Building a Diet Coke Button[mars91] had an interesting problem to solve—his girlfriend often requested Diet Coke, but yelling for one across the apartment was frustrating and impractical. A dedicated Diet Coke button seemed like the perfect solution, so that’s precisely what he built.
The Diet Coke Button is a relatively simple device. A small silver push-button activates an Adafruit Feather M0 to send out a signal via its RFM95 LoRa radio. That signal is picked up by the receiver device, which runs on an ESP32. It’s got an RFM95 LoRa module, which receives signals from the button and sounds an alarm to indicate the request for a Diet Coke. The ESP32 also hosts a basic website which allows Diet Coke requests to be submitted via the web, as well as general submissions of a textual nature. The latter are displayed on a small OLED display. If you’re feeling bold, you can even set up the ESP32 to be accessible from the outside Internet, with [mars91] explaining how to do so using a Cloudflare tunnel for your own protection.
The only problem is that delivering the Diet Coke is still something you have to do by hand. Perhaps a future upgrade would involve some kind of small apartment-spanning railway for the delivery of ice-cold cans to designated stations.
It’s a unique project, and one that recalls us of an interesting talk about a different type of call button.

Here’s how to remake Paul McCartney’s Wonderful Christmastime with plugins and emulationsIt’s that time of year again – and we bet you must have heard Paul McCartney‘s Wonderful Christmastime at least a handful of times so far in the run-up to Christmas. He’s even been performing it recently on his current UK tour.

READ MORE: How 100s of hours of McCartney audio was edited into a podcast

For the music nerds among us, however, the often-polarising festive hit offers a smorgasbord of synth-based creativity. This is the basis of Reverb Machine’s Instrumental Synth Remake, which is impressively close to the original song.
The main synth heard in the 1979 hit is the Yamaha CS-80, a large, famously expensive synth famous for its use in Vangelis’ Blade Runner soundtrack. It sounds especially unique thanks to polyphonic aftertouch, a 2-pole filter, a ribbon controller and more esoteric features.
Reverb Machine recreated the sound using Arturia’s emulation, the CS-80 V, using LFO modulation to the filter to achieve the rhythmic effect heard in the track.

Elsewhere, an emulation of the Sequential Prophet-5 is used for the strings heard in the background of McCartney’s track, and what seems to be a Gibson Les Paul taking on guitar duties.
Reverb Machine went deep into the tutorial and published an article demonstrating how to remake it yourself. You can also download Reverb Machine’s Ableton Live project for the tutorial and get the presets used.
 
If you’re looking for other emulations of the Yamaha CS-80, especially in the January sales, Softube recently unveiled the Model 77 Dual Layer Synth, a virtual instrument that “perfectly captures” the sound of the iconic Japanese synth. Cherry Audio also has an iteration, the GX-80, which emulates not only the CS-80 but also the Yamaha GX-1.
Otherwise, you can pick up a bona fide hardware Yamaha CS-80. Currently, there’s one available with a $65,385 price drop on Reverb.com…But you’ll still need $52,308. That might be a little too big for a Christmas stocking…
Read more music production news. 
The post Here’s how to remake Paul McCartney’s Wonderful Christmastime with plugins and emulations appeared first on MusicTech.

Check out this instrumental synth remake of Paul McCartney’s Wonderful ChristmastimeIt’s that time of year again – and we bet you must have heard Paul McCartney‘s Wonderful Christmastime at least a handful of times so far in the run up to Christmas. He’s even been performing it recently on his current UK tour.

READ MORE: How 100s of hours of McCartney audio was edited into a podcast

For the music nerds among us however, the often-polarising festive hit offers a smorgasbord of synth-based creativity. This is the basis of Reverb Machine’s Instrumental Synth Remix.
The main one heard in the 1979 hit is the Yamaha CS-80, a large, famously expensice synth famous for its use in Vangelis’ Blade Runner soundtrack. It sounds especially unique because it has a 2-pole filter as opposed to the more common 3-pole filter.
Reverb Machine recreated the sound by starting with one of the CS-80’s presets and adding LFO modulation to the filter to achieve the rhythmic effect heard in the track.

