Credit Karma co-founder Nichole Mustard stepping down after more than 16 yearsCredit Karma co-founder and Chief Revenue Officer Nichole Mustard is leaving the company after 16-and-a-half years, TechCrunch has exclusively learned today. A spokesperson of the consumer fintech, now a subsidiary of Intuit, confirmed Mustard’s departure via email, writing only: “I can confirm she decided to leave the company, her contributions have been significant and we […]
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Hearing Amazônia: MIT musicians in Manaus, BrazilOn Dec. 13, the MIT community came together for the premiere of “We Are The Forest,” a documentary by MIT Video Productions that tells the story of the MIT musicians who traveled to the Brazilian Amazon seeking culture and scientific exchange.

The film features performances by Djuena Tikuna, Luciana Souza, Anat Cohen, and Evan Ziporyn, with music by Antônio Carlos Jobim. Fred Harris conducts the MIT Festival Jazz Ensemble and MIT Wind Ensemble and Laura Grill Jaye conducts the MIT Vocal Jazz Ensemble.
The impact of ecological devastation in the Amazon reflects the climate crisis worldwide. During the Institute's spring break in March 2023, nearly 80 student musicians became only the second student group from MIT to travel to the Brazilian Amazon. Inspired by the research and activism of Talia Khan ’20, who is currently a PhD candidate in MIT's Department of Mechanical Engineering, the trip built upon experiences of the 2020-21 academic year when virtual visiting artists Luciana Souza and Anat Cohen lectured on Brazilian music and culture before joining the November 2021 launch of Hearing Amazônia — The Responsibility of Existence.

This consciousness-raising project at MIT, sponsored by the Center for Art, Science and Technology (CAST), began with a concert featuring Brazilian and Amazonian music influenced by the natural world. The project was created and led by MIT director of wind and jazz ensembles and senior lecturer in music Frederick Harris Jr.

The performance was part eulogy and part praise song: a way of bearing witness to loss, while celebrating the living and evolving cultural heritage of Amazonia. The event included short talks, one of which was by Khan. As the first MIT student to study in the Brazilian Amazonia (via MISTI-Brazil), she spoke of her research on natural botanical resins and traditional carimbó music in Santarém, Pará, Brazil. Soon after, as a Fulbright Scholar, Khan continued her research in Manaus, setting the stage for the most complex trip in the history of MIT Music and Theater Arts.

“My experiences in the Brazilian Amazon changed my life,” enthuses Khan. “Getting to know Indigenous musicians and immersing myself in the culture of this part of the world helped me realize how we are all so connected.”

“Talia’s experiences in Brazil convinced me that the Hearing Amazônia project needed to take a next essential step,” explains Harris. “I wanted to provide as many students as possible with a similar opportunity to bring their musical and scientific talents together in a deep and spiritual manner. She provided a blueprint for our trip to Manaus.”

An experience of a lifetime

A multitude of musicians from three MTA ensembles traveled to Manaus, located in the middle of the world’s largest rainforest and home to the National Institute of Amazonian Research (Instituto Nacional de Pesquisas da Amazônia, or INPA), the most important center for scientific studies in the Amazon region for international sustainability issues.

Tour experiences included cultural/scientific exchanges with Indigenous Amazonians through Nobre Academia de Robótica and the São Sebastião community on the Tarumã Açu River, INPA, the Cultural Center of the Peoples of the Amazon, and the Museu da Amazônia. Musically, students connected with local Indigenous instrument builders and performed with the Amazonas State Jazz Orchestra and renowned vocalist and Indigenous activist Djuena Tikuna.

“Hearing Amazônia: Arte ê Resistência,” a major concert in the famed 19th century opera house Teatro Amazonas, concluded the trip on March 31. The packed event featured the MIT Wind Ensemble, MIT Festival Jazz Ensemble, MIT Vocal Jazz Ensemble, vocalist Luciana Souza, clarinetist Anat Cohen, MIT professor and composer-clarinetist Evan Ziporyn, and local musicians from Manaus. The program ended with “Nós Somos A Floresta (We Are The Forest) — Eware (Sacred Land) — Reflections on Amazonia,” a large-scale collaborative performance with Djuena Tikuna. The two songs were composed by Tikuna, with Eware newly arranged by Israeli composer-bassist Nadav Erlich for the occasion. It concluded with all musicians and audience members coming together in song: a moving and beautiful moment of mediation on the sacredness of the earth.

