StageBox application by Tracktion Available for both Mac and Windows systems, StageBox makes it simple to transfer instruments and effects setups from a studio session to a live show. 

Former Kraftwerk member Wolfgang Flür was once tricked into working with a Thomas Bangalter impersonatorFormer Kraftwerk percussionist Wolfgang Flür was tricked into working with an impersonator pretending to be Daft Punk’s Thomas Bangalter.
Flür – who was a member of Kraftwerk from 1973-1987, but has been releasing solo music since 2015 – released his new album Times on 28 March. He had previously teased a collaboration with Bangalter in the years prior to its release, but since the album has landed, reports newly claim that the collaboration is not with the real Bangalter, and that Flür has seemingly been tricked.

READ MORE: “When I heard Antenna, I was finally convinced of synthesizer music,” says Former Kraftwerk drummer Wolfgang Flür

For some context, the saga dates back to February 2023, when – as documented in a timeline of events by Luke Perez, the Daft Punk Historian – producer and music partner of Flür, Peter Duggal, posted on social media that “cool things” were emerging from a collaboration with Thomas Bangalter, along with an image from Blitzed Magazine in which Flür and Duggal describe getting a Facebook message from him.
Fans did believe this to be odd, as Bangalter does not have a social media presence, and the post was later deleted. However, skip to January 2024 and in an interview with Blick, Flür mentioned that he had an album releasing in September of that year and that Bangalter (among other artists) would be featured on it. The album was eventually pushed back to March 2025, and Flür further discussed the collaboration on Ben Cardew’s Line Noise Podcast in February, though the episode has seemingly been taken down now.
Eventually, its track listing was revealed, and showed collaborations on two tracks from someone named Thomas Vangarde. ‘Vangarde’ was a fake surname Bangalter’s father previously used to preserve his anonymity, so it was brushed off as being nothing more than a pseudonym.
With the official release of the album, Bangalter’s real name was not credited anywhere, with platforms like Spotify crediting the Vangarde name instead. Shortly after, a representative of the Daft Punk team who runs their official Discord channel wrote online, “PSA: recently a ‘Thomas Vangarde’ was credited on Wolfgang Flür (of Kraftwerk)’s latest album, and it was assumed/reported that this was an alias of Thomas Bangalter. This is confirmed false! Unfortunately it is not Thomas of DP on the project and news otherwise is inaccurate.”
They later stated that legal teams have been made aware, and asked for people to extend Flür some kindness. “It’s not his fault that oversight failed here! Just because the media is being unkind about the mistake doesn’t mean fans have to be. Please do not harass him about the mistake or tell him to feel embarrassed. And please still listen to the rest of Times!” They said.
Wolfgang Flür’s Times is still available to stream or buy now.
The post Former Kraftwerk member Wolfgang Flür was once tricked into working with a Thomas Bangalter impersonator appeared first on MusicTech.

MusicTech returns to print after 5 years in a new premium magazine formatFollowing a near-five-year hiatus, MusicTech is set to return to print with an all-new premium magazine format which, alongside our monthly digital covers, will spotlight emerging talent and the gear you need to hear about.
Guitar.com, MusicTech’s sister website, is also returning to print, with Guitar.com launching on 29 May and MusicTech on 31 July. Both magazines will be jam-packed with unmissable features, expert reviews and loads more.
The new MusicTech and Guitar.com print editions will alternate with every bi-monthly edition of NME Magazine – which was also relaunched as a premium version in 2023. This means both brands will get three print editions per calendar year, offering exceptional value for superfans, artists and readers worldwide.
The MusicTech monthly digital cover will continue to spotlight both artists and gear, supported by an in-depth feature, behind-the-scenes video and social-first content.
“Following the successful relaunch of NME Magazine in 2023, we’re thrilled to bring back both Guitar.com and MusicTech in high-quality print formats,” says Holly Bishop, Chief Operating & Commercial Officer at NME Networks.
“These new magazines will reward our global audiences with the thought provoking features and insightful reviews our brands are world-famous for. We can’t wait for you to dive in.”
MusicTech is the world’s leading media brand at the intersection of music and technology, covering how technology is shaping the future of sound for the new generation of music creators and consumers.
Guitar.com is the destination for all things guitar, led by a knowledgeable, curious and expressive editorial team dedicated to connecting audiences with their passions through fun, authentic and helpful content.
To be in with exclusive opportunities in tandem with each launch, make sure you sign up to the Guitar.com and MusicTech mailing lists.
The post MusicTech returns to print after 5 years in a new premium magazine format appeared first on MusicTech.

Expert music producers react to Serum 2
Watch expert producers John Grand and Devon Johnson share their first look at the highly-anticipated Serum 2.

EigenLayer to begin 'slashing' restakers in AprilEigenLayer plans to start “slashing” restakers on April 17, resulting in the Ethereum restaking protocol’s “first feature-complete iteration,” it said in an April 2 announcement. Implementing slashing will mark EigenLayer’s final step toward establishing the protocol as “infrastructure for a new generation of verifiable apps and services built on the Verifiable Cloud,” it said in a post on the X platform.In 2024, EigenLayer started distributing rewards — including emissions of its native EIGEN token — to incentivize restakers. However, slashing has so far been limited to EigenLayer’s testnets.Once slashing is live, node operators and restakers will be able to voluntarily “opt-in,” resulting in a gradual transition for users, EigenLayer said in a blog post.Slashing starts on EigenLayer’s mainnet soon. Source: EigenLayerRelated: EigenLayer eyes consumer adoption post EIGEN unlock, founder saysGradual roll-outLaunched in 2023, EigenLayer secures third-party protocols — dubbed actively validated services (AVSs) — against a pool of “restaked” cryptocurrencies used as collateral. Restaking involves taking a token that has already been staked — posted as collateral with a validator in exchange for rewards — and using it to secure other protocols simultaneously. Slashing is the primary method for securing proof-of-stake protocols — including Ethereum as well as “restaking” protocols such as EigenLayer — and involves penalizing a network’s node operators for poor performance or misbehavior.“If Operators do not meet the conditions set, the AVS may penalize them. But, if the Operator runs the service successfully, AVSs can reward the Operator’s performance and incentivize specific activity,” EigenLayer said in an April 3 blog post. This “allows for a free marketplace where Operators can earn rewards for their work and AVSs can launch verifiable services,” the post said. EigenLayer’s total value locked (TVL) over time. Source: DeFILlamaGrowing ecosystemUpward of 30 AVSs are already live on EigenLayer’s mainnet, and dozens more are being developed.They include EigenDA — run by EigenLayer developer Eigen Labs — and ARPA Network, a protocol specializing in trustless randomization.In October, EigenLayer unlocked its native token, EIGEN. It is designed as a more flexible option for securing consensus-based protocols than other proof-of-stake tokens, such as Ether, according to EigenLayer.EigenLayer is prioritizing onboarding crypto-native apps in segments such as decentralized finance (DeFi) and gaming before expanding beyond Web3, founder Sreeram Kannan told Cointelegraph in October. “We’re starting with the inside-out approach, focusing on high-throughput consumer apps like DeFi and gaming, but once we grow a little bigger and have critical mass, we’ll go outside and start targeting broader consumer markets,” Kannan said.Magazine: XRP win leaves Ripple a ‘bad actor’ with no crypto legal precedent set

Amazon Kindle’s new feature uses AI to generate recaps for books in a seriesAmazon is introducing a new “Recaps” feature for Kindle users to help them recall plot points and character arcs before picking up the latest book in a series. While the company’s press release for the new feature doesn’t mention AI, Amazon confirmed to TechCrunch that recaps are AI-generated. “We use technology, including GenAI and Amazon […]

Live Music stocks dropped more than overall markets Thursday​On a very bad day on Wall Street, most publicly traded major live music stocks dropped more than overall markets Thursday. Live Music stocks dropped more than overall markets ​On. Continue reading
The post Live Music stocks dropped more than overall markets Thursday appeared first on Hypebot.

Teardown of a Scam Ultrasonic CleanerEveryone knows that ultrasonic cleaners are great, but not every device that’s marketed as an ultrasonic cleaner is necessarily such a device. In a recent video on the Cheap & Cheerful YouTube channel the difference is explored, starting with a teardown of a fake one. The first hint comes with the use of the description ‘Multifunction cleaner’ on the packaging, and the second in the form of it being powered by two AAA batteries.
Unsurprisingly, inside you find not the ultrasonic transducer that you’d expect to find in an actual ultrasonic cleaner, but rather a vibration motor. In the demonstration prior to the teardown you can see that although the device makes a similar annoying buzzing noise, it’s very different. Subsequently the video looks at a small ultrasonic cleaner and compares the two.
Among the obvious differences are that the ultrasonic cleaner is made out of metal and AC-powered, and does a much better job at cleaning things like rusty parts. The annoying thing is that although the cleaners with a vibration motor will also clean things, they rely on agitating the water in a far less aggressive way than the ultrasonic cleaner, so marketing them as something which they’re not is very unpleasant.
In the video the argument is also made that you do not want to clean PCBs with an ultrasonic cleaner, but we think that people here may have different views on that aspect.

DPA MICS DELIVER PRISTINE SOUND FOR BAD BUNNYCarlitos Lopez conducting the Philharmonic Orchestra Project during Bad Bunny’s tour, which deployed DPA microphones on stage.Fans of Puerto Rican rapper and singer Bad Bunny can't fail to have noticed the impeccable work of producer Carlitos Lopez. The man born Carlos Fernando Lopez is a GRAMMY®- and Latin GRAMMY-winning producer, composer and conductor, who specializes in bridging the worlds of classical and popular music. Lopez co-produced Bad Bunny’s 2023 hit single “Nadie Sabe,” bringing a full orchestral accompaniment to the artist’s already-electrifying music. That symbiosis, the lush arrangements sitting comfortably alongside the contemporary edge, has been revelatory. Lopez recently toured with Bad Bunny across the U.S., Canada and Puerto Rico, conducting the Philharmonic Orchestra Project (POP), as it performed Bad Bunny’s songs. As a welcome bonus feature, POP also showcased a collection of Lopez’s original music compositions at the start of the shows.“Benito (Bad Bunny) loves all styles of music and decided to open his album with a classical sound,” says Lopez. “So, I wrote orchestral music for him to use with ‘Nadie Sabe’ and recorded with a full orchestra in Prague. Then, from that collaboration and while producing that song, Benito decided he wanted to take a full orchestra on tour and asked me to conduct. He also requested new orchestral pieces to open the show, which I turned around in just a few days.”A statement reveals that Lopez is, "a native of Colombia [who] has been inspired by music his entire life, following in the footsteps of his opera singer grandfather, who ignited the passion. Whether in the studio or on the stage, Lopez continually strives to ensure his productions are top-of-class and insists on utilizing only the best gear to support his work. Included among Lopez’s preferred solutions is DPA Microphones, which he deployed for both his studio and live orchestral projects with Bad Bunny."“We had a team of 12 engineers working on the tour, and from the very start I asked to have input on the microphones we would use,” says Lopez. “I had used a selection of DPA mics in the studio, when we recorded the orchestra, and I knew that I wanted to deliver the same sound to live audiences. The orchestra we recorded in the studio was much larger than the one we used on tour because the stage was smaller, so the mics played an important role in ensuring we didn’t lose the perception of a big ensemble.”For more about DPA Microphones, visit dpamicrophones.com.For more about Carlitos Lopez, visit carlitosmusic.com.The post DPA MICS DELIVER PRISTINE SOUND FOR BAD BUNNY first appeared on Music Connection Magazine.

Virharmonic Instant ViolinThe Instant Violin is a light version of our Bohemian Violin. It contains our renowned Virtual Performer technology including our vast array of multi Dynamic Legatos at a much lower price point. So what's the difference?: The instant is designed for playing melodic legato with no fuss. 3 Moods which change the play style and Virtual performer controlled performances. In the Instant Edition, articulations can only be selected by the Virtual Performer based on your play Style. Read More

Join the Softube Subscriber Club and get two FREE plugins
Softube offers all new Subscriber Club members an exclusive 15% off sign-up code and two free plugins. There are no subscription fees; to become a member, you need only provide your email address. The free plugins featured are Wasted Space and Fix Phaser (combined cost of $108). The exclusive discount code and free plugin offer [...]
View post: Join the Softube Subscriber Club and get two FREE plugins

Victoria Canal Attracts Her Fans for The Right ReasonsThis week, Ari is joined by Victoria Canal to discuss the distinct pressures faced by indie vs. label-repped artists.

Spotify introduces new changes to its advertising model – could they impact artist payouts?Spotify has announced new changes for its advertising model, with new tools for creating ads and measuring their reach.
The changes arrive hot on the heels of its Loud & Clear annual royalty report, which revealed that from 2014 to 2024, Spotify’s yearly payouts to the music industry have increased 10x from $1 billion to over $10 billion. It also recorded its first full year of profitability at the end of Q4 last year.

READ MORE: Qobuz is the first streaming platform to have its average payout per stream officially validated – this is its rate and how it achieves it

Spotify refers to its new changes as the “next stage of Spotify Advertising”. As part of these new advancements, it has introduced the Spotify Ad Exchange (SAX) – this means that for the first time, advertisers can access Spotify’s engaged and logged-in users via real-time auction, with full addressability and measurement capabilities.
Furthermore, the streaming platform has also upgraded its “self-serve” Spotify Ads Manager with new tools including enhanced targeting and measurement capabilities, and there are now new ways for advertisers to create with Spotify using its Creative Lab and AUX (its music consultancy agency), plus its brand new Spotify Generative AI Ads tool – this can produce scripts and voiceovers, for example.
What does this mean for artists?
Spotify’s Global Head of Advertising, Lee Brown, