Tip Jar: Bringing Music To Life In A Visually Authentic WayBy Baz HalpinTo help put what I do as a producer and director into perspective from a musical lens, I’ll start off by rewinding to my early career—before working with incredible talents like Taylor Swift, Backstreet Boys, Usher, and P!nk. I was on a path to becoming a classical musician and playing in a symphony orchestra after university. I worked in the national concert hall in Dublin, Ireland and became friendly with a lighting technician. During my shifts, I would pull out a handful of lights, turn on the radio and try to program a musical sequence before the song finished. Sort of like a sprint. I quickly developed this passion for how the lights can become a musical instrument.This next part is pretty cliche… When I was 18, I was hanging floodlights on lampposts to light Guinness banners on a rainy night in Cork (a city in the south of Ireland). I had no idea who the client was, but it turned out to be a gentleman who was the lighting designer for many of the great rock bands of the ‘80s. He traveled all over the world and lived a life I knew nothing about. I had no idea that touring existed up until this point. He was enamored by the fact that I was willing to climb a lamppost in the rain and risk electrocution and thought there was something there. He gave me the opportunity to be the lighting roadie on tour with Jethro Tull in the U.K. I thought it would just be to make some money over the summer and ended up falling in love with it. Sort of like joining the circus, I never came back.I loved the creation in this role and the fact that you’re contributing to how the music is being received by the audience. I was the lighting designer for Queen when they reformed after Freddie’s passing, with Paul Rodgers as the frontman. The music of Queen is a lighting designer’s dream. The complexity, the variety and the energy of the music lends itself so perfectly to theatrics and dramatic lighting. When the music hits that peak, or when there’s a sudden crash out, a drum fill, a guitar solo, being able to mimic those musical moments with the visuals felt like I was contributing to the experience of the music. As a designer, you have that responsibility to understand musically what’s going on. It’s not just flashing lights to a beat, but finding the different instrumentation. What’s going to represent the strings when they enter? How do you leave yourself enough space to make everything look bigger and bigger if the song keeps going? Harry Styles’ “Sign of the Times” is a classic example of this. Fast forward to now, I am a director and producer, and the Founder and CEO of Silent House Group, an award-winning creative studio and production company out of L.A. To sum it up, I am responsible for bringing the music to life visually. So how do you do this in an authentic way and truly connect with your audience? Here are my tips from nearly three decades in this industry.TIP No. 1: My first tip for anyone looking to add lighting into their show starts with emotion. It can be expressed through lighting in many ways with color being the most obvious. I’ve always attributed certain music to specific colors (synesthesia) and it seems mostly nonnegotiable. Music connects and moves you in such a primitive, subconscious way and light has a similar trait. TIP No. 2: You don’t need to do everything all of the time. Don’t be afraid to go full bore and commit, but also don’t be afraid of drama or darkness. I think a lot of people get uncomfortable if there isn’t enough light on stage or if it’s a total blackout or if there’s a single spotlight on a singer. When you’re sculpting the light, you’re creating images and pictures. You’re telling a story by giving a visual home to the sonics you hear. It doesn’t always need to be flashing in time to the music. It doesn’t always need to be the brightest thing in the world. It just has to have light and shade. TIP No. 3: The third tip is to always have a clear line of communication with your lighting designer. The more descriptive you can be as an artist, the more educated your designer or creative director can be, and the better the final product. Oftentimes, what you don’t like is just as valuable as what you do like. Being able to reference images or other artists helps this tremendously. TIP No. 4: Originality. This can be the hardest thing, especially when we’re living in an age of algorithms. As an artist, look for somebody who has an original look, can understand you, and create something that is uniquely you. You want to stand out and be unique. I often hear artists saying they want to do something that’s never been done before. For the most part, everything has been done before, it’s just done in different ways. So it’s carving something out for you that feels original, but also feels authentic. Fans have a very clear understanding of their artists, and there’s sort of a contract when they come to see a show. Baz Halpin, Silent House Group CEO and Founder,  is a three-time Emmy Award winner who most recently produced Netflix’s first-of-its- kind live streaming event called Tudum 2025, Las Vegas Sphere residencies for Backstreet Boys and The Eagles, the live television special Opry100 on NBC, and returned for the second year to produce the 31st SAG Awards on Netflix. In 2024, Halpin produced the blockbuster film Taylor Swift | The Eras Tour, the 98th Macy’s Thanksgiving Day Parade, Usher’s 2024 Super Bowl Halftime performance, and Noche UFC at Las Vegas Sphere. Previously, he served as a producer on shows such as American Idol, American Music Awards, MTV European Music Awards, Academy of Country Music Awards, and iHeartRadio Music Awards. He is also known for his work in producing and creating concert tours and residencies, including but not limited to: Britney Spears’ Las Vegas residency, Katy Perry’s Play Las Vegas residency and Super Bowl Halftime performance; Taylor Swift’s Eras, Reputation, 1989, Red, and Speak Now tours; Harry Styles’ Love On Tour, Live On Tour, and his 2022 Coachella-headlining performance; Jonas Brothers’ Happiness Begins Tour; and P!nk’s Truth About Love, Beautiful Trauma, Summer Carnival, Funhouse, and I’m Not Dead tours. Halpin has also directed and produced performances at the Academy Awards, GRAMMY Awards, King Charles’ coronation, and President Joe Biden’s inauguration.The post Tip Jar: Bringing Music To Life In A Visually Authentic Way first appeared on Music Connection Magazine.