“It was humbling to see the grand display of beauty and diversity that nature developed in the Amazon rainforest,” reflects bass clarinetist and MIT sophomore Richard Chen. “By seeing the bird life, sloths, and other species and the flora, and eating the fruits of the region, I received lessons on my harmony and connection to the natural world around us. I developed a deeper awareness of the urgency of resolving conflicts and stopping the destruction of the Amazon rainforest, and to listening to and celebrating the stories and experiences of those around me.”

Indigenous musicians embodying the natural world

“The trip expanded the scope of what music means,” MIT Vocal Jazz Ensemble member and biomedical researcher Autumn Geil explains. “It’s living the music, and you can’t feel that unless you put yourself in new experiences and get yourself out of your comfort zone.”

Over two Indigenous music immersion days, students spent time listening to, and playing and singing with, musicians who broadened their scope of music’s relationship to nature and cultural sustainability. Indigenous percussionist and instrument builder Eliberto Barroncas and music producer-arranger César Lima presented contrasting approaches with a shared objective — connecting people to the natural world through Indigenous instruments.

Barroncas played instruments built from materials from the rainforest and from found objects in Manaus that others might consider trash, creating ethereal tones bespeaking his life as one with nature. Students had the opportunity to play his instruments and create a spontaneous composition playing their own instruments and singing with him in a kind of “Amazonia jam session.”

“Eliberto expressed that making music is visceral; it’s best when it comes from the gut and is tangible and coming from one’s natural environment. When we cannot understand each other using language, using words, logic and thinking, we go back to the body,” notes oboist and ocean engineer Michelle Kornberg ’20. “There's a difference between teaching music as a skill you learn and teaching music as something you feel, that you experience and give — as a gift.”

Over the pandemic, César Lima developed an app, “The Roots VR,” as a vehicle for people to discover over 100 Amazonia instruments. Users choose settings to interact with instruments and create pieces using a variety of instrumental combinations; a novel melding of technology with nature to expand the reach of these Indigenous instruments and their cultural significance.

At the Cultural Center of the Peoples of the Amazon, students gathered around a tree, hand-in-hand singing with Djuena Tikuna, accompanied by percussionist Diego Janatã. “She spoke about being one of the first Indigenous musicians ever to sing in the Teatro Amazonas, which was built on the labor and blood of Indigenous people,” recalls flutist and atmospheric engineer Phoebe Lin, an MIT junior. “And then to hold hands and close our eyes and step back and forth; a rare moment of connection in a tumultuous world — it felt like we were all one.”

Bringing the forest back to MIT

On April 29, Djuena Tikuna made her MIT debut at “We Are the Forest — Music of Resilience and Activism,” a special concert for MIT President Sally Kornbluth’s inauguration, presenting music from the Teatro Amazonas event. Led and curated by Harris, the performance included new assistant professor in jazz and saxophonist-composer Miguel Zenón, director of the MIT Vocal Jazz Ensemble; Laura Grill Jaye; and vocalist Sara Serpa, among others. 

“Music unites people and through art we can draw the world’s attention to the most urgent global challenges such as climate change,” says Djuena Tikuna. “My songs bring the message that every seed will one day germinate to reforest hearts, because we are all from the same village.”

Hearing Amazônia has set the stage for the blossoming of artistic and scientific collaborations in the Amazon and beyond.

“The struggle of Indigenous peoples to keep their territories alive should concern us all, and it will take more than science and research to help find solutions for climate change,” notes President Kornbluth. “It will take artists, too, to unite us and raise awareness across all communities. The inclusivity and expressive power of music can help get us all rowing in the same direction — it’s a great way to encourage us all to care and act!”

Italian EDM Artist Giacomo “jayover” Uber Works On-the-go With KRKProducer, Writer, and Artist Giacomo Uber, also known as jayover, fell in love with electronic music and music production when he was a kid, and has been pursuing these passions ever since. While working in his Italy-based studio, Area 23, Giacomo has produced and written music for artists such as Gabry Ponte, Don Diablo, LUM!X, Martin Jensen, and JP Cooper, among others, cumulating in around 400 million streams and two gold records. Giacomo’s love for creating music has also translated into his personal career, where he works on his current artistic project, “jayover.”