Meanwhile, the synth patch was recreated using Arturia CS-80 V4, a software emulation of the original instrument.
Reverb Machine even published an article demonstrating how they made it work.
If you’re looking for a modern version of the Yamaha CS-80, especially in the January sales, Softube recently unveiled the Model 77 Dual Layer Synth, a virtual instrument that “perfectly captures” the sound of the iconic Japanese synth.
Softube says it has “component modelled and accurately articulated every detail of the circuits” of the three instruments.” The sound, interaction, and performance remain as close to the hardware units as possible, accompanied by an interface that’s been redesigned for an improved and modern workflow.
The post Check out this instrumental synth remake of Paul McCartney’s Wonderful Christmastime appeared first on MusicTech.

Sound Dust releases Drift Free – Bad Pianos, a FREE wonky-tonk piano for Kontakt
Developer Sound Dust has released Drift Free – Bad Pianos, a free wonky-tonk piano for Kontakt. We aren’t short of free virtual pianos, and while I can never have too many, some people might be thinking enough is enough. But, if you’re in the enough-is-enough camp, don’t tune out just yet because this piano is [...]
View post: Sound Dust releases Drift Free – Bad Pianos, a FREE wonky-tonk piano for Kontakt

Here are 10 free sample packs for neo-psychedelic soundsAd feature with BandLab Sounds
The woozy, FX-drenched sounds of the 1960s and 1970s psychedelic rock may have fallen out of favour somewhat as synths and dance music took over in the 1980s and 90s, but since the turn of the millennium, guitar bands, alternative and even pop producers have rediscovered the power of psychedelia to add character to their music.
Bands like Tame Impala and MGMT, to name a couple, brought back the sound of dusty amps, crusty synths and guitar pedals, blending them together in new ways to create what you might loosely call neo-psychedelia. Like so much that is postmodern, this wasn’t limited just to a couple of genres, with pop and electronica also embracing older production tricks and techniques and combining them with more modern approaches. The Chemical Brothers have been among the better-known proponents of this multi-layered approach to hit-making.
So instead of tracking down and recording all these vintage synths, amps and outboard, why not get straight to the results with samples that have done much of the work for you? These sample and loop collections cover everything from classic guitars, drums and basses through analogue synths, pianos and even strings and contain everything you need to bring the spirit of the classic psychedelic era to your productions. Turn on, tune in and freak out.
Jagged Tones Studio: Psychedelia
Image: BandLab Sounds
The sound of late 1960s psychedelic rock is perfectly captured in this 112-sample collection that covers groovy basslines, warm, blissed-out drums and sun-kissed guitar tones. Recorded through a selection of authentic effects like tremolo, fuzz and spring reverb, the loops give you an excellent selection of retro beats, melodies and textures to bring a whole bunch of character to your tracks.
Download Jagged Tones Studio: Psychedelia
Analogue Synth Chords
Add depth and beautiful warmth to any production with this collection of 100 samples recorded from a set of vintage analogue synthesizers. There’s pulses, massive, warm swells, atmospheric rhythmic patterns and much more to be found. Many are also pre-processed through sympathetic effects like reverb and delay for even greater depth.
Download Analogue Synth Chords
Alternative Pop
Image: BandLab Sounds
With over 100 samples and loops this collection provides an unexpected take on pop production, taking sequenced electronic textures and tones split across bass, beats, leads and much more and giving you the building blocks of something truly special. Think College, with their synth-heavy electro-pop and you won’t be far off; a collection that’ll certainly inspire new ideas.
Download Alternative Pop
Dream Pop
Image: BandLab Sounds
A more upbeat relation of shoegaze, dream pop emphasises lush, slick production values and often real instruments like guitars, electric pianos and shimmering vocals. This collection of 52 loops and samples gives you the building blocks to make gorgeous melodic music with mellow drums, strings, individual drum elements and bass guitars among many more.
Download Dream Pop
Patch & Play Lab: Ambient Taped Piano Melodies V3
Image: BandLab Sounds
Even if you’re not an experienced keyboard player you can add deep emotional textures to your tracks with this third volume of essential piano and keys loops. Over the course of 100 loops, you’ll find lush cinematic sounds, rich with effects and inspiring melodies. A wealth of musical options in terms of keys and patterns provides the perfect set of building blocks for modern cinematic music.
Download Ambient Taped Piano Melodies V3
Soulful Chords
Never be lost for inspiration again with this set of 95 sounds themed around minimal, chilled soul chords. Played on a variety of mellow keyboard instruments and in various keys and styles, they provide a blissed-out toolset to bolster and reinforce your tracks with ready-made soulful vibes.
Download Soulful Chords

