NoirSonance Releases Three FREE Compressor Plugins + a BPB Giveaway!
NoirSonance has released free “Lite” versions of its three new compressor plugins: D-Comp Lite, B-Comp Lite, and S-Comp Lite. We’re also giving away five free copies of the complete NoirSonance Compressor Bundle to five lucky BPB readers! Each of the three new NoirSonance compressor plugins offers a different type of compression in an easy-to-use form [...]
View post: NoirSonance Releases Three FREE Compressor Plugins + a BPB Giveaway!

Sharon Osbourne slams labels for “bastardising” artists’ music: “There is no development currently at record labels. They take everything”Sharon Osbourne has slammed modern record labels and streaming platforms for “bastardising” the music of today’s artists.
With five decades in the business and a career managing her husband, metal icon Ozzy Osbourne, Sharon has seen the music industry evolve dramatically, and she’s less than impressed by where it’s ended up.
“There is no development currently at record labels,” the veteran manager proclaims in a new interview with Music Business UK. “They take everything.”
“Record labels developing (artists) doesn’t exist. A&R departments just go on the internet. That’s it,” Sharon says. “They’ll take your publishing, your merchandise and everything else, and all they do is press and distribute and stream you.”

READ MORE: “Labels have found a new way to put artists in a position where they seem to be making a lot of money, but they essentially own nothing”: Rick Beato and Anthony Fantano discuss the impact of Spotify and streaming

Taking aim at the streaming economy, in particular, Osbourne continues, “Most of the record companies own the streaming anyway and all of this about, ‘Oh, I’ve got a billion streams, it’s amazing.’ Well, you’re getting less than a fucking penny for a stream. It’s absolutely bastardising an artist’s music.”
Which is why she urges artists, especially younger ones, to hold on to their publishing at all costs, explaining that giving it up too early can come back to haunt you financially.
“Never let your publishing go, until you get to the stage where you think you want to bail, and then you sell it all for a fortune. You look at where your songs could end up; you could get a couple of million each time your song is used in an advertisement.”
“Other people could cover your song and have a hit with a song that wasn’t a hit for you. It’s something which, now, I know a lot of artists, they go in, and they want deals, [and the] record companies want their publishing. It’s like, ‘Fuck you, no way.’”
Reflecting on how the role of the manager has changed over the years, Osbourne notes that true artist development – once a major part of management – is all but extinct.
“Managers in my day would support an artist so they didn’t have to support themselves, so they were able to write and hone their craft,” Sharon says. “You would literally put them in an apartment or a house, if it was a band, and you’d pay everything. You would invest your own money in an artist. That doesn’t happen today!”
She adds that performance skills, once honed through relentless gigging, have also taken a backseat in the age of social media where artists can gig “from their back garden” and “play to the dogs”.
“The years of trailing around the world, trying to break territories. It’s just instant now, which is fantastic for the artists,” she says, “but then you have to wait for the artist to develop their performance skills, because they didn’t have to tour and know how to work with an audience and all of that.”
“Even mic techniques, you get young kids today that don’t understand how to even work with a microphone. They just stand in front of it.”
Her sentiments echo those of other artists who’ve grown wary of the strategies of modern majors. Avenged Sevenfold’s M. Shadows previously criticised modern record labels for offering little support for musicians beyond chasing online clout.
“When Avenged Sevenfold were on Warner Bros., they were trying to figure out how to create a viral TikTok moment,” he said. “What? I’m a fucking 42-year-old man, I’m not trying to figure out how to do a viral TikTok moment. I’m sorry. You’re going to take 24 cents on our dollar and that’s all you can do, come up with a fucking fake viral TikTok moment?”
The post Sharon Osbourne slams labels for “bastardising” artists’ music: “There is no development currently at record labels. They take everything” appeared first on MusicTech.

Eminem files $109 million lawsuit against Meta for unauthorised use of his musicEminem is suing Meta, the parent company of Facebook, Instagram and Whatsapp, for allegedly using his songs without permission.
According to The Wrap, the lawsuit, filed 30 May by Eminem’s music publishing company Eight Mile Style, accuses the social media giant of distributing the rapper’s song without a valid license via its Reels Remix and Original Audio features.
Eight Mile Style is seeking statutory damages of up to $150,000 per track, per platform – a figure that could total as much as $109.35 million.

READ MORE: “It would basically kill the AI industry overnight”: Nick Clegg thinks asking artists for use permission is a bad thing

The suit alleges that Eminem’s songs were made available in Meta’s “Music Libraries” and used in user-generated content via tools like Reels Remix and Original Audio. This resulted in the songs being used in millions of videos and streamed billions of times.
Court documents also state that Meta sought to obtain licenses through Audiam, Inc., a digital music royalty collection company, though Eight Mile Style claims it did not grant them.
In the suit, the rapper’s team accuses Meta of “rampant infringement” and “knowing infringement” of his compositions, alleging the company “encourag[ed] billions of users of its online services to do so, all willfully, and without a license.”
It also argues that Meta is fully aware it “does not enjoy and is not eligible for the Digital Millennium Copyright Act’s (‘DMCA’) safe harbor provisions.”
While Meta has removed some of the songs including the 2002 hit Lose Yourself following complaints, Eminem’s lawyers say that the company “continues to host unauthorised cover and instrumental versions.”
In addition to statutory damages, Eight Mile Style is also seeking actual damages and lost profits, along with a permanent injunction against any future unlicensed use of Eminem’s music. Mata, meanwhile, has requested for a jury trial.
The news arrives less than a year after Eight Mile Style lost a long-running copyright infringement case against Spotify. At the time, Eight Mile Style sought around $30 million [per MusicRadar] from Spotify, claiming the streaming giant had racked up billions of plays on Eminem’s songs without proper licensing rights.
In September, a Tennessee judge ruled that while Spotify did not have the proper license (as the publisher claimed), the streaming giant would not be liable to cover the unpaid royalty bill. Instead, Kobalt Music Group – which handles rights and collects royalties for artists – had to pay.
The post Eminem files $109 million lawsuit against Meta for unauthorised use of his music appeared first on MusicTech.

Imaginando Celebrates 11th Anniversary with Massive Discounts up to 70%
Imaginando has launched the “We Turn 11” sale to mark its 11th anniversary, offering up to 70% off its full product range through June 13 (excluding GRFX). The sale includes everything from individual plugins to expansive bundles, with a unique twist: you can stack a 30% discount on your first purchase, making the deals even [...]
View post: Imaginando Celebrates 11th Anniversary with Massive Discounts up to 70%

Release details
Release title:
f***ed by reality
Main artist name:
Plexine
Release date:
25th Apr, 2025
https://publme.lnk.to/fuckedbyreality
#newmusic #Release #Music #indepedent #artist #hiphop

iOS 19: All the rumored changes Apple could be bringing to its new operating systemAs Apple prepares to unveil iOS 19 at WWDC 2025, several rumors have surfaced, including a potential new name for the operating system and more.

Bringing a Father Ted Joke to LifeInspired by a gag from a mid-90s sitcom Father Ted, [Stephen] decided to create his own talking tape dispenser.
This project is a actually a follow-up to the first version of the dispenser he built back in 2022, and [Stephen] has documented the process thoroughly for anyone wanting to build their own. In the first version, he modified a tape dispenser to house a Raspberry Pi, enabling voice functionality. In the new version, he replaced the Raspberry Pi with a cheaper ESP8266 and designed an entirely 3D printed dispenser that looks closer to the screen-used version.
A clever change was replacing the rotary encoder with a custom encoder embedded in the printed parts. Using a photodiode and an LED, it measures the tape pulled from the spool. As you pull the tape, the encoder calculates the length and announces it through the speaker, just like in the show.
If you’re into prop recreations like this, be sure to check out the winners of our 2022 Sci-Fi Contest.

