“Just stop it, please; it’s emotionally and creatively draining”: Amelie Lens and Charlotte de Witte tell dance fans to stop comparing female DJsAmelie Lens and Charlotte de Witte have told fans to stop comparing them as DJs and producers, saying that it is “emotionally and creatively draining.”
READ MORE: “It’s a dangerous job to be a young artist”: Skrillex shares sentiments on the music industry and plans for new music in 2025

The two artists shared a collaborative post on Instagram with clips from a joint interview they participated in at the Amsterdam Dance Event in October this year. During the interview, the two DJs explicitly ask fans not to pit them against each other.
“People honestly compare us all the time…in every interview,” says Lens.“[To] all the fans, we love you guys but please don’t compare us.  It’s so emotionally, creatively draining.” Lens adds that these comparisons are often more focused on female DJs and that such comparisons are not made as extensively for male DJs. “Honestly, no one is ever saying ‘Airod is better than Farrago.’ It’s typical for female DJs. So, just stop it please”
De Witte adds: “People need to understand that we are not against each other. We are with each other. We are the sisterhood. We support each other.”

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The interview between the modern techno stalwarts was predicated on their first official back-to-back headlining sets that will take place in their home country of Belgium at Flanders Expo in Ghent on 31 January, 1 February, and 8 February. Originally, they were set to only play the first two dates but added a third show after selling out the presale. The panel moderator says that the two artists “[made] techno history in selling out [the shows] so fast.”
“We were super excited and we had some kind of expectations, but I don’t think we expected this amount of excitement,” Lens continues.
“This is so much to comprehend. This is so much bigger than us,” de Witte says.
As the two producers have been friends for the best part of their decades-long careers the conversation also touched on personal topics, such as how de Witte is inspired by Lens handling her recent pregnancy, and now motherhood while still being an active touring DJ.
“I’m 32 myself. I want to be a mother at some point, and all these questions pop up. How will I be able to combine this with my career?” De Witte says, mentioning a turning point was seeing Lens’s post announcing she was having a baby. “This is possible. It’s really truly inspiring.”
Read more music production and DJ news
 
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SEC delays Franklin Templeton crypto index ETF decisionAccording to Eric Balchunas, the launch of the Bitcoin ETF in the United States was the most successful ETF launch in history.

A Cyberpunk PocketwatchFor a time, pocketwatches were all the rage, but they were eventually supplanted by the wristwatch. [abe] built this cyberpunk Lock’n’Watch to explore an alternate history for the once trendy device.
The build was inspired by the chunky looks of Casio sport watches and other plastic consumer electronics from the 1980s and 90s. The electronics portion of this project relies heavily on a 1.28″ Seeed Studio Round Display and a Raspberry Pi 2040 XIAO microcontroller board. The final product features a faux segmented display for information in almost the same color scheme as your favorite website.
[abe] spent a good deal of the time on this project iterating on the bezel and case to hold the electronics in this delightfully anachronistic enclosure. We appreciated the brief aside on the philosophical differences between Blender, TinkerCAD, and Fusion360. Once everything was assembled, he walks us through some of joys of debugging hardware issues with a screen flicker problem. We think the end result really fulfills the vision of a 1980s pocketwatch and that it might be just the thing to go with your cyberdeck.
We’ve seen accelerometers stuffed into old pocketwatch cases, a more useful smart pocketwatch, or you could learn how to repair and restore vintage watches.

FLOSS Weekly Episode 810: Pi4J – Stable and Boring on the Raspberry PiThis week, Jonathan Bennett, Randal Schwartz, and Aaron Newcomb chat about Linux, the challenges with using system modules like the Raspberry Pi, challenges with funding development, and more!

Did you know you can watch the live recording of the show Right on our YouTube Channel? Have someone you’d like us to interview? Let us know, or contact the guest and have them contact us! Take a look at the schedule here.

Direct Download in DRM-free MP3.
If you’d rather read along, here’s the transcript for this week’s episode.
Places to follow the FLOSS Weekly Podcast:

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Concord unveils inaugural advisory boardDarien Dash, Marc Geiger, Tom Whalley and Jake Wisely will be among the members of the advisory board headed up by Scott Pascucci
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‘Super-Premium’ music subscription tiers coming in 2025, and 3 other things we learned from Universal Music’s Boyd Muir at the Morgan Stanley conferenceUMG has 1,300 stores in its direct-to-consumer business, and the profit margins are huge
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How to create your own drum sample packs for hardware and software samplersBuilding your own one-shots, loops, and patches immediately gives your music a unique, personal touch. Today, we have a wealth of tools available in the form of free plug-ins, so you can start building sample packs right away.

