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Rast Sound LumoA Next‑Generation Loudness Enhancer Every producer reaches that point where basic EQ and compression just can't capture the energy or vibrancy their track demands. Lumo changes... Read More
DIY and Independent Musician News Last WeekThis week, our tips and advice for the independent, do-it-yourselfers out there covered how to make more money from merch at shows, new music bills introduced, and more...
The post DIY and Independent Musician News Last Week appeared first on Hypebot.Last week’s Top Music Business NewsA busy week by any definition and music business news was no exception, with new updates on LA Fire Relief, Chartmetric reports an overcrowded industry, and more...
The post Last week’s Top Music Business News appeared first on Hypebot.Roland release V-STAGE professional keyboards The line-up comprises two models in the form of the V‑STAGE 88 and V‑STAGE 76.
Shure unveil Nexadyne instrument mics The Nexadyne 2 kick drum microphone, Nexadyne 5 guitar amp microphone and Nexadyne 6 tom/snare microphone all debut at NAMM 2025.
Signing Story with Nina NesbittDate Signed: January 2024Label: Apple Tree RecordsType of Music: FolkManagement: Vicky Dowdall, VDM MusicBooking: Marty Diamond - WassermanLegal: Kieran Jay - Harbottle & LewisPublicity: High Rise PR - ninanesbittmusic.comScottish singer-songwriter Nina Nesbitt is taking the reins of her career by launching her own record label, Apple Tree Records. The name of the label is a nod to her first independent EP release 12 years ago, The Apple Tree, and it was also the first project of Nesbitt’s that her manager Vicky Dowdall worked with her on. Nesbitt and Dowdall are equal partners and owners of the new venture. “I feel like Vicky has partly raised me in the music industry. I was 17 when I started working with her. Vicky got me through my first heartbreak, she introduced me to some of my favorite albums.” Nesbitt revealed. “She's really protected me from the music industry, and stood by my side when I'd been dropped. We bring out the best in each other. And I think now that I'm older, it feels more like a partnership, which is really nice.”The first project under Apple Tree Records was Nesbitt ‘s fourth studio album, Mountain Music, which was released on September 27. “I wrote the album before we signed anything, so it didn't really change the creative part or the making of the album, but definitely in terms of how we promoted it,” Nesbitt says. “We had to hire the team and choose what we wanted to spend the funding on. It's been a lot more organic than other albums. We didn't take the first few songs to radio. We didn't do a lot of ads. It was just to let it grow naturally and just put the music out.”Nesbitt was previously signed to Universal Music Group and the indie label Cooking Vinyl. Those experiences have shaped her views on how the industry works. “I didn't know what a label could offer me in 2024, apart from funding. I feel like so much of it is on the artist and manager.” Nesbitt continues. “A lot of it's the artist doing the social media and the TikToks and everything. I'm at a point where I've established a fan base, and I just want to nurture that fan base and grow that. It really is a guessing game in the music industry, like nobody knows what's going to happen. No one knows what's going to be successful. You just really have to believe in yourself.”The post Signing Story with Nina Nesbitt first appeared on Music Connection Magazine.
DePIN needs a more cohesive narrative for mass adoption — Web3 execAccording to data from CoinMarketCap, the decentralized physical infrastructure network sector has a market capitalization of over $27 billion.
AI companies upped their federal lobbying spend in 2024 amid regulatory uncertaintyCompanies spent significantly more lobbying AI issues at the U.S. federal level last year compared to 2023 amid regulatory uncertainty. According to data compiled by OpenSecrets, 648 companies spent on AI lobbying in 2024 versus 458 in 2023, representing a 141% year-over-year increase. Companies like Microsoft supported legislation such as the CREATE AI Act, which […]
© 2024 TechCrunch. All rights reserved. For personal use only.Small Print Bed? No Problem!One of the major limitations of 3D printers is the size of the printable area. The robotic arm holding the printer head can only print where it can reach, after all. Some methods of reducing this constraint have been tried before, largely focusing on either larger printers or printer heads that are mobile in some way. Another approach to increasing the size of prints beyond the confined space typical of most consumer-grade 3D printers is to create some sort of joinery into the prints themselves so that larger things can be created. [Cal Bryant] is developing this jigsaw-based method which has allowed him to produce some truly massive prints.
