary 64-bit acoustically-focused clocking technology, along with its A-D and D-A converters, operating at a sample rate of 192 kHz. It also provides analogue inputs on XLR/TRS combo sockets and offers AES3 input and output on XLR connectors, allowing for daisy-chaining of speakers and the option to bypass interface converters, if you want.
The brand is usually associated with audio interfaces. In 2021, we reviewed its Zen Go Synergy Core audio interface, saying that it was “hard to fault”.
“The Zen Go is well priced for its sound quality, routing flexibility, channel count and DSP operation.” The review reads. “It sits between the UA Volt 276 and Apollo Twin X in price, but is closer to the latter in features, though without the MIDI of the former. The hardware is well built yet light, which is good for a life in and out of bags, whilst on the software side it is easy to work with, requiring only the scantest of manual skims.”
Antelope Audio has stated that the Atlas i8 would be available in Q2 2023, although no official launch date has yet been confirmed by the brand. The price, however, comes in at €2,495 per speaker.
Contact Antelope Audio regarding availability at en.antelopeaudio.com.
The post Antelope Audio enters the speaker game with Atlas i8 isobaric studio monitor appeared first on MusicTech.

Coppersound Pedals reveal Kingpin & Iris Kingpin and Iris bring an affordable germanium overdrive and simple optical compressor to Coppersound's Mini Series line-up.

Amsterdam Dance Event unveils new immersive experiences and exclusive performances for 2023Amsterdam Dance Event (ADE), the world’s biggest club and festival conference for electronic music, has announced a series of new events in its festival program. Attendees can look forward to a slew of exciting audiovisual and musical performances that contribute to the conference’s immersive experience.

READ MORE: Moodymann on DJing: “I’m not there to give you what you want. But you might hear something that you need.”

Held from 18-22 October, the five-day event will cover the whole spectrum of electronic subgenres in over 1000 events, with more than 2,500 artists performing in almost 200 of Amsterdam’s finest music and nightlife spaces.
Among the confirmed programs for the ADE Pro track is a deep immersion masterclass and audiovisual performance by London-based producer Max Cooper. The conference will also be hosting an exclusive edition of the Secret Artists in Residence concept for a collaborative jam session at ADE Pro home base Felix Meritis.
This year, a one-off music studio will be built at Felix Meritis, allowing for unusual collabs and jamming sessions with an eclectic roster of artists including Steve Rachmad, Alberta Balsam, Mathew Jonson, Sarah Neutkens, Sie Medway-Smith & the concept’s host and curator Pitto himself.
This year’s ADE will also delve into strategies, opportunities and responsibilities that define the global electronic music industry.
Topics will range from organising large scale events in an increasingly uncertain market, mastering the recent explosion of machine learning as a music professional to getting your music used in movies and series on the most well-known video streaming platforms etc. Promoting inclusivity is another key focus, with HE.SHE.THEY. and William Morris Endeavor Agency (WME) sharing strategies for diversity in the industry.
The ADE Pro Pass grants access to the full conference program, alongside networking events, the ADE Festival program and more.
Tickets to the event and more information can be found at the ADE website.
The post Amsterdam Dance Event unveils new immersive experiences and exclusive performances for 2023 appeared first on MusicTech.

Get FREE Seraphim For Kontakt In A BPB Giveaway
FluidShell Design and Loot Audio kindly offer Seraphim, Stigmata, and Subliminal Keys for FREE to one lucky BPB reader (two more readers will receive Seraphim). But before we move on to the giveaway, let’s take a closer look at the new Seraphim virtual instrument by FluidShell Design. There is something to be said about the [...]
View post: Get FREE Seraphim For Kontakt In A BPB Giveaway

Moodymann on DJing: “I’m not there to give you what you want. But you might hear something that you need.”House, disco and soul musician and DJ Kevin Dixon Jr. – AKA Moodymann – has spoken about his apathetic approach to DJing, highlighting that he doesn’t play what event-goers “want”, but “something [they] need”.