As someone who is constantly on the move, Giacomo needs the proper tools to help him create his long list of projects, no matter where he finds himself. That is why he turned to the KRK GoAux 4 Portable Studio Monitor System. “I travel quite often, so having portable speakers is great for when I am on the go,” he says. “Usually, when I’m not in my studio, I work on headphones, but that can get tiring after a while. Having small reference speakers like the KRK GoAux helps so much. I use them mainly when I am writing and starting productions; I think those are the scenarios where they really shine.”

Giacomo says that one of his favorite features of the KRK GoAux 4 is the built-in auto-calibration system. “Obviously, hotels and living rooms are not meant to be studios, so the acoustics in these spaces can be a problem,” he explains. “With the auto-calibration system of the KRK GoAux, I can improve the sound of a space in just a couple of minutes! I take them with me quite often, so that’s important. They’re also great for outdoor spaces ― I use them in my garden when I get tired of staying inside my studio. Overall, the KRK GoAux work very well, and having the bag is a plus to carry and protect them!”

Universal launches Beat Galaxy music hub on Roblox, featuring ‘one of the largest song catalogs of any experience’ on the gaming platformUMG partnered with virtual world developer Supersocial to launch the new music hub
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Warner’s ADA Worldwide strikes global distribution deal with historical music label OmnivoreOmnivore specializes in historical releases and reissues, as well as previously unreleased vintage recordings.
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Luminate claims ‘consensus’ but Indies still want delay in Billboard Chart sales data changesLuminate will proceed with changes in how it counts physical sales from independent music stores used to calculate the Billboard Charts despite significant pushback from the independent community. Yesterday, Luminate. Continue reading
The post Luminate claims ‘consensus’ but Indies still want delay in Billboard Chart sales data changes appeared first on Hypebot.

What is MIDI in music (and how do you use it)?
Learn about what MIDI (Musical Instrument Digital Interface) is, its unique history, and how to use it as a powerful tool for making music.

Music Gifts 2023: Last-minute music presents for hi-fi fans and music loversWhen you purchase through links on our site, we may earn an affiliate commission. For more information on how this works click here.
It feels like everyone’s already thought about and completed their yearly rounds of Christmas shopping. But not everyone! We can’t all be so quick off the mark to prep for the big day, and that’s nothing to be ashamed about. There’s still just enough time to grab a thoughtful present for a loved one this year that could blow them away, allowing you to be rightly crowned as the king or queen of your family’s Chrimbo.

READ MORE: Gift Guide 2023: 12 affordable holiday gifts for producers and musicians

If you’re buying for a real music fan, you’d struggle to disappoint with a music-related gift. We’ve compiled some of the best affordable options, from Bluetooth speakers to headphones, books, accessories and more, to help get the ball rolling – and hopefully de-stress – your last-minute 2023 holiday season shop.
Gift vouchers – Amazon, Thomann, zZounds
Credit: Getty / Betsie Van Der Meer
At this time of year, what a music fan might simply desire are the funds for that much-needed music tech sitting at the top of their mental wishlist. If unsure of which product that might be exactly, gifting a voucher from their preferred music store allows them the freedom to purchase anything, avoiding any potential disappointment if you get it wrong. Amazon, zZounds and Thomann each offer gift vouchers, often ranging from $25 to $1,000.

Buy a gift card from Amazon
Buy a gift card from zZounds
Buy a gift card from Thomann

JBL Flip 6 Bluetooth speaker – $111/£97

There was once a time when home listening required a big hi-fi setup, records or CDs and a power connection – portability was barely a question. But today, all you need is a phone or laptop with Bluetooth connectivity and a trusty wireless Bluetooth speaker.
JBL’s Flip 6 is robust portable speaker that delivers booming sound from anywhere, even if it does meet the unassuming size and shape of a Pringles can. Yes, other portable speakers such as the Bose Soundlink and Anker Soundcore can deliver excellent sound, but for durability on those endless summer nights in the parks with friends, the Flip 6 is a no-brainer.
Buy it at Amazon.
Sennheiser SoundProtex Plus protective earbuds – $70/£56