Jagged Tones Studio: EBow
Image: BandLab Sounds
Something of a trade secret among guitarists, the e-bow is a magnet used to induce vibration in the strings without actually touching them, producing an unmistakeable sound and style that’s as good for psychedelia as it is for country. These 100 samples range from melodic basslines to swirling, crunchy textures that will liven up any track with their unique character.
Download Jagged Tones Studio: EBow
The Wildcardz Presents Pop Strings
Image: BandLab Sounds
Let’s face it, not many people have the option to record skilled string players. But fret not – this collection provides you with a plethora of sonic possibilities. Over its 100 samples you’ll find classical sequences, swelling harmonies, cinematic plucks and much more, all beautifully captured. Classical strings certainly add panache and class to any production, and this is the perfect way to do it.
Download The Wildcardz’ Pop Strings
Nickolas Wheeler: Tambourines
Image: BandLab Sounds
The often-forgotten hero that glues together many productions, the humble tambourine can be an essential addition to your tracks. Rather than spending ages painstakingly recording your own parts, get there quicker with this 108-sample set produced by Nashville producer Nicklolas Wheeler. All kinds of patterns and sequences are provided and any can be easily stretched in your DAW to fit any desired tempo.
Download Nickolas Wheeler’s Tambourines 
Jagged Tones Studio: Play It Backwards
Image: BandLab Sounds
Reversing melodies and sequences was a popular production trick in the 60s and 70s, achieved by playing tape backwards. Now, get that same effect with this collection of hazy, woozy experimental sounds covering guitars and basses run backwards. With a bunch of retro effects like fuzz and distortion baked into the samples, it’s the perfect way to capture that classic vibe.
Download Jagged Tones Studio: Play It Backwards
 
Find more free software and free sample packs.
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The rise of sample makers: How music’s best-kept secret is changing the industry
Isaac Duarte sits down with the members of Soul Surplus, a collective that's responsible for countless award-winning records and top-selling samples.

10 Great Musician Websites: Strong Design and Fan EngagementLooking for inspiration to create the perfect website for your music? Check out these 10 great musician websites that set the standard for design, functionality, and fan engagement.
The post 10 Great Musician Websites: Strong Design and Fan Engagement appeared first on Hypebot.

Staying Sane and Sober during the Holidays [Eric Mackay]The holiday season can be a tough time to navigate sobriety, particularly for those of us who spend time at clubs and concerts. "As someone who has been sober for over three and a half years, and with more than 25 years in the music industry," writes Eric Mackay. "I’ve experienced this struggle firsthand."
The post Staying Sane and Sober during the Holidays [Eric Mackay] appeared first on Hypebot.

MUSIC BUSINESS NEWS: Indies battle UMG Downtown deal • DefJam adds TV channel • R.I.P. Paul Roper • SiriusXM stumbles, Berkshire buys • More
FRIDAY 12.20.24 • Music Business News Updated Continuously Under The MORE NEWS TAB Above

The post MUSIC BUSINESS NEWS: Indies battle UMG Downtown deal • DefJam adds TV channel • R.I.P. Paul Roper • SiriusXM stumbles, Berkshire buys • More appeared first on Hypebot.

Spotify fires back at Drake: streaming platform says it has “no economic incentive for users to stream ‘Not Like Us’ over any of Drake’s tracks.”Spotify responds to Drake's allegations of a 30% lower rate in exchange for recommendations
Source

Paul Roper, President of Dualtone Music Group, passes away after battle with cancer"Paul Roper’s legacy of kindness, integrity, and deep love for music will continue to inspire us all."
Source

Spotify allegedly using ‘ghost artists’ to minimise royalty costsSpotify is padding out listeners’ playlists using “ghost artists” to reduce its royalty costs, a new report has claimed.
According to Liz Pelly’s findings in Harper’s Magazine, the ghost artists are appearing on all sorts of popular playlists from jazz and classical to lo-fi hip-hop. It effectively lowers the amount of royalties Spotify pays genuine musicians while increasing their overall profit margins.