Rather than making the joints by hand, [Cal]’s software will cut up a model into a certain number of parts when given the volume constraints of a specific 3D printer so it can not only easily print the parts, but also automatically add the jigsaw-like dovetail joints to each of the sections of the print. There were a few things that needed prototyping to get exactly right like the tolerance between each of the “teeth” of the joint, which [Cal] settled on 0.2 mm which allows for a strong glued joint, and there are were some software artifacts to take care of as well like overhanging sections of teeth around the edges of prints. But with those edge cases taken care of he has some working automation software that can print arbitrarily large objects.
[Cal] has used this to build a few speaker enclosures, replacing older MDF designs with 3D printed ones. He’s also built a full-size arcade cabinet which he points out was an excellent way to use up leftover filament. Another clever way we’ve seen of producing prints larger than the 3D printer is to remove the print bed entirely. This robotic 3D printer can move itself to a location and then print directly on its environment.From Suno being sued by GEMA to Weverse’s 150m lifetime downloads… it’s MBW’s Weekly Round-UpThe biggest stories from the past week – all in one place…
SourceMark Douglas on the rising importance of the International Performer Number: ‘We strive to remove cost from the wider industry and sharing metadata and systems is one way we do that.’The following op/ed comes from Mark Douglas, CIO of UK-based music licensing company, PPL.
SourceProducers react to famous EDM samples (Daft Punk, Tiësto, and more)
Veteran music producers John Grand and Max Nepa-Rewak react to samples that are heard in tracks by the likes of Daft Punk, Tiësto, and others.Zynaptiq’s Punch plug-in lands Punch delivers a mastering level solution to enhance everything from airy transients to heavy attacks.
Sony Ends Blu-Ray, MD and MiniDV Media ProductionWith the slow demise of physical media the past years, companies are gradually closing shop on producing everything from the physical media itself to their players and recorders. For Sony this seems to have now escalated to where it’ll be shuttering its recordable optical media storage operations, after more than 18 years of producing recordable Blu-ray discs. As noted by [Toms Hardware] this also includes minidisc (MD) media and MiniDV cassettes.
We previously reported on Sony ending the production of recordable Blu-ray media for consumers, which now seems to have expanded to Sony’s remaining storage media. It also raises the likelihood that Sony’s next game console (likely PlayStation 6) will not feature any optical drive at all as Blu-ray loses importance. While MiniDV likely was only interesting to those of us still lugging one of those MiniDV camcorders around, the loss of MD production may be felt quite strongly in the indie music scene, where MD is experiencing somewhat of a revival alongside cassette tapes and vinyl records.
Although it would appear that physical media is now effectively dead in favor of streaming services, it might be too soon to mark its demise.Waves launches the eMotion LV1 Classic, its first-ever fully integrated live mixing consoleNAMM 2025: The Waves LV1 mix engine has been a staple of live mixing for many years, and now the Israeli audio developer has fully integrated the software into its first-ever all-in-one console: the eMotion LV1 Classic.
It features 17 faders – 16 channels and one master – that can shift between 64 stereo channels. There is also a 21.5-inch touchscreen for making changes to the mix at a moment’s notice – essential for live applications.READ MORE: NAMM 2025 Live: Latest rumours, news and products from the biggest music technology show in the world
In terms of technical specifications, the eMotion LV1 Classic’s mix engine is 32-bit and runs at 44.1–96 kHz sample rates, offering sizeable headroom. There are 16 Waves Signature Preamps, and the software allows the users to switch between transparent preamp output and enhanced output.
Regarding enhancements, LV1 Classic comes with 16 built-in Waves processors, including Dynamic EQ (F6), live vocal pitch correction (Waves Tune Real-Time), and feedback and mic bleed elimination (X-FDBK and PSE). Waves’ vast library of plugins can be easily integrated into the console as well for users looking to expand its native capabilities.
Waves Senior Product Manager Yaniv Litmanovich says: “We are excited to introduce the eMotion LV1 Classic console, making Waves’ sonic capabilities and tools accessible for all in a familiar yet innovative form factor. This robust yet compact desk blends all Waves audio and UX expertise, marking a new era in Waves’ product offerings for the live sound industry.”
The eMotion LV1 Classic console is available for £7,444. For more info, head to Waves.
The post Waves launches the eMotion LV1 Classic, its first-ever fully integrated live mixing console appeared first on MusicTech.