READ MORE: AlphaTheta, owner of Pioneer DJ, acquires Serato – here’s the latest

In a new interview with Resident Advisor, the Mahogani Music and KDJ Records label boss and Detroit legend says that while he might not always pander to the dancefloor in his global DJ sets, he does provide an essential, perhaps educational flavour of Detroit.
“If you’re looking for the hottest DJ to work the crowd, I’m most definitely the wrong person to call, but I will share my environment,” he tells writer Nyshka Chandran. “I’m coming to bring Detroit to your stage. Whatever I play, I’m probably at home or somewhere else listening to it. I’m not there to give you what you want. But you might hear something that you need.”

Moodymann doesn’t always represent underground Detroit music in his DJ sets, however. In 2017, he was criticised for dropping the strange combination of Kings Of Leon’s Sex On Fire and The Beatles’ Come Together at UK festival Field Day. The reason is still a mystery, although this could be a rare example of the Detroit DJ ‘playing to the crowd’ in his own tongue-in-cheek way.
He goes on to humbly add that he’s “blessed that people still ask him to DJ”. “Think about it,” he says, “of all the talent that’s out there, and you callin’ this motherfucker?”
While the interview mainly focuses on Dixon Jr.’s role in growing and nurturing Detroit’s music scene (he won the Spirit of Detroit award in 2016), organising now legendary roller discos and his entrepreneurial endeavours, Moodymann does briefly touch upon his role as a producer in the interview.
“When I’m recording, you know, we gettin’ down, it’s like having sex,” he says on jamming with and re-sampling a live band. On planning his studio sessions, he never sets out time to make music, saying that it comes naturally. “I don’t really plan to make music, it just starts happening and later, I figure out what to do with it,” he says.
Not familiar with Moodymann? Discover his music on Bandcamp.
The post Moodymann on DJing: “I’m not there to give you what you want. But you might hear something that you need.” appeared first on MusicTech.

Black Octopus Sound Gritty Glitch Hop Black Octopus Sound presents 'Gritty Glitch Hop' A collection of samples ideal for Glitch Hop and a varity of other Bass Music Genres. What's Inside: 329 Total Samples.... Read More

Leading British music organisation urges government to address issues surrounding AIUK Music, an organisation which represents the collective interests of the production side of the UK’s commercial music industry, has urged the government to address concerns surrounding AI in music.

READ MORE: 6LACK reimagines latest album for sleep and focus soundscapes on Endel

UK Music’s CEO Jamie Njoku-Goodwin has highlighted concerns in an open letter to Culture Secretary Lucy Frazer, and has also outlined a five-point plan for the Government to adopt when approaching regulation of AI.
“It is not acceptable for creators’ work or their identity to be used by AI developers without their consent,” reads the letter (via Music Radar). “Taking other people’s work without their permission contravenes basic principles of property rights, undermining both creator incomes and the economic model that has enabled the UK to build a world-leading music industry.”
The body’s five-point principles are shown in a policy position paper, which states that is “key to protect the sanctity of human creativity while also protecting the personality of human creators” as we go forward with regulating how artificial intelligence is implemented into the industry.
One of UK Music’s main focuses is how artists and creators are concerned that AI tools have been trained on copyright works, without the permission of the owners or makers.
These five points are as follows:

Creators’ choice: The creator, or their chosen rights holder, should be able to decide if and how they want to use their creative talent. This certainty underpinned by legal rights (copyright) should not be undermined by any exception to copyright or compulsory licensing during the input stage. Users need to respect creators’ choice as baseline for any discussions.
Record keeping: It is important that in the input stage, the technology providers keep an auditable record of the music ingested before the algorithm generates new music. This is the only point in the process when these data points can be documented.
Without human creativity there should be no copyright.
Labelling: Music generated by AI should be labelled as such.
Protection of personality rights: A new personality right should be created to protect the personality/image of songwriters and artists.

You can read the full open letter here.
The post Leading British music organisation urges government to address issues surrounding AI appeared first on MusicTech.

New Nautilus AT workstations from Korg The latest Nautilus models are now equipped with aftertouch, and Korg have also announced an upgrade service for existing owners. 

Texas Blockchain Council director announces run for state houseThe director of Bitcoin mining analytics at the TBC said he was opposed to the Fed's exploration of a central bank digital currency and planned to push for “digital freedom”.

