Christmas Music Dominates Streaming: The Ever-Expanding Holiday SeasonLearn how Christmas music dominates streaming in the ever-expanding holiday season as its influence on pop culture grows.
The post Christmas Music Dominates Streaming: The Ever-Expanding Holiday Season appeared first on Hypebot.

Wire Grind Audio releases FREE Rasp Distortion Plugin for Windows
Over the weekend Wire Grind Audio dropped Rasp, a Windows-exclusive plugin that can add grit, noise and a raspy sound to tracks. Now you might be thinking that sounds a whole lot like distortion, but the dev explains that while Rasp sounds similar to distortion, it is not a conventional distortion effect.  Wire Grind Audio’s [...]
View post: Wire Grind Audio releases FREE Rasp Distortion Plugin for Windows

Melda release Analog Empire: Pads & Strings The latest add-on for Melda Productions’ MSoundFactory software instrument platform has arrived, delivering a collection of 32 pad and string sounds.

UK’s “largest outdoor spatial audio festival” will debut in London next year: “The process has been a physics-bending exercise”London’s Crystal Palace Park is set to host the “largest outdoor spatial audio festival” the UK has ever seen next summer.
Presented by Polygon Live, in partnership with Full Fat 360 and OpenLab, Polygon Live LDN will take place from 2-4 May 2025. The event will also be the first to use Polygon Productions’ dual-dome design.

READ MORE: Watch French DJ Michael Canitrot close out the Notre-Dame Cathedral reopening ceremony with a mighty audio-visual performance

Every dome boasts a 12.1.4 immersive system, with 12 L-Acoustics speaker arrays surrounding the audience, one giant festival-grade sub-wall for “earth-shaking bass”, and four overhead line arrays “raining crystal-clear sound” from above.
The total count amounts to a little less than 100 speakers in over 25 unique positions – or “five times the speakers a stage of similar size would use” according to Polygon.
Among the acts confirmed to appear are Jon Hopkins, Photay, Gold Panda, Arooj Aftab, Nitin Sawhney, Tinariwen and electronic musician slash AV producer Halina Rice, who released her third album in October. Polygon is also working with a team of specialist lighting engineers to create a custom-designed lattice of lights that will move in sync with the artists’ music.
“We’re doubling up on everything so that we can offer outdoor spatial audio to a larger audience,” says David Lopez de Arenosa, Polygon’s technical director. “The process has been a physics-bending exercise, but we have created a solution that neither compromises the quality of the sound, nor the intimate spaces that Polygon is known for.”
Last month, the Association of Independent Festivals (AIF) revealed a troubling trend in the UK festival scene: 72 festivals have been cancelled or postponed in 2024 – twice the amount compared to the previous year.
This alarming statistic is part of a broader decline, with a total of 204 events disappearing from the British festival calendar since 2019, exacerbated by challenges such as rising costs and logistical hurdles faced by independent organisers.
Tickets to Polygon Live LDN are available at Polygon Productions.
The post UK’s “largest outdoor spatial audio festival” will debut in London next year: “The process has been a physics-bending exercise” appeared first on MusicTech.

“Some of the things that age most quickly are electronic drums”: FINNEAS on making Billie Eilish’s Birds of a Feather sound “timeless”FINNEAS, Billie Eilish’s brother and longtime producer, has opened up about the creation of Birds of a Feather, a standout track from her acclaimed 2024 album Hit Me Hard and Soft.
According to FINNEAS, he and Eilish were initially hesitant to release the song as a lead single due to how much it diverged from the rest of the record.
“I think one of the reasons we didn’t want to put a single out – and the reason we didn’t immediately lean into Birds – is that we are careful about how singles make you perceive something differently,” says the producer [via Variety].

READ MORE: Pharrell Williams says its a misconception that people think he’s a “tech geek”

“If we’d put out Birds of a Feather as a single before the album, people are gonna go, ‘Wow, this is a real pivot. Is everything on the album gonna sound like this?’ And the truth was, it’s an outlier,” he adds. “So the fact that Birds of a Feather has gone on to have this insane life is such a thrill to both of us. We loved making it, but it’s extra-validating to have something blow up like that without pushing it as a single.”
Even more so considering the song took an “excruciating” 11 months to make: “Billie was driven crazy by her vocal performance and redid that a bunch of times, and I added all these layers of production and then would take ‘em out and add ‘em again,” says FINNEAS.
Looking back on the song’s production, FINNEAS says that “one of the things we’ve moved towards as Billie’s career has gone on is trying to make music that feels like it might be a little bit irrelevant what year it is.”
“Some of the things that age most quickly are electronic drums, which I’ve used tons of, but they usually sound very of their time. So the drums on this song – real and programmed – all have a kind of organic feel, which helps them sound timeless.”
“There’s a lot of acoustic guitar, which I think has never really gone in or out of style. And even the synths have a kind of a vintage quality that isn’t as bleeding-edge as some pop music going on right now.”