READ MORE: How to make generative beats using Logic Pro’s Scripter plugin

Generating Drums
You can generate drum hits from scratch using software synths, whether that’s your DAW’s stock synths or third-party plugins. You can also manipulate recorded audio, use hardware synths, or a combination of sine waves and noise from tone generators.
For each drum hit, your final result will be a composite of multiple sounds from different sources with EQ, compression, and effects like saturation and distortion to meld it all together.
To understand the process, we’ll start by creating basic kick and snare sounds using the free MOscillator and MNoiseGenerator plug-ins from MeldaProduction, along with some of the audio processing features within Cubase.
You can use any DAW for this, provided it gives you access to pitch and volume envelopes to shape the sine waves. Once you get to layering your samples and getting them to match up nicely, time stretching is also useful for the finishing touches.
Starting from Scratch

With each sound we create, it’s important to understand that there are multiple parts that make up the different drums we’re creating. A kick drum, for instance, can be divided into 3 main areas: the initial transient, the body, and the tail.
To create and shape these parts, we’ll start by generating a 100 Hz sine wave with MOscillator and bouncing a 1-second clip of it to a new audio track. Next, duplicate the audio track and double-click on the audio clip to focus the Cubase inspector and select Pitch Shift from the “add process” list.
You will now be confronted with the Direct Offline Processing dialogue box, and asked to create a new version of the audio file to work with. Select yes, and then select the Envelope part of the processing window.
Before we start shaping the pitch envelope, we need to dial in the right settings. Set the Curve Type to Damped Spline Interpolation and the Range to 48 in the Pitch Shift Settings, while keeping Time Correction deactivated in the Algorithm Settings.
Shaping the Envelopes

Using the Audition feature at the top of the processing window as a guide, we can start adding nodes to the envelope and shaping the character of the kick. To start, we need to add a node in the top left and bottom right corners of the envelope graph.
Next, we need to add two points relatively close together with a Transpose value of 0 for the body of the kick, as well as a final node about a third of the way across the graph to shape the decay.
When working with the first 2 points, notice how a more extreme difference in pitch will result in the kick having a more aggressive attack. Now that we’ve finished with pitch, we can now focus on shaping the volume.
First, in the sample editor, we need to set the processing range using the Range Selection tool. By creating a selection after the initial attack of the kick, we can focus the Envelope processing and shape the decay to make it sound more natural.
Adding Noise

Now that we have the hang of the basics, we can experiment with our source material. By changing the frequency of the sine wave we started with, we can create kicks, snares, toms, and other percussion sounds and even pitch them harmonically so that our drum kit sits in a particular key.
Just as we generated our sine waves with MOscillator, we can use MNoiseGenerator to create noise layers for snare drums, hi-hats, and cymbals. Using pitch and volume envelope processing, we can shape different noise types for each drum sound.
While a sine wave can be shaped to recreate the harmonic content similar to a drum membrane, noise can imitate the atonal information created by snare wires, shakers, and other high-frequency percussion instruments.
This means that depending on the style of drums you’re creating, and the genre of music they’re intended for, you can use the sine wave and noise generators separately or together to build the foundations for a wide range of drum sounds.
Effects Processing
EQ and compression is an important part of the process. With EQ, we can isolate the range of each sound layer using high-pass and low-pass filters to avoid frequency masking within the overlapping samples.
Meanwhile, compressors can help us accentuate and thicken the attack of a drum hit, adding more cohesion between the transient and body of a kick or snare sound. Furthermore, effects like saturation, distortion, and even reverb can add tonal character and texture.
Once you start merging recorded samples like handclaps or beatboxing with drums you’ve synthesized, effects will unify the layers from different sources, and you can create a signature sound for each kit you create.
Using the plug-ins in your DAW can produce an incredibly wide range of sounds. However, when you combine these with the other effects pedals and hardware processors you have in your studio, you can create some truly unique sounds.
Read more music production tutorials on MusicTech
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“I look at how The Chemical Brothers do it; that’s how live electronic music should be performed”: Will Clarke on his debut album and live setListening back to his earlier records, Will Clarke sounds like a completely different producer. He excelled as a Dirtybird prodigy in the mid-10s, delivering punch-packing, booty-shakin’ house tracks, and he’s since grown into a diverse star of 4/4 dance music. He’s released records on labels that span the far reaches of the genre such as Green Velvet’s Relief, Adam Beyer’s Truesoul, and the legendary German trendsetter, Kompakt.
Now, Clarke is beginning a new era in his career. He is producing his debut album Midnight Mass and he’s focusing on curating the album’s accompanying hardware-driven live show, as opposed to strictly DJing as he has been for the past 20 years. Both of these new endeavours see the producer creating at the top of his game.