READ MORE: Spotify Co-President says AI-generated music is welcome on the platform – but it won’t generate music itself

This practice is known as “Perfect Fit Content” (PFC) and was introduced to Spotify’s editors in 2017. It was designed to maximise profit by partnering with numerous production companies, mostly based outside the US.
Pelly notes that when the news of this issue first broke, a Spotify spokesperson claimed the allegations were “categorically untrue, full stop”, and denied the company was creating its own fake-artist tracks.
“But,” she continued, “while Spotify may not have created them, it stopped short of denying that it had added them to its playlists.”
The report also acknowledges research by music writer David Turner, who used analytics to show Spotify’s “Ambient Chill” playlist had been wiped of artists like Brian Eno, Bibio, and Jon Hopkins. Instead, it featured tracks from Epidemic Sound, a Swedish company offering a subscription-based library of production music, including stock material usually used for adverts and TV programmes.
One former employee said of the practice: “Some of us really didn’t feel good about what was happening. We didn’t like that it was these two guys that normally write pop songs replacing swaths of artists across the board. It’s just not fair. But it was like trying to stop a train that was already leaving.”
Spotify. Credit: Piotr Swat/Getty
The report claims that the practice is reducing the royalties paid to legitimate artists. Meanwhile, payments are going to the PFC partners, who also create material for hundreds of artist profiles, most of which are entirely empty and have been found to generate inconclusive searches.
By 2023, several hundred playlists were reportedly being monitored by the team responsible for PFC. Over 150 playlists, including “Ambient Relaxation,” “Deep Focus,” “100% Lounge,” “Bossa Nova Dinner,” “Cocktail Jazz,” “Deep Sleep,” “Morning Stretch,” and “Detox,” consisted almost entirely of PFC.
“Many of the playlist editors — whom Spotify had touted in the press as music lovers with encyclopedic knowledge — are uninterested in participating in the scheme,” the report continues. “The company started to bring on editors who seemed less bothered by the PFC model.”
Another source claimed the company’s attitude seemed to be: “If the metrics went up, then let’s just keep replacing more and more, because if the user doesn’t notice, then it’s fine.”
Spotify’s royalty payments have been in the spotlight throughout 2024. In August, it was reported that CEO and founder Daniel Ek earned more money from the platform in the past 12 months than any other artist ever has. He also outraged the internet earlier this year when he claimed the cost of making content was “close to zero”.
They also caused controversy by demonetising all tracks that have been streamed less than 1,000 times in the last 12 months.
Spotify, however, is continuing to rake in the cash. Ek said after the streamer’s Q3 earnings were released that the company has “never been in a stronger position”.
The post Spotify allegedly using ‘ghost artists’ to minimise royalty costs appeared first on MusicTech.

Arturia offers Augmented Mallets Play for FREE until January 2
On Friday, December 20, Arturia launched the Augmented Mallets Play virtual instrument and made it available for free download until January 2, 2025.  The Christmas freebie is a macOS and Windows plugin for VST, AAX, AU, NKS (64-bit only), and standalone formats. Arturia states that the free license is valid until January 2.  After that [...]
View post: Arturia offers Augmented Mallets Play for FREE until January 2

Quinn Oulton: “I had 24-hour access to a beautifully treated room and I suddenly realised everything I was missing”Fresh out of the Royal College of Music, multi-instrumentalist and producer, Quinn Oulton has taken his career by the horns. Grown from his basement set up in Brighton, the jazz-turned-R&B and alt-pop devotee has garnered 500,000 monthly listeners and myriad streams on his debut album, Alexithymia. Now, his latest release Lead You To Water has seen him perform alongside the likes of Elijah Fox, Reuben James and Jamie Cullum with tons of mainstream radio support.
READ MORE: CHLOÉ: “Every piece of gear, every collaboration, and every mistake is an opportunity”
He takes us through the setup that led to collaborations with brands such as Yamaha, BOSS, BandLab and Klevgrand, and the gear that allows him to cultivate the intimacy his work is known for.