FTX Recovery Trust to unlock $1.6B for creditors in September disbursementThe distribution marks the third payout to creditors of the former exchange as it continues dispensing up to $16.5 billion in funds.

Why California’s SB 53 might provide a meaningful check on big AI companiesEquity debates California's new AI safety bill and why it has a better shot at becoming law.

Haasoscope Pro: Open-Everything 2 GHz USB OscilloscopeOur hacker [haas] is at it again with the Haasoscope Pro, a full redesign of the original Haasoscope, which was a successful Crowd Supply campaign back in 2018.
This new Pro version was funded on Crowd Supply in April this year and increases the bandwidth from 60 MHz to 2 GHz, the vertical resolution from 8 to 12 bits, and the sample rate from 125 MS/s to 3.2 GS/s. Selling for $999 it claims to be the first open-everything, affordable, high-bandwidth, real-time sampling USB oscilloscope.
The firmware and software are under active development and a new version was released yesterday.

The hardware has an impressive array of features packed into a slick aluminum case with quiet 40 mm internal fan and 220 x 165 x 35 mm (8.66 x 6.5 x 1.38 in) form-factor weighing in at 0.9 kg (1.98 lbs). Also available is an active probe supporting up to 2 GHz analog bandwidth.
The Haasoscope Pro is miles ahead of alternatives such as this USB oscilloscope from back in 2010 and you can find a bunch of support material on GitHub: drandyhaas/HaasoscopePro.

From Live Nation’s FTC lawsuit to BMG’s landmark catalog deal… it’s MBW’s weekly round-upThe biggest headlines from the past few days – all in one place
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Teenage Engineering leak suggests a new two-channel mixer and reggae-inspired sampler are on the wayLast month, a Reddit user spotted Teenage Engineering posters teasing the release of some mysterious EP-40 and EP-2350 models this Autumn. However, we might be one step closer to knowing what the models might be, thanks to YouTuber Koji Seto and a since-deleted post by Japanese instrument retailer Rock oN Company.
Rock oN Company’s X post showcased multiple photos of what is assumed to be Teenage Engineering’s new gear. If the photos are real, the company is set to release a battery-powered mixer, presumably the EP-40, as well as a new EP-2350 Riddim Supertone sampler.

READ MORE: Best microphones for vocals: Dynamic, Condenser and Ribbon mics

Considering the name, the EP-2350 Riddim Supertone sampler may be dancehall/reggae inspired groovebox, complete with a matching Ting FX microphone. The sampler in particular seems to be a new take on the EP-133 K.O. II.
Visually, the new sampler is also a more playful take on the EP-133 K.O. II. Rather than simple numbers on the bass, drums, keys, and sample buttons, they’re now printed with quirky icons of the corresponding instruments, with a vinyl record printed to symbolise samples.
The numbers that have been printed elsewhere also have far more character, with a bolder font rather than the sleeker EP-133 K.O. II font. It’s a design that certainly falls in line with the vibrancy of reggae and dancehall, that’s for sure.
The supposed EP-40 has a more basic, muted look. The two-channel mixer seems to have a three-band EQ for each channel, along with an LCD screen and some 3.5mm inputs and outputs.
Despite Rock oN Company deleting its pair of posts, YouTuber Koji Seto has swooped in to save the day. He seems to have attended an official Teenage Engineering launch party, posting ample photos documenting the occasion on Instagram.
“I sneaked into a mysterious party!” he writes. “There was a mysterious machine that looked very interesting… The details are still shrouded in mystery. Let’s look forward to [finding out about] it.”

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The post Teenage Engineering leak suggests a new two-channel mixer and reggae-inspired sampler are on the way appeared first on MusicTech.

AIR Music Tech release Fly Tape II Originally a successful iOS app, Fly Tape II is now available for MPC standalone devices, MPC software and DAWs.

Noisebud Aboh!Noisebud Aboh! Aboh! is a dynamic tool aimed at solving problems caused by heavy compression and limiting. Instead of working like a traditional compressor with ratios, Aboh! simply lets you set independent gain controls for audio above and below a threshold. The main use case is mastering tracks that have been over-compressed. In breakdowns or quieter sections, compressors and limiters stop working, which often causes the level to jump up unnaturally – the so-called "reverse pumping" effect. Aboh! compensates these jumps automatically, while leaving the loud and dense sections untouched. Aboh! can also be sidechained, for example to a kick drum in EDM. This allows it to react with millisecond precision, bringing levels back into place in ways that detailed automation rarely achieves. Key Features Separate gain control above and below a threshold. Maintains natural dynamics in loud passages while correcting level jumps in quiet parts. Sidechain input for creative control and EDM-style precision. Curve control for shaping the transition between above/below threshold. Delta monitoring to hear exactly what is being adjusted. New in v1.10 Curve control redesigned as a round knob for faster, more intuitive handling. Sidechain spectrum markers show filter points even without input signal. Sidechain auto-adjust makes it easier to set the threshold by normalizing the input level. GUI refinements: Delta and Bypass moved slightly to the right, Sidechain and Preview to the left. Formats Mac – VST3 & AU. Windows – VST3. Price and Availability Available via Patreon: https://www.patreon.com/posts/137463498 Read More

“There’s not a millisecond in any of my records where I don’t know exactly what it’s doing and why it’s there”: Andrew Watt on his “intense” approach to music productionMusic production is often the home of happy accidents; melodies that spring from nowhere after days of writing, a single production decision that elevates a track threefold.
But while most producers can recall more than one instance of creative serendipity, super producer Andrew Watt maintains that all of his production decisions are carefully considered.

READ MORE: Apple Music introduces DJ-style AutoMix for seamless song transitions, real-time lyrics translation and more

In a new conversation on the And The Writer Is… YouTube channel, Watt describes his “intense” and very methodical approach to music production.
“I’m so detail-oriented in my mixing process and production process,” he explains. “There’s not a thing in, like, a millisecond of any of my records that I don’t know exactly what it is and what it’s doing and why it’s there. So mixing the record is a very intense process for me.”
Of course, the pursuit of perfection is never quite finished, so Watt admits that he doesn’t like to listen to his records once they are finished and released.
“Once it’s out, I’d never listen to it again,” he says. “If I did listen to it, I would want to change 100 things.”
At 34 years old, Andrew Watt has built just about the most stacked producer’s resume imaginable, having worked with the likes of Ozzy Osbourne, The Rolling Stones, Post Malone, Justin Bieber and Lady Gaga, to name just a few.
Elsewhere in the interview, Watt recounts his experience working with the Stones on their latest album, Hackney Diamonds.
“I remember hearing the song on the last Stones album that had Lady Gaga and Stevie Wonder on it [Sweet Sounds of Heaven],” he says. “It’s like six minutes or something like that. And it’s just people in a room jamming, and they build, and you don’t know why they’re building, it’s just humans doing superhuman things… It was an incredibly emotional experience for me.”
Watt also speaks about the importance of not being intimidated by big artists when working as a producer, and to remember the reason that you’re there in the studio in the first place.
“There’s no like, I’m sitting in the room with Post Malone, and I have to just shut my mouth or I’m gonna get thrown out of this room,” he says. “It’s like, No, you say what you feel and your opinion. You’re there to give your opinion…
“Being a producer, you are not there to just smile and nod. You’re there for your opinion, even if you have imposter syndrome, which happens to me all the time, and you think, ‘Why the hell am I here? Why does this person even need me? They can do this without me.’
“You’re there to give your opinion. That’s why they want you there. Otherwise they would just do it themselves.”

The post “There’s not a millisecond in any of my records where I don’t know exactly what it’s doing and why it’s there”: Andrew Watt on his “intense” approach to music production appeared first on MusicTech.

Signal Perspective releases Pyrite, a FREE preamp simulation plugin
Signal Perspective has released Pyrite, a free preamp saturation and dynamics plugin for Windows and macOS. If you’ve been following the BPB news section, you’ll recognize the name Signal Perspective from our articles about Trailbender and the Grindbox MK2. Those plugins set a high bar for freeware plugins, and Pyrite continues that tradition with a [...]
View post: Signal Perspective releases Pyrite, a FREE preamp simulation plugin

Aim Audio ship first studio microphones from Berlin factory New pro-audio brand Aim Audio have begun shipping their first range of studio microphones with the INSPIRE and ESSENCE mics.

United Studio Technologies’ UT Twin48 combines two classic valve microphones£1,499, unitedstudiotech.com
The original Neumann U 47 is arguably the most legendary of all studio condenser microphones. It’s undoubtedly the best-known valve mic. Not nearly as famous, though, is the U 48. In fact, today’s producers and engineers who know of the U 48 are probably well represented by Beatles recording historians. That’s because the vast majority of Beatles lead vocals were recorded with a Neumann U 48.
United Studio Technologies’ UT Twin48 not only aims to offer the sound and capability of the U 48s used to record those classic Beatles tracks, but also the familiar features and character of the much-loved U 47.

READ MORE: Best microphones for vocals: Dynamic, Condenser and Ribbon mics

The main difference between 47 and 48 style microphones is their polar response options. While both types offer cardioid patterns, the 47 features an omni response while the 48 includes a figure-8 pattern. However, the type of cardioid response of each is implemented in its own unique way, resulting in the Twin48’s two cardioid modes sounding distinctly different. The technology employed for 47 cardioid is known as ‘true cardioid’, while 48 cardioid is ‘active cardioid’ as it polarises the rear diaphragm with voltage, rather than decoupling it. This makes the mic’s 48 cardioid mode slightly less sensitive, meaning you’ll need to turn up your preamp a notch or two to match the level of 47 cardioid.
Auditioning these modes, as well as omni and figure-8, is made simple with a rotary switch on the front of the Twin48’s large external power supply. This supply is fully discrete, incorporating a multitude of bespoke parts and includes a radio frequency (RF) filter, selectable on the supply’s front panel. The Twin48 connects to its power supply via a Sommer Octave 7 conductor cable, which UT claims is the finest tube microphone cable currently available.
Capsule in the UT Twin48. Image: Press
At the business end of the Twin48 is UT’s custom K48 capsule. The single backplate, dual diaphragm design is historically correct, according to the manufacturer, being skinned within a ‘laboratory clean-room environment’, then sputtered with 24-carat gold on 6-micron Mylar. UT’s claim that the K48 matches the smooth, resonance-free performance of historical units proves correct in use; there’s nothing sharp, spiky or sibilant about its performance.
The Twin48’s UT-BV8 transformer is made in the US, custom wound to Braunbuch specifications. Apparently, measurements were taken from a ‘golden specimen’ of the historic German transformer, no less. A copper Faraday shield is also onboard to reduce radio frequency interference (RFI), while the thermionic valve element is provided by a NOS EF86 vacuum tube.
Here then, we have two world-class valve microphones in one package. The thing about high-quality microphones is that, heard in isolation, they all sound great or even ‘correct’. And surely that’s the aim; to be neutral, truthful and transparent to the source. The truth is however, that all mics possess character that often only becomes apparent when heard in comparison with others. The Twin48 makes this evaluation easy.
Image: Press
Although the manufacturer states that the different approaches to cardioid operation produces ‘subtle tone differences’, a phrase that often translates into ‘you won’t hear the difference unless you have golden ears’, this isn’t the case with the sounds available from the Twin48. Even to an untrained ear, the sonic character of each cardioid mode is instantly noticeable. While the 47 mode possesses the big, expansive, open and airy quality engineers have loved for decades, the 48 mode offers a more tightly focused midrange sound, reminiscent of my beloved Neumann U 67, which I find more suited to recording pop vocals that will be subject to subsequent audio processing.
In practice, I would choose the Twin48’s 47 cardioid mode to capture a vocalist performing in a natural style, such as a singer/songwriter with acoustic backing, where the lead vocal is prominent and largely in its own space. For rock and pop vocals that need to project from a busy backing track, I prefer the 48 cardioid mode with a presence boost and maybe a little added air from a Pultec-style EQ boosting at 16k Hz.
Having two distinctive characteristics – four if you take into account the sonic variation of omni and bi-directional settings – available at the flick of a switch is useful in so many ways. Double-tracked vocals, for example, can benefit from the tonal variation. Or you might choose, say the 47 in cardioid mode for a lead vocal, then have a couple of backing vocalists working on either side of the Twin48 in figure-8 configuration.
The way that the mic’s timbral variations can be utilised instantaneously by turning the dial on the power unit, makes finding the right tone simple and intuitive. This versatility means that the Twin48 can be used to record practically anything and sound superb. Its only real limitation is its size, so it probably wouldn’t be the first choice for close mic’ing a snare in the context of a cluttered drum kit. As an overhead though, it can capture the tonal range and impact of the entire kit, rather than just being considered a cymbal microphone.
Image: Press
Recording acoustic guitar with the Twin48 produces superb results. Some engineers choose to use two small-diaphragm condenser mics for this task, however I nearly always prefer to use a single, well-placed microphone. In the studio, I find the 47 omni setting engaged results in a lush, entirely natural sound, with no proximity effect, requiring just a spot of compression to produce the final sound.
It’s been a long time since I used anything other than a vintage valve Neumann U 67 to record our upright piano, however in a side-by-side comparison with the Twin48 in 48 cardioid mode, I ultimately prefer the slightly less dark, mid-focused tone of UT’s new mic. A stunning outcome!
United Studio Technologies’ Twin48 offers a wide range of top-drawer sounds for a very reasonable price considering the quality of the complete package, which includes an attractive, sturdy carrying case.
Anyone wishing to purchase a 47-style microphone should audition this winner from UT. Not only do you get the classic U 47 sound and performance, but also the Fab-Four-friendly character of the lesser-known U 48.
Compared with other Neumann-inspired large diaphragm condenser mics, the Twin48 is twice as nice.