Regardless if you’re a musician or not, protecting your hearing is crucial. If you’ve got a friend or loved one who’s an excessive gig-goer, a high-quality pair of earbuds is essential. The last thing you want is for their hearing to be worse than granny’s next Christmas, so act now and grab Sennheiser’s SoundProtex Plus. These protective earbuds are a safe bet for the price, making for a safe pair of lugs.
Buy them at Thomann.
Millennium vinyl record holder – $7
Image: Kelly Bowden / Getty
You’ve already bought your loved one the year’s biggest album on vinyl. What’s next? Something to help them show it off to their mates, of course! This vinyl record holder, although an absolute pain to wrap, has a super simple setup – just hang it to nails or hooks on your wall and slot your favoured record inside. It’s a brilliant way to show everyone what’s playing when you’re on DJ duties at a house party, too.
Buy it at Thomann.
AKG K-182 hi-fi headphones – $94/£75

Don’t settle for crappy headphones that fall apart this Christmas. The AKG K-182 hi-fi headphones offer reliable sound quality, delivering clear audio across the frequency spectrum. With comfortable over-ear design and excellent noise isolation, they provide an immersive listening experience. Durable build, foldable design, and affordability make them an ideal choice for those seeking relatively quality sound without the hefty price tag that can come with it.
Buy it at Thomann.
AZATOM Desire X Oak DAB digital radio – $41
AL:

AZATOM’s Desire X Oak DAB digital radio is stylish and functional without breaking your bank, coming in at a cool $41 on Amazon. It offers DAB and DAB+ digital radio reception, providing a wide range of stations with a surprisingly high sound quality. The oak finish gives it an elegant look, and it includes features like alarm functions, preset stations, and an easy-to-use interface.
Buy it at Amazon.
Nanoleaf 4D from $72/£72

Nanoleaf 4D is a kit of light strips and a camera that, when attached to your TV, turns your living room into a raving room. The lights react to whatever’s on the screen, so the light extends out into the wall behind and makes for a more immersive experience. These are, of course, perfect for music fans. Just bring up your favourite music video or a recording of a live gig on the screen and you can have your very own light show in seconds.
Buy it at Amazon.
Sony WF-C500 true wireless earbuds – $55

Sony’s WF-C500 wireless earbuds are an all-round package for music lovers. They have a snug, lightweight fit for comfortable extended wear, enhanced sound quality via DSEE, and customisable EQ settings. Stable Bluetooth connectivity ensures uninterrupted music, while the IPX4 water resistance technology handles splashes. With a 20-hour battery life and rapid charging, these earbuds promise all-day listening with minimal downtime – perfect for when the Christmas board game tantrums are taking their toll.
Buy them at Amazon.
Revolution: The History of Turntable Design – $75

Is your friend or loved one a turntable fanatic? If they have any interest in vinyl records, they’d most likely love //Revolution: The History of Turntable Design//. A perfect coffee table book to go with a living room’s sonic setup, it includes 300 illustrations from the world of turntables, from affordable to high-end, and everything in between. We love the retro throwbacks and strange designs – there are even luxury turntables featured that can fetch upwards of $50,000. Fascinating!
Buy it at Amazon.
Dance Your Way Home: A Journey Through the Dancefloor – from $13

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A post shared by Emma Warren (@_emmalwarren_)

Dance Your Way Home: A Journey Through The Dancefloor was instantly loved by fans of dance music in 2023. MusicTech contributor Emma Warren delves into why we dance, revealing personal and collective insights through various dance settings, from home to vibrant club scenes, unveiling how dancing shapes our identities and cultures. This book goes beyond music, highlighting the overlooked yet profound aspects of dancing’s impact on our lives, serving as a memoir and cultural reflection that celebrates the universal language of movement and rhythm.
Buy it at Amazon.
For more buyer’s guides, head to MusicTech.
The post Music Gifts 2023: Last-minute music presents for hi-fi fans and music lovers appeared first on MusicTech.

Bandsintown unwraps shareable live music High Notes for ArtistsBandsintown has released High Notes, its annual shareable graphic recap of an artist’s year performing live. High Notes is designed to be shared by artists to thank fans, grow their. Continue reading
The post Bandsintown unwraps shareable live music High Notes for Artists appeared first on Hypebot.

2024 Music Industry Predictions from Jay Gilbert of Label LogicWe’ve been sharing a series of 2024 Music Industry Predictions from our favorite thinkers and doers, and today, Jay Gilbert takes the microphone. Regular Hypebot readers know Jay as the. Continue reading
The post 2024 Music Industry Predictions from Jay Gilbert of Label Logic appeared first on Hypebot.

Seth Troxler says he wants to resurrect the “anti hero” in dance musicSeth Troxler has spoken of his ambition to resurrect the idea of the “anti hero” in dance music.

READ MORE: Apple to reward musicians who mix their songs in Dolby Atmos format

The techno DJ made an appearance on the radio show Beats In Space in which he discussed his new record label, Slacker 85, and how dance music has started to be “driven by numbers and image stuff”.
Troxler pointed to the existence of a more average music consumer, or slacker, who “doesn’t have a Rolex, who doesn’t want to wear some crazy shirt, who just likes music and doesn’t shave or just doesn’t really care”.

“We grew up with the anti-hero, right? The ’90s was about the anti-hero. It was about being a slacker and being a bit whatever, right?” Troxler suggests. “That was the vibe. You didn’t want to be the cool, to be the cool person was uncool, right? The jock, all that stuff. It was like, that wasn’t cool, when I grew up. I don’t know if it was cool. And it’s cool, whatever, everybody be what you want to be, right? But I just never found those images or that kind of idea to be so cool. So then I was like, ‘Wow, there’s actually a space for music and people for that to represent.’”
He continues: “And it represents me and so many people I know so well. I wanted to open that space again because I think so much of what we do is about culturally retelling tales that inspired us for new generation. I think this place that we are, or I am from being from, there’s the originators, Jeff Mills, all these people, we grew up, all these people who invented techno or dance music, right? We’re very lucky to be around these people.”
Host Tim Sweeney, meanwhile, pointed out that Troxler couldn’t be that much of a slacker with his work ethic, to which he replied: “The thing is I’m able to get so much done because I figured out a system of laziness to do way more with less.
“I got a good team. I delegate stuff. I do the big ideas. I’ve got three people. I just come up with idea, I have an ideas guy and then I execute them.”

The post Seth Troxler says he wants to resurrect the “anti hero” in dance music appeared first on MusicTech.

State of the music creator economy – The consumer era MIDiA is excited to announce the publication of the latest edition of its annual ‘State of the music creator economy’ report. Based on months of research, MIDiA creator and consumer surveys, market sizes and forecasts, this report is the definitive assessment of the music creator tools industry. The report is available to clients here.

The highlights:

The pandemic triggered a surge in the music creator economy, bringing an influx of interest and investment. Suddenly, everyone was talking about music creator tools while investors ploughed investment into leading companies, like Native Instruments and Splice, while newer entrants, like LANDR, carved out new models. 

By 2022, the industry found itself in a post-pandemic lull – always a possibility, even before the subsequent cost-of-living crisis. But, as our report reveals, the slowdown does not represent a sector returning to a pre-inflated level, but instead, a natural rebalancing before long-term, dynamic growth kicks in. This is because the pandemic did not create the market but catalysed an already growing sector, driven by a new wave of creators focused on simplicity and efficiency. The pandemic compressed three years of user growth into one and a half years, so slowing revenues are, in large part, a reflection of the bedding in of this cohort. 

But it is post-pandemic trends that will grow the market most: a) the rapid rise of AI, and B) the rise of the consumer-creator. Consumer-creators transformed photography (Instagram) and videography (TikTok); music will be next. Not only will casual music creation become mainstream, it will trigger an unprecedented widening of the music creator economy funnel. So the market’s future will be defined by: 

Simplification

Consumerization 

Perhaps the clearest sign that the music creator space continues to grow at pace, despite lacklustre results from some key companies, is that the number of creators grew by 12% to reach 76 million, with the number of those who upload their music growing by more than double that rate. Interestingly, the number of artists who self-release into the traditional streaming supply chain grew at half this rate. A forking of the music business is taking place before our very eyes, with the streaming ecosystem playing the traditional establishment, and social apps and new platforms, like BandLab, representing a new, future-facing, creator-centred ecosystem. 

Humans like to think of history in chapters, and music is no different – sorted into neat sections: the CD, piracy, downloads, streaming. We are now entering the creator era. A paradigm shift that will see the creator become centre stage, with creation itself being entertainment, and fans being given ever-more ways to participate and create themselves.

The new, post-streaming models will be defined by characteristics that are almost mirror opposites to the DSP model: 

Creator-centric versus rights-centric 

Creation versus consumption 

Dynamic versus static 

Non-linear versus linear 

Fans versus audiences 

The streaming-centred music business and creator tools used to be separate industries but they are now becoming part of one, extended value chain. With revenues of nearly six billion in 2022, and rising to $10 billion by 2030, the creator tools sector is going to have both commercial and cultural transformational impact. Though hardware will continue to be a crucial part of the market, creation is becoming increasingly virtual, software, sounds and services will account for the majority of future growth.

The growth of the creator tools market to date has resulted in a surge of new tools and services. In fact, there are too many, making it hard for creators to identify what they need and why. Cloud services, such as the recently launched FL Cloud, which combine multiple tools to create joined-up workflows, are a new and important part of the market. This reaggregation approach will become far more prevalent, with subscriptions gaining share, up from a quarter of software, sound and services revenues in 2022, to nearly a third in 2030.

AI will, of course, also be a key growth driver, building on an already long history in creation. Current music AI tools cluster around three groups: 

Assistive tools 

Generative creator tools 

Generative consumer tools 

Established creators will increasingly use generative tools as sound sources, but they will play a more foundational role for younger, newer creators. AI’s biggest impact will be its opening up of the consumerization of music, which itself will comprise of three key components: 

Voice

AI

The phone 

The days of audience, creation, rights and distribution being discreet sectors are numbered. Creation is going to become the linking element, with a new generation of fast-moving creators opting into new models that enable them to operate across all elements simultaneously. The shift of cultural capital will be industry-changing and, in this context, ByteDance launching its creator tools, Mawf and Ripple, demonstrates it is staking its claim to be a key player in this brave new world.

Even though this post covered a lot of ground, it is only a tiny fraction of the 7,000 word, 46 page, 18 figure report! It includes four sections, covering:

Music creators

AI

Market size

Future models

With deep data on music creators, consumer creators, market sizes and forecasts, AI vendor mapping and future business models, there is simply no other report you need to understand both the creator tools market and its growing influence on music business and culture.

If you are not yet a MIDiA client and would like to learn more about how to become one, email stephen@midiaresearch.com.

Finally, here is a list of the companies and brands mentioned in the report: Ableton, Amp, Apple, Arturia, Audiocipher, Avid, BandLab, Bandzoogle, Beatclub, BeatStars, Boomy, ByteDance, CD Baby, Coursera, Discord, Discovery Mode, Distrokd, Fender Play, Final Cut Pro, Fiverr, Focusrite, FL Cloud, FL Studio, FRTYFVE, Google, HIFI, IK Multimedia, Image-Line, Instagram, iZotope, Jamahook, Korg, LALAL.AI, LANDR, LANDR Network, Linkfire, Live, Logic, Loopcloud, MasterClass, Mawf, Meta, Moises, Moog, Native Instruments, Neutron, Pandora, Ripple, Roland, SongStarter, SoundBetter, SoundCloud, Songtradr, Spitfire Audio, Splice, Spotify, Stem, Submix, Suno Chirp Bot, Symphony OS, TB303, TikTok, Tracklib, TuneCore, United Masters, Waves, Yamaha, YouTube, YouTube Shorts 

UTEQ500 EQ module from Undertone Audio Undertone Audio's first 500-series module boasts ’Super Parametric’ bands that are said to be capable of replicating the curve of any other hardware EQ.

Fracture Sounds Releases FREE Festive Bells For Kontakt Player
Fracture Sounds released Festive Bells, a free Christmas bells sound library for the freeware Kontakt Player plugin. I do admit I love a good holiday tie-in. We’re roughly a week and some change out from the big holiday celebrations, and today’s freebie is a fun one. Festive Bells from Fracture Sounds is right up your [...]
View post: Fracture Sounds Releases FREE Festive Bells For Kontakt Player

SampleScience Releases FREE VHS Noise Generator Lo-Fi Plugin
SampleScience released VHS Noise Generator, a freeware lo-fi plugin that recreates the noise of old video tape recorders. It’s a good time for lo-fi lovers; we’ve recently had quite a versatile selection of lo-fi-related freebies appear on the scene. We’ve had the delightfully wild MAIM by Wildergarden Audio and, of course, our very own BPB [...]
View post: SampleScience Releases FREE VHS Noise Generator Lo-Fi Plugin