READ MORE: “I haven’t met anyone who heard the hardware equivalent of a plugin and didn’t wonder what they’ve been missing” Chris SD on the power of analogue

Image: Press
You’ve just launched a new EP, Lead You To Water, which follows the release of your debut album in 2022. What lessons did you learn from your album that you wanted to bring forward for this new release?
I started working on the debut album when COVID hit, so I had a chance to completely dive into every single musical influence and genre that I loved. But for the new EP, I wanted to take the opposite approach, building on what I’d learnt from making the album.
The challenge for the Lead You To Water EP was to create something truly cohesive, that feels like each track is linked to the next, and recognisable as a collection. I forced myself to limit my sonic palette and to perfect a smaller number of production techniques: quality over quantity.
Lead You To Water EP by Quinn Oulton
How has studying jazz at an advanced level informed your approach to composition and songwriting?
In studying jazz there was definitely an obsession and idolisation of musicians who could do what others couldn’t. It was only towards the end of my studies that I met some people who felt like they were truly pushing themselves artistically, and allowing that to trump their technical limits for the sake of their songs. That really spoke to me. Currently, I’m obsessed with refining a song down to the fewest elements that can fully serve the song, and really refining each of those sounds (and how they interact/relate to each other) to be as effective as possible. To be honest, I still feel like there’s a hell of a lot going on in the EP that is a bit indulgent, but it’s hard to kick the habit!
Image: Press
Tell us a bit about your studio.
I’ve just moved into a brand new space in Brighton, having moved out of London for the first time in my life. I’ve got a trapdoor under my living room now that leads down to a very nice little basement that I’ve set up as my studio. There are no neighbours on either side which is great, though the ceiling definitely needs some insulation for the sake of my partner’s sanity! I’m starting to have friends and collaborators visit for a day or two at a time, working on both my own and other artist’s projects. I definitely feel the pressure easing compared to being in London.
What’s your latest gear or plugin purchase?
In the past, I was a bit of a habitual spender when it came to studio stuff, and found that I’d try something once, maybe get one or two ideas from it, then put it down and never touch it again. I rely on immediacy so much when writing/producing that new stuff seems to just get in the way. The only thing I’ve bought recently was a beautiful, old and pretty cheap 1940s Archtop Hofner guitar. I fell in love with it in the shop, and since then I reach for it any time I’m writing or producing. The new EP is entirely built around my voice and this guitar, and it’s really helped to distinctly characterise my new music.
My latest plugin purchase was Sky Keys which was on sale for, like, £25. It’s an insanely powerful software instrument with incredibly usable and quirky presets sampling old and new synths/instruments. I used it a lot on the new EP, and love the reverse feature!
Image: Press
What’s the best free plugin you own?
My recent free find is Place It! by Soundly. It’s a super simple convolution reverb and speaker emulation which I think was built mainly with TV/movie sound design in mind. There are 40 rooms, and speaker emulation of things like a laptop, or a phone earpiece speaker. There’s also a virtual wall you can slide up and down the middle to simulate room separation from the source. Like a lot of people at the moment, I’m obsessed with perceived space, and am always looking for ways to mess with the listener’s perception of where things are. It can be so strangely emotive if used carefully.
What’s been the biggest investment in your career/studio?
I’ve always slightly glamourised the idea of having a super DIY space, but earlier this year I spent two months as a resident artist at Brewery Studios in Berlin. I had 24-hour access to a beautifully treated room with incredible speakers, and I suddenly realised everything I was missing. No more London buses every two minutes in the background, and truly balanced, pleasing reflections that actually add to the ambience of a recording. In those two months, my ears improved so much, and coming back to my crappy bedroom studio to finish off the EP was painful.
So for the first time ever I’ve properly sound-treated my new space, and it’s made such a big difference.
Image: Press
Your EP includes many organic and raw elements such as lightly produced vocal and acoustic instruments, while also integrating more digital techniques such as sampling and looping. How do you work to combine the two?
I grew up playing a lot of acoustic instruments, so that comes fairly naturally when writing and producing. Even though I listened to quite a lot of hip-hop and some electronic music as a teenager, I didn’t really dive into those styles until much later on. I have so much respect for producers who have the ears to sound select perfect drum samples. I can spend a huge amount of time trying sounds, and replacing them over and over until it finally doesn’t sound wrong to me anymore. But patience pays off and I think the reward is huge. There is a lot of pairing and subtly morphing between acoustic sounds and samples, which feels like a nice way to pay respects to the different influences from my formative years.
Your mixes feel very intimate, often evoking a calming and relaxing feeling. What techniques are you using to create such emotions for the listener?
One big part of the intimacy in my music is how I learnt to sing. I had pretty much never sung until I started writing and producing my own music.
My voice has changed massively since my early stuff, and a key part of my sound is that I learnt to sing using my trusty Rode NT1-A mic. It is super bright and detailed, and I really leaned into it when developing my tone. I have a very quiet voice and have developed a nice amount of harmonic detail or ‘richness’ over the years. This makes it feel like I’m singing right next to the listener, and helps with that perceived intimacy.
Image: Press
How do you see your sound and studio evolving in the next two years?
The next step is to get some bigger monitors to go with my newly treated room. I’ve had the same M-Audio BX5s forever now. They’ve served me well, but I’m ready for something more nuanced to match my new space and my newly tuned ears since working with a pair of ATCs during my time in Berlin.
Do you have a dream piece of gear?
This is a pretty boring one, but a nice upright piano would keep me happy for a long while. I’ve never had a good-sounding piano of my own, and whenever I spend time with one I see myself improving so much faster than with any kind of digital piano.
What’s a music production myth you think needs debunking?
One thing I saw recently on YouTube was a guy debunking the trend of not turning up your preamps to the max before clipping (for DI boxes routed into amp simulators) due to the amp sim having an optimum input gain of around half. Maybe a really noisy signal is part of your artistry, or maybe it’s just laziness!
Image: Press
Who gave you the biggest lesson in your career? Can you tell us about how it impacted you?
One thing that stands out to me was something my friend said to me years ago. At that point I’d had a few people reach out looking to manage me, resulting in some pretty terrible experiences. I was desperately trying to find that perfect big shot to fast-track me to success. She said that if you’re going to work with a manager, it has to be someone you really fundamentally love and trust as a person, ahead of any sort of clout or business accolades.
During COVID lockdown my partner quit her job as a paralegal and decided to help me plan for a release I was working on. Four years later, she’s now my full-time manager. We have grown in the business together, and every win for either one of us is a win for the other. I think the idea of building a team that genuinely cares for both your career and your well-being is so valuable.
Read more music producer interviews.
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Arturia’s Tape J-37 plugin recreates the legendary Studer J37 tape machineArturia has launched the Tape J-37, a new audio plugin modelled on the Studer J37, an all-tube, 4-track analogue tape machine famously used to record The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album at the legendary Abbey Road Studios.

READ MORE: Trailer drops for Avicii documentary, I’m Tim, sharing “the unlikely story of a shy boy who created one of the world’s most loved artists”

Tape J-37 aims to capture the “iconic warmth, harmonic richness, and natural compression” produced by the Tape J-37’s 200+ vacuum tubes. The plugin comes with four distinct tape color modes: pristine, warm, driven, and dirty. There’s also a Modern Mode that retains bright highs while adding analogue warmth, perfect for retaining punch on drum tracks or adding subtle warmth to your master bus.
Like the original J37, users can switch between two tape playback speeds (7.5 and 15 IPS) — higher speed for extra fidelity and brightness, and slower speed for a darker, warmer tone. For added vintage realism, you can add some tape noise or simulate mechanical wear and tape speed variation to achieve the wow and flutter found in tape recording.
“From adding cohesion to full mixes, to upping the grit and wear on individual sounds — have a 1960’s studio legend at your fingertips,” says Arturia.

Another key feature is Stereo Offset control, which simulates the slight discrepancies between left and right channels, enhancing stereo width and depth. You can also play around with the onboard EQ and delay to further shape the J-37’s sound.
Tape J-37 comes loaded with 25 specialised presets, from classic tape enhancement to drum bus coloration. The plugin also features play and stop controls that perfectly mimics the classic tape slow-down effect.
“They have a special sound, it’s not just the fact it’s tape, it’s the pre amps—they had a certain ‘mojo’ that’s been perfectly captured by Arturia,” says producer and engineer Steve Levine. “The plugin gets you the sound you want. It’s really a secret sauce for low end.”
Tape J-37 is now available in VST/AAX/AU formats at an introductory price of €99.

Learn more at Arturia.
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