Key features

Large diaphragm valve condenser mic
U 47- and U48-inspired cardioid patterns
Omni and figure-of-8 polar patterns
NOS EF86 pentode vacuum tube
Nickel electroplated brass body
Bespoke 7 conductor XLR cable
Suspension shock mount
Gold plated XLR
Frequency response: 20 Hz – 20 kHz
Self noise: 11 dBA

The post United Studio Technologies’ UT Twin48 combines two classic valve microphones appeared first on MusicTech.

The Infinite Crate (Alpha): Lyria RealTime’s AI-generated music creation in your DAW
The Infinite Crate (Alpha) is a VST plugin that integrates Lyria RealTime directly into your DAW, eliminating barriers to interactively create, control, and perform music in real-time. If you haven’t heard of Lyria RealTime, it’s an experimental AI model that produces instrumental music in real time. It creates music based on dynamic prompts and configuration [...]
View post: The Infinite Crate (Alpha): Lyria RealTime’s AI-generated music creation in your DAW

DIY Spotlight: AINALos Angeles-based singer, songwriter, and producer AINA says that she wrote her first song when she was just nine years old. By the time she reached her teens, she realized that music is what she’s meant to do.“At 15, I taught myself to produce,” she says. “Sometimes it’s hard to explain the exact sound I hear in my head, and there weren’t a lot of people willing to produce a little girl’s songs, so I didn’t wait for anyone to believe in me—I learned to produce myself. Learning to produce gave me the freedom to create songs exactly the way I envisioned them. That’s when it stopped being just a dream and started feeling like my purpose.”According to the musician, she describes her sound as pop but elaborates by saying that it’s her own version of pop.“Sometimes fun and playful, sometimes edgy and moody, and sometimes big and cinematic,” AINA says.MC caught an AINA show last year, when she weirdly opened for hair metal band Heaven’s Edge at the famous Whisky A Go-Go in Hollywood. That wasn’t her crowd, but we were impressed by the manner with which she held her own. Her latest release is the “Dying to See You” track.“[It’s] about that butterfly-in-your-stomach feeling you get when you’re missing someone or about to see someone you love,” she says. “I wrote it, produced it, and designed the cover myself. It’s a fun, feel-good song that works anywhere whether you’re listening alone, sharing it with someone special, or playing it loud at a party.”AINA is still at the start of her career, but she has a great DIY work ethic. “DIY means not waiting around, you have to do it yourself (produce, write, make your own cover art, etc.). For me, it’s about being self-reliant. It’s not asking permission or waiting for someone else to believe in you. It’s making music without a manual, just you, your vision, and the will to figure it out.”Looking ahead, AINA has plenty planned for the coming months. “I have a lot planned,” she says. “I’m releasing a new single every month this year. My next one comes out September 30. I’m excited to keep experimenting, keep creating, and show different sides of me and my music.”Visit instagram.com/aina_xlThe post DIY Spotlight: AINA first appeared on Music Connection Magazine.

Bank of Canada: Implement stablecoin regulatory framework or 'get run over'Ron Morrow, head of payments at Canada’s central bank, called on regulators to pass a framework for stablecoins or be left behind.