READ MORE: The Blessed Madonna: “There’s never been a moment where I wasn’t learning something; this album is the sound of that”

Ever since Clarke’s early years listening to early electronic music stars like The Chemical Brothers, Faithless, and Moby, he has been building towards making an album. Living in those long shadows catalyzed immense inspiration, but he also felt self-doubt at the prospect of making a body of work up to that soaring standard.
“I’ve always wanted to do an album. But I just never felt I was good enough,” Clarke says. Before Midnight Mass, he completed producing a series of tracks in sequence but they never became a full-fledged album because he always ended up comparing himself to his idols. “They’re all absolutely huge artists, but sonically, quality of the songs, quality of production, did it ever match that? The answer was, ‘no.’ So, it was always back to the drawing board.”
Clarke’s goal for making an album wasn’t to become as big as The Chemical Brothers. Midnight Mass is coming into the world because he is confident he is creating a comprehensive body of work just as Ed Simons and Tom Rowlands have done since 1995.
Image: Press
“I got to the point where I was listening to my influences, then listen to [my album], and it’s on par. The songs fit together. They’re great songs. The production is far superior to where my production was back when I wanted to start doing albums,” Clarke says. “It was a moment when I was like, ‘Okay, well, now’s the time to do it.’”
A key hurdle Clarke had to overcome to reach this point was to write music for purposes other than DJing. In listening to Midnight Mass, the tracks could certainly work in a DJ set, but there are more layers to them as well.
In the first moments of the album, listeners might think they hit play on the wrong record; it starts with suspenseful orchestral string trills comparable to Wagner’s Ride of the Valkyries. But that’s the kind of musicality spread throughout Midnight Mass. 11 out of the 13 tracks feature vocalists, all of whose melodies he had a hand in writing.
Clarke has developed his talent for sensibility over the last few years after doing numerous writing sessions with different artists. He’s done many with collaborators on the album like Hayley May and Mitch Jones, but also artists in the wider scene such as HAYLA and Clem Douglas.
Image: Press
“Every time I went into a session with somebody the mission objective was always, ‘Let’s just have fun and see what we make’,” Clarke says. He also rejected the idea of letting an artist’s previous work (including his own) influence what they made in a session. Just because he’s known for making house music, he didn’t have to write house music.
Similarly, Hayley May is known for singing on major house records such as Heaven by the DJ Mag Top 100 icons Dimitri Vegas & Like Mike. But when she and Clarke were writing together, he asked her who her favourite vocalist of all time was.
“She said, ‘Lauryn Hill,’ and I was like, ‘Let’s write an R&B record.’ Let’s do something that we both can have fun with. Then I’ll go away and turn it into what I need to turn into,” Clarke says. The results were Be My Baby and Need Some Time.
“After I completed [those records], that was the first time when I was like, ‘Now I know this is gonna be an album.’ Now I know that this music we’re making is bigger than just a club record. It opens out to a bigger world. It opens out to a bigger listenership,” Clarke says.