The post “Some of the things that age most quickly are electronic drums”: FINNEAS on making Billie Eilish’s Birds of a Feather sound “timeless” appeared first on MusicTech.

Focusrite’s Scarlett 18i20 4th Gen finally brings serious studio reputation to the range£629.99/$749.99, focusrite.com
The fourth generation of Focusrite’s eternally popular Scarlett audio interfaces broke cover in late 2023 with the launch of the Solo, 2i2 and 4i4. Since then, those requiring higher input/output counts have had to sit tight whilst Focusrite busied itself updating the larger Scarlett units.

READ MORE: The Scarlett 4th Gen story: Focusrite’s journey from George Martin’s AIR to bedroom studios everywhere

That hiatus has now ended with the launch of the 4th Gen Scarlett 16i16, 18i16 and, most pertinently for this review, the 18i20.
The only difference between the two new i16 models lies in the number of preamp-equipped input channels they offer: 16i16 has two whilst the 18i16 has four. Their design and desktop enclosures make them appear essentially as beefed-up versions of the 4i4, albeit with a more generous analogue in/out count and the inclusion of S/PDIF and ADAT digital connections.
We could easily fill this page talking about these tempting offerings, but it’s the flagship of the Scarlett range, the 18i20, that interests us especially.
Image: Press
How does the 18i20 4th Gen differ from the rest of the Scarlett range?
As with previous Scarlett generations, the 18i20 immediately stands out as the only member of the range packed into a rackmount case (the lugs can be removed if not needed) and with an internal power supply. The updated version features a less cluttered control panel than the 3rd Gen, and this makes the new hardware look sleeker while also improving accessibility for users with physical restrictions.
Unlike the other Scarletts, which only provide preamps on some of their analogue input channels, all eight of 18i20’s analogue inputs are preamp-equipped, and so all can handle microphone as well as line signals. The XLR/jack combination sockets for these inputs are mounted on the rear of the unit, but the first two are doubled-up on the front panel, from where they can also accept instrument signals.
Connecting anything to one of the front panel inputs disables the corresponding rear connector. This allows the interface to be installed in a rack and fully integrated into the studio’s cabling whilst retaining the ability to quickly hook-up a guitar or other signal directly to the front of the interface. Nice!
Image: Press
All of 18i20’s analogue output pairs are served by their own digital-to-analogue converter (the same is also true of the new i16 units), and so the eight rear-facing line outputs and two front-mounted headphone outputs can each be routed from any of the interface’s impressive 42 internal busses or six internal mixes. There’s loads of scope for creating multiple cue mixes and for routing signals to external effects and processors.
​​Outputs 1 and 2 are assigned as main monitor outputs, although you can send any of the internal buses or mixes to this monitor out. If the speaker switching option is enabled, outs 3 and 4 carry the same feed for driving an alternate pair of monitors. Monitor sets can then be switched from the interface’s front panel or from the Control 2 software. There are also Dim and Mute buttons, and this pro-grade monitoring setup is topped-off with a talkback button and built-in talkback mic.
18i20 also sports stereo digital in/outs via S/PDIF, and two pairs of ADAT ports. In an ideal world these would provide 16 additional channels at up-to 48kHz, but 18i20 maxes-out at eight. On the plus side, the dual ports support that full eight channels at 96kHz.
ADAT connectivity integrates seamlessly with an external 8-way preamp such as Focusrite’s OctoPre Dynamic. Coupling one with an 18i20 adds cost, but a total spend of £1,300-ish is phenomenal value for a system offering 16 preamp-driven analogue inputs and 16 independent line outputs.
Image: Press
What’s new with the Scarlett preamps?
The Scarlett 4th Gen interfaces feature an updated low-noise preamp design that is accurate and provides a generous 69dB of gain. This is all well and good, but not unusually so in today’s market. Nevertheless, the new Scarlett preamps do have features that set them apart.
Air mode engages a presence peak EQ curve intended to mimic the response of Focusrite’s classic ISA console preamps. The curve has been modified for the 4th Gen hardware, giving it a slightly sweeter tone that’s more widely useful. There is also now a second Air mode that adds a gentle high-frequency saturation to the presence peak, injecting sparkle and liveliness to benefit a diverse range of sources. It’s especially effective when applied to a guitar plugged into an instrument input, giving front-end punch and drive to add life into amp simulation plugins.
Preamp gain is now controlled digitally, either via the hardware’s Input dial, or via Control 2 running on a computer. A game-changing feature for self-recording musicians is that the Scarlett hardware can also be controlled from any iOS or Android device connected to the same network as the computer. Setup is simple, and it allows you to configure inputs, keep an eye on levels, and set up monitor mixes from anywhere in the studio.
Image: Press
Digital gain control also lies behind new Auto Gain and Clip Guard features. The former analyses a few seconds of the input signal and then sets an appropriate preamp gain. The system tends to be a bit more conservative than an experienced recording engineer, but it is helpful and reliable nonetheless. The ability to set the gain of all channels simultaneously, in a few seconds, is a huge timesaver when recording a full band or drum kit.
When enabled, Clip Guard ensures you will never have an errant clip or overload ruin an otherwise perfect take. It does this by cutting 6dB from the analogue gain stage and adding it back in digitally. If the incoming signal exceeds -6dB, Clip Guard instantly reduces the digital gain stage accordingly and then maintains that new level. Rather than a nasty digital crunch, resulting level dips can be fixed easily in your DAW.
Image: Press
How does the Scarlett 18i20 4th Gen stand apart from the competition?
18i20 delivers improved audio accuracy and dynamic range compared to the previous iteration thanks to being loaded with the same converters used in Focusrite’s high-end RedNet hardware. This ensures highly accurate audio capture and playback, as one would expect from Focusrite, but such unimpeachable specs aren’t unusual from today’s crop of audio interfaces.
What differentiates the 18i20 – and indeed the entire Scarlett 4th Gen range – is how easy it makes the process of configuring inputs and capturing performances, especially for self-recording producers and musicians.
The Hitmaker software package included with all Scarlett units also eases things along, with DAWs and tools to get new producers up and running straight away, as well as top-grade plugins and instruments that will be welcomed by more seasoned users.
On the downside, heavy inflation has had an inevitable impact on the price of the 4th Gen 18i20, with an uplift of £180 compared to the launch price of the 3rd Gen. Nevertheless, Focusrite is offering a lot of interfaces, packed with pro features, for what is still a reasonable price. Whether you’re setting up an entirely new rig or upgrading an existing one, 18i20 is an investment that is sure to pay off.