What is jazz music? History, characteristics, and instruments
Learn about the deep history of jazz music, its subgenres, key characteristics, signature instruments, and more.

10 signs an airdrop is a scam — and how to stay safeFake airdrops are designed to drain users’ funds from their wallets. You need to be well-versed in airdrop scams to protect your crypto wallet.

Sweetwater offers $99 Native Instruments Komplete 15 Select Bundle for FREE (US only)
Sweetwater is giving away Native Instruments Komplete 15 Select for free, a production suite typically priced at $99. The offer is exclusive to users based in the United States. Komplete 15 Select is available in three variations—Electronic, Beats, and Band Editions. Each edition includes 13 plug-ins tailored to a specific genre, covering everything from thumping [...]
View post: Sweetwater offers $99 Native Instruments Komplete 15 Select Bundle for FREE (US only)

AAS unveil Lounge Lizard EP-5 Building on more than two decades of development, EP-5 features a redesigned physical modelling engine and a dual-instrument architecture for modelling both tine- and reed-based electric pianos.

Xilentch XMEQ Introducing XMEQ Mastering Tone EQ! Shape your sound with carefully selected frequency points. These bands are crafted from years of expertise to help you capture a truly musical tone. As with every series, this plugin never compromises on that classic "Analog" feel—adding a delightful character. Its filter curves are inspired by vintage designs. Put the finishing touches on your music and your sound! With an intuitive user interface, you can effortlessly infuse musical character. You'll be amazed by the silky sheen of the highs, the clarity and punch of the mids, and the weight and fullness of the lows! And, as always, it runs in real time with low CPU usage! Read More

Lawyers could face ‘severe’ penalties for fake AI-generated citations, UK court warnshe High Court of England and Wales says lawyers need to take stronger steps to prevent the misuse of artificial intelligence in their work.

In a ruling tying together two recent cases, Judge Victoria Sharp wrote that generative AI tools like ChatGPT “are not capable of conducting reliable legal research."

Let’s Buy Commodore! Well, Somebody Is.When a man wearing an Atari T-shirt tells you he’s buying Commodore it sounds like the plot for an improbable 1980s movie in which Nolan Bushnell and Jack Tramiel do battle before a neon synthwave sunset to a pulsating chiptune soundtrack. But here on the screen there’s that guy doing just that, It’s [Retro Recipes], and in the video below he’s assembling a licensing deal for the Commodore brand portfolio from the distant descendant of the Commodore of old.
It’s a fascinating story and we commend him for tracing a path through the mess that unfolded for Commodore in the 1990s. We tried the same research path with a friend a few years ago and ended up with an anonymous Dutch paper company that wouldn’t answer our calls, so we’re impressed. In conjunction with several other players in the Commodore retrocomputing world he’s trying to assemble a favourable percentage deal for manufacturers of new parts, computers, and other goodies, and we’re pleased to see that it’s for the smaller player as much as for the industry giant.
When looking at a story like this though, it’s important not to let your view become clouded by those rose tinted glasses. While it’s great that we’re likely to see a bunch of new Commodore-branded Commodore 64s and parts, there are many pitfalls in taking it beyond that. We’ve seen the Commodore logo on too many regrettable licensed products in the past, and we fear it might be too tempting for it to end up on yet another disappointing all-in-one video game or just another budget PC. If something new comes out under the Commodore brand we’d like it to be really special, exploiting new ground in the way the Amiga did back in the day. We can hope, because the alternative has dragged other famous brands through the mud in recent years.
If you want an insight into the roots of the original Commodore’s demise, have a read of our Hackaday colleague [Bil Herd]’s autobiography.

Header: Evan-Amos, Public domain.

Gallery: Music Business Worldwide x Luminate’s Music Leaders’ Dinner at SXSW LondonLuminate CEO Rob Jonas and MBW founder/publisher Tim Ingham jointly hosted the dinner
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