The word “big” is apposite in describing Midnight Mass. Across the album, the tracks harness a truly massive feel whether through vocals or production. Weekend Love employs the full power of House Gospel Choir, letting the 20+ voices rip over a seething melodic techno beat. Georgia Meek’s operatic voicework carries Memories on a foundation of slamming piano chords.
When asked why Clarke went so big on his album, he again references his primary influences who share a similar massive quality. But other than big sounds, he wanted this record to bring out big emotions.
“A lot of people don’t know what I’m trying to achieve because they’re used to me being ‘DJ Will Clarke.’ But throughout all of my production over the years since 2018, when I left the Dirtybird era, it was always like, ‘How do I evoke emotion in my music?’,” Clarke says.
On Midnight Mass an important vehicle for emotion in his production was the Hans Zimmer Strings sample pack from Spitfire Audio. Clarke has always had an affection for film music, and funnily enough, the only orchestra he’s ever seen live was Hans Zimmer’s performance at Coachella in 2017.
Image: Press
Clarke is sure to remark he’s fortunate to be able to afford the $799 price tag for the pack. But his goal is to generate emotion, so, as he says: “It’s Hans Zimmer. There’s no one better.”
“The amazing thing with a string, you can literally hold a G note and it just evokes so much tension, and that’s just one note,” Clarke says. “If I pulled up the Moog and did the same thing it’s not gonna do the same. There’s just a level where strings cut through in a mix. It lifts everyone up.”
Another new bit he used for the album was the Teletone Audio Scarbo soft synth. He appreciated that it sounded analogue without emulating another analogue synth.
“It’s the weirdest fucking synth,” Clarke says. “There’s so many soft synths that emulate a Juno or something like that. We don’t need another one of those. You can buy a cheap version of those. I really like the creativity of that synth. It sounds so rich and it does sound analogue but it’s not.”
Image: Press
Other than that, much of the production equipment he used to make Midnight Mass was the same as his previous records. For plugins and effects, SoundToys makes some of his favourites.
“There’s not a single record on the album that SoundToys isn’t used,” Clarke says.
Hardware such as the handmade Russian drum machine, AVP ADS-7, and the Moog Sub 37 are staples in his studio, and he’s using these familiar machines to build out his debut live show for the Midnight Mass tour.
All of Clarke’s biggest influences perform live, and for his live set, he’ll create music with an array of hardware while custom visuals run in the background. The full tech breakdown of the live show is in the video below, and for the visuals, Clarke produced a short film to coincide with the set.

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“For me, the live set is a storytelling of the night. The show is narrated from intro to midtro to outro,” Clarke says. “I look at how The Chemical Brothers do it. That is how, in my opinion, live electronic music should be performed.”
As Clarke’s skills and scope for his project align more and more with his influences, he is also facing another ramification: celebrity proximity. The Chemical Brothers have collaborated with famous musicians like Q-Tip, Beck, and Noel Gallagher. Unfortunately, Clarke’s interactions are far less exciting.Instead of getting offers to work, he got a request from DJ Snake to take Summit.
In the past, some of Clarke’s songs have ended up in the hands of major headliners like DJ Snake through contractual headaches engrained into the music industry. As Clarke’s skills and scope for his project align more and more with his influences, he is also facing another ramification: celebrity proximity. The Chemical Brothers have collaborated with famous musicians like Q-Tip, Beck, and Noel Gallagher. Unfortunately, Clarke’s interactions are far less exciting. But this time he wasn’t letting go of anything on this album. He was involved with literally every phase of its making. Every production session and writing session, giving his input on the lyrics and melodies. He was in the room when it was mixed and mastered.
“There’s a creative part of every single process. And the only way for me to get that across is to be in the room. There’s a feeling that you get whilst you’re in the room with somebody that you can’t give feedback on through email or telephone. You have to feel it,” Clarke says.
The only thing left is the live show, where people on the dancefloor will feel exactly what he felt in all those sessions. It’s a feeling he’s been building towards his entire career.
The post “I look at how The Chemical Brothers do it; that’s how live electronic music should be performed”: Will Clarke on his debut album and live set appeared first on MusicTech.

Access to your Splice library—now in Studio One Pro 7
The first update to the Splice x Studio One Pro Integration brings several key feature additions and improvements that will make your in-DAW Splice experience even better.