Key features

USB-2 audio interface with USB-C socket
USB-C cable and USB-C to USB-A converter included
Mains powered
2 mic/line/instrument inputs
6 further mic/line inputs
8 line outputs and
2 independent headphone outputs
ADAT (S/MUX) and stereo S/PDIF digital I/O
MIDI in/out
Built-in talkback mic
Word Clock output

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TechCrunch Space: A new worldHello, and welcome back to TechCrunch Space! To the shock of no one, ever, NASA announced that the next Artemis mission is delayed to no earlier than April 2026, and the subsequent Artemis III mission is delayed to mid-2027. It will be interesting to see how Artemis changes under Jared Isaacman’s leadership — more on […]
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Maverick Protocol aims to bring ‘MemeFi’ to BaseA newly launched platform dubbed goose.run lets users lend and borrow against memecoins, its team told Cointelegraph.

Matt Gorman Signs with Wide Open Music And Jaron BoyerSongwriter and artist Matt Gorman has signed a joint venture with Wide Open Music and Jaron Boyer’s Open Door Apostolic Publishing, BMI. A native of South Philadelphia, Pennsylvania, Gorman moved to Nashville in 2019 to finish his education and play baseball at Lipscomb University. When not in class or at practice, he filled his days co-writing songs and playing shows throughout Nashville.“It has been such a gift to watch Matt grow as a songwriter and artist,” said 2024 SESAC Songwriter of the Year Jaron Boyer. “I know God has big plans for him and I’m so excited to see it all come to fruition. I’m so lucky to be a part of this venture with Matt Gorman and Wide Open.”In a short period of time, Gorman has generated millions of streams with his own songs like “Little Things,” “I Pray,” “Lakehouse,” and more. Baseball had been his life before moving to Nashville to attend Lipsomb, his dream school for his love of sport but also the proximity to music and songwriting. He spent days in class and on the field and nights writing, playing rounds and hitting Lower Broad. He pours all of his life experiences and observations into his music, which is now his sole focus.“I’m thankful to be in a place with some of the best people I know,” said Gorman. “From Jaron Boyer, Ash Bowers, Paul Compton and every writer on this roster I am so proud to call this place home. Being surrounded by people that are so talented is extremely inspiring, but also being surrounded by people that put God first makes this place what it is. I’m excited for what’s to come for this company and there is absolutely no other place I’d want to be.”Learn more:https://www.wideopenmusic.comThe post Matt Gorman Signs with Wide Open Music And Jaron Boyer first appeared on Music Connection Magazine.

Raspberry Pi 500 and the Case of the Missing M.2 SlotRaspberry Pi just dropped the new Raspberry Pi 500, which like its predecessor puts the similarly named SBC into a keyboard. In a detailed review and teardown video, [Jeff Geerling] goes over all the details, and what there is to like and not like about this new product.
The new Raspberry Pi 500 with the new Raspberry Pi Monitor. (Credit: Jeff Geerling)
Most of the changes relative to the RP400 are as expected, with the change to the same BCM2712 SoC as on the Raspberry Pi 5, while doubling the RAM to 8 GB and of course you get the soft power button. As [Jeff] discovers with the teardown, the odd thing is that the RP500 PCB has the footprints for an M.2 slot, as seen on the above image, but none of the components are populated.
Naturally, [Jeff] ordered up some parts off Digikey to populate these footprints, but without luck. After asking Raspberry Pi, he was told that these footprints as well as those for a PoE feature are there for ‘flexibility to reuse the PCB in other contexts’. Sadly, it seems that these unpopulated parts of the board will have to remain just that, with no M.2 NVMe slot option built-in. With the price bump to $90 from the RP400’s $70 you’ll have to do your own math on whether the better SoC and more RAM is worth it.
In addition to the RP500 itself, [Jeff] also looks at the newly launched Raspberry Pi Monitor, a 15.6″ IPS display for $100. This unit comes with built-in speakers and VESA mount, but as [Jeff] notes in his review, using this VESA mount also means that you’re blocking all the ports, so you have to take the monitor off said VESA mount if you want to plug in or out any cables.

Do 3D Printers Dream of LEGO Sheep?Imagine the power to clone your favorite LEGO piece—not just any piece, but let’s say, one that costs €50 second-hand. [Balazs] from RacingBrick posed this exact question: can a 3D scanner recreate LEGO pieces at home? Armed with Creality’s CR-Scan Otter, he set out to duplicate a humble DUPLO sheep and, of course, tackle the holy grail of LEGO collectibles: the rare LEGO goat.
The CR-Scan Otter is a neat gadget for hobbyists, capable of capturing objects as small as a LEGO piece. While the scanner proved adept with larger, blocky pieces, reflective LEGO plastic posed challenges, requiring multiple scans for detailed accuracy. With clever use of 3D printed tracking points, even the elusive goat came to life—albeit with imperfections. The process highlighted both the potential and the limitations of replicating tiny, complex shapes. From multi-colored DUPLO sheep to metallic green dinosaur jaws, [Balazs]’s experiments show how scanners can fuel customization for non-commercial purposes.
For those itching to enhance or replace their builds, this project is inspiring but practical advice remains: cloning LEGO pieces with a scanner is fun but far from plug-and-play. Check out [Balazs]’s exploration below for the full geeky details and inspiration.

Sony Music pulls catalog from Africa-focused music streaming service BoomplaySources tell MBW that concerns have been growing at other rightsholders over late royalty payments from the platform
Source

AEG Presents strikes strategic partnership with, takes stake in, Germany’s MCT AgenturAEG Presents acquires "partnership stake" in Germany-based concert promoter MCT Agentur
Source

Song Athletics launch Friends sample library Friends is the first sample library created entirely by Song Athletics, and brings together a comprehensive selection of commonly used instruments with the aim of creating a go-to ‘studio essentials’ sample library. 

You can save $7,000 on an original 1981 Roland Jupiter-8 – but you’ll still need deep pockets…Cyber Week might be over, but if you’ve still got budget – considerable budget, that is – an original 1981 Roland Jupiter-8 is currently available on Reverb at 20% off. That price drop slashes $7,000 off of its usual price tag.
The synth is reportedly in “perfect working condition,” and the photos seem to back this up. “I have never seen another in time capsule condition,” the listing reads. “The absolute holy of holiest grails. For the serious collector.”

READ MORE: Erica Synths Steampipe: features, release date, price and all the details you need to know

The 61-key analogue synth helped define the sound of the 80s. Its distinctive rainbow-coloured switches and 4 voice polyphony were loved by Thomas Dolby, Jean-Michel Jarre and Howard Jones. You can hear the synth on the main theme of the 1982 film Blade Runner, while the synth’s random arpeggiator is in action on Duran Duran’s Rio.
Many regard the flagship Roland to be the Rolls-Royce of Polyphonic Synths. MusicTech has penned its own love-letter to the Jupiter-8 in the past.
While $27,996 is a pretty penny, a near-mint JP-8 is a rare find. And the seller is willing to ship the synth worldwide, so collectors across the globe are in with a chance of owning this pivotal piece of synth history.
The Roland Jupiter 8 is currently available for £27,996 on Reverb.

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