Gravity Presents Multi Keyboard Stand for Musicians and ProducersGravity presents the Multi Keyboard Stand, an instrument and equipment stand with four levels for flexible and the visually clean placement of keyboards, synthesizers, workstations, groove boxes, effects, mixers and more – live and in the studio. The freely adjustable Multi Keyboard Stand is made of lightweight and robust aluminium and allows each shelf to be adjusted to position instruments or equipment comfortably and securely in the desired place. 

For precise adjustment, the black aluminium tubes can be provided with centimetre and millimetre measurements using the enclosed self-adhesive measuring tapes. Maximum safety is also ensured by the double anti-tilt protection (2.5 mm or 4 mm) to keep the units stably in position. Furthermore, the integrated cable guide enables the clean and safe routing of mains and signal cables behind the instruments.  More information: gravitystands.com

5 times DJs won when Serato + Pioneer DJ collaborated
This week’s surprise news of a pending acquisition of Serato Audio Research by AlphaTheta Corporation (Pioneer DJ’s parent company) riled up many DJs. There’s been (very valid) concerns expressed about market consolidation, dampening of innovation, and long term support for legacy products. But what about the flip side? Is this deal born out of a […]
The post 5 times DJs won when Serato + Pioneer DJ collaborated appeared first on DJ TechTools.

Congress prepares to continue throwing money at NASA’s Space Launch SystemCongress will pour billions more dollars into the Space Launch System (SLS) rocket and its associated architecture, even as NASA science missions remain vulnerable to cuts.
Both the House and Senate Appropriations Committees recommend earmarking around $25 billion for NASA for the next fiscal year (FY 24), which is in line with the amount of funding the agency received this year (FY 23). However, both branches of Congress recommend increasing the portion of that funding that would go toward the Artemis program and its transportation cornerstones, SLS and the Orion crew capsule.
Those programs would receive $7.9 billion per the House bill or $7.74 billion per the Senate bill, an increase of about $440 million from FY 2023 levels.
Meanwhile, science missions are looking at cuts of around that same amount, with the House recommending a budget of $7.38 billion versus $7.79 billion in FY 2023.
The increase in funding is just the latest sign that Congress is not backing down from the mission architecture of the Artemis program, which aims to return humans to the moon by 2025. That plan is dependent on having a heavy-lift rocket capable of giving enough boost to deliver a fully fueled and crewed capsule to lunar orbit. For this task, Congress devised SLS and Orion, programs built on legacy NASA and (ostensibly) cost-saving for that reason.
But this decision has been met with an enormous amount of criticism, principally for the incredible price tag of both programs — price tags that will keep rising as the program continues to develop. For example, overall costs for SLS have tipped past $24 billion since the project was first conceived in 2010. But because the rocket is not reusable, despite it having a successful first flight last November, Congress will have to spend many more billions for each subsequent mission.
That’s not to mention the costs of Orion or the mobile launch tower from which SLS takes flight.
In May, NASA’s Office of Inspector General issued a devastating audit of the program, which found that delays to the SLS booster and engine contracts have resulted in an approximately $6 billion cost-overrun. The report further criticizes the use of cost-plus contracts, a fee structure by which essentially all of the risk is taken on by the government.
Overall, NASA received $25.4 billion in funding for FY ’23, with $2.6 billion earmarked toward SLS, $1.34 billion to Orion, and $1.48 to the Human Landing System contract programs. Science programs — which include the Mars Sample Return mission and Earth science missions — received $7.8 billion overall.
Congress prepares to continue throwing money at NASA’s Space Launch System by Aria Alamalhodaei originally published on TechCrunch

Utopia wants to be the ‘operating system’ for the music industry, and 3 other things we learned from founder Mattias Hjelmstedt’s new interviewIn a rare interview on the Dealmakers podcast with Alejandro Cremades, Utopia founder Mattias Hjelmstedt dropped some hints as to what has been happening with the company
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Hipgnosis Songs Fund may soon sell some copyrights. Why – and who might be the buyer?What's happening with one of the week's big stories – and where we think it might go in future
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