Signal Perspective releases FREE Grindbox Mk2 Distortion Plugin
On Monday, Signal Perspective released the Grindbox Mk2 distortion, a free plugin for macOS, Windows, and Linux.  Grindbox is a VST3 and AU release with several tricks up its sleeve. You can run the plugin as an amp sim for bass or guitar, as a saturator that adds slight coloration, as an exciter, or just [...]
View post: Signal Perspective releases FREE Grindbox Mk2 Distortion Plugin

Stick or twist time – streaming’s innovation dilemmaAs Clayton Christensen identified in The Innovator’s Dilemma, there are two types of innovation: sustaining innovation and disruptive innovation. Sustaining innovation is what companies do to enhance existing business models, while disruptive innovation is typically driven by new entrants – insurgents looking to make markets by turning established ones upside down. Of course, if they are successful, eventually they switch to sustaining innovation, too. Streaming is now at the ‘you were the future once too’ stage. In the West at least, the focus is now firmly on optimisation.  This is all very sensible and absolutely the safe thing to do. However, music innovation must go beyond simply fine-tuning existing models. As it stands, streaming is perfectly poised for disruptors to come along and turn it upside down.

Sustaining innovation is how more growth will be extracted from streaming. Subscriber growth is slowing in the West. Because this is where majors have most market share (MIDiA’s “State of the independent music economy” report found that majors’ market share in ‘Rest of World’ is just 31%) and most revenue, it is where they are focusing their optimisation efforts. Thus far, this innovation has taken the form of streaming price increases, two tier licensing, and the forthcoming superfan tier (per TechCrunch). Of course, you could make a case that a superfan tier is disruptive innovation, but that will depend upon whether it really pushes the boundaries of what streaming is. Otherwise, it may only be as ‘disruptive’ as mobile carriers having premium plans for higher spending consumers.Type of innovation notwithstanding, these sustaining innovations all give music rightsholders (bigger ones especially) a route to more revenue per user. This is optimisation. However, in a streaming value chain where a finite pot of money gets divided among constituents competing for share, optimisation can go both ways. 

Take a look at things from Spotify’s perspective. Perennially under pressure from shareholders to improve margin, Spotify has neatly implemented four, margin improving, sustaining innovations:

Discovery mode which can give Spotify around 15% additional share (per Billboard)

Fraud fines issued to labels and distributors effectively means Spotify retains more revenue

Spotify’s “modernised” two-tier licensing means a big chunk of songs will not be paid royalties.If Spotify retains just a small portion of that, it is more margin. Even if Spotify gets to keep $0.00, two-tier licensing and anti-fraud measures will disincentivise the longtail, which will mean a slowdown in the number of low-revenue bearing tracks. This in turn will slow the rocketing of hosting fees, which means easing margin pressure

The infamous audio books bundle sees less share going to music rightsholders, which in turn could (depending on book rightsholder payments) also mean more share to Spotify (per Variety)

On top of all this, Spotify has two mid-to-long term accelerators:

1.    Spotify is growing its userbase in Global South markets, meaning it does not face the same growth slowdown concerns as its Western rightsholder partners

2.    By building creator networks in non-music formats, it has a path to higher margin content

Herein lies the problem with sustaining innovation: when it means optimising at the expense of other members of the value chain, one person’s optimisation can be another’s de-optimisation.

Appetite for disruption

Sustaining innovation is so appealing because it brings the promise of low-risk growth.  However, little new is ever built without risk. Streaming was risky once, too. In fact, back in 2010 it seriously looked like Spotify might have to launch in the US without the major labels (per The Guardian).

There are many ways in which the streaming model can be seriously innovated but thus far, caution has held that back. China’s streaming services show just how radically the user experience can be changed, but rather than innovating upwards, Western DSPs have had to innovate sideways, into new audio formats (Amazon Music Unlimited’s Audible integration is the latest case in point).

Sometimes you need to disrupt yourself before someone else does. Facebook is the textbook example. In 2012 it was still the dominant global social network, but a small photo sharing app named Instagram was beginning to gain momentum. Facebook bought it for, what at the time looked like a staggering $1 billion (per The New York Times). Swiftly adding WhatsApp and Messenger, Facebook pivoted towards mobile photo and video sharing. Nowadays, this is what we understand social media to be. Back then it looked like a different planet compared to the desktop world Facebook occupied. When you do it right, turning disruptive innovation in on yourself pays dividends.

Party like it’s 1999 – a little warning from history

In the late 1990s the CD reigned supreme. Annual growth was not as stellar as it had been earlier in the decade, but it was still holding its own, mainly because the record labels had hit upon a new growth strategy: price increases. There was no clear new format. The CD was both today’s format and tomorrow’s. The outlook was steady with   unremarkable growth underpinned by price increases. Sound familiar?

But that is not all, look at the spookily similar growth trends in the ‘growth through pricing’ phases of the CD and streaming:

To be clear, there is as much correlation as there is causality here. 2024 will almost certainly be a positive growth year, but the similarities are still important. In the late ‘90s, repeated price increases created the fertile breeding ground for peer-to-peer (P2P) piracy. It took a decade and a half for the music industry to really start to monetise the digital lane P2P had opened. Social music is at least somewhat monetised now, but still dramatically less so than streaming. The danger of optimisation pushing more consumers and creators to social is a real and present one. As MIDiA’s “Bifurcation theory” posits: social will not kill off streaming like P2P did the CD, instead it will coexist, but only as long as – you guessed it – streaming innovates.

Also, this time around, the labels are much better prepared for managing change. Label short-sightedness gave piracy a helping hand, as The Guardian’s Dorian Lynskey puts it: “‘90s executives were too busy worrying about the next quarter to consider the next decade”. Nowadays, labels spend a lot of time, resource and energy thinking about long-term strategy, as recently evidenced by UMG’s Capital Markets Day.

However, prepared or not, the streaming side of the music business needs to think hard about whether sustaining innovation is enough. To be blunt, if streaming doesn’t disrupt itself, social will.

LAST DAY for Spotify Wrapped Updates: Musicians Get Ready!Today, Wednesday November 20 is the last day for Spotify Wrapped updates by musicians who want to make the most of Spotify Wrapped 2024.
The post LAST DAY for Spotify Wrapped Updates: Musicians Get Ready! appeared first on Hypebot.

Hangout: Social Music platform debuts with Major Labels, group listeningHangout social music platform offers a new way for music fans and artists to connect online. Explore its unique features and how it could reshape the social music experience.
The post Hangout: Social Music platform debuts with Major Labels, group listening appeared first on Hypebot.

Token Economy for Musicians: Monetize a fanbase with $AMPSThere are dozens of startups creating new and better ways for artists to connect with a monetize fans Learn how $AMPS is creating a token economy for musicians to connect with and monetize fans while retaining control of the data.
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Daniel Ek cashes out Spotify shares for the fifth time in 18 monthsDaniel Ek, among other top stockholder executives, have cashed out some of their shares in Spotify after share prices in the streaming service skyrocketed.

READ MORE: No, Daniel Ek, the music industry isn’t like professional football

The streaming service confirmed it had “never been in a stronger position” when it published its Q3 earnings for 2024 last week, with its subscriber and user growth continuing to climb.
As a result, Spotify’s stock price jumped on the New York stock exchange, closing at an all-time high of $477.50 on November 14.
It’s therefore not a surprise that various Spotify executives have cashing out portions of their shares. According to an SEC filing seen by Music Business Worldwide, Ek sold 75,000 Spotify shares on November 15, letting him cash out $35.8 million.
Image: Jonathan Raa / NurPhoto via Getty
Indeed, Ek has cashed out some of his Spotify stock five times in the past 18 months. Altogether, he’s cashed out around $376.3 million worth of Spotify shares since last summer.
Meanwhile, Rosello Company Ltd, the Cyprus-registered holding company owned by Almatea, a Luxembourg-based firm whose sole shareholder is Spotify co-founder Martin Lorentzon, sold 959,762 shares of SPOT worth $383.75 million.
According to the streamer’s Q4 forecast, it looks set to complete its first full year of profitability. It grew its monthly active users by 11 percent across Q3 to 640 million, while its subscriber base increasing by 12 per cent to 252 million. Total revenue was up across the quarter by 19 percent year-over-year to €4 billion, with its gross margin reaching 31.1 percent.
When the results were published Ek said: “I’m incredibly proud of the way we’ve delivered and the progress we’ve made. We’re where we set out to be – if not a little further – and on a steady path toward achieving our long-term goals. This relentless pursuit of innovation and commitment to growth sets us up to deliver the most valuable user experience in the industry, while reinforcing the core strengths that make Spotify unique. I am very excited about what lies ahead for us.”
The post Daniel Ek cashes out Spotify shares for the fifth time in 18 months appeared first on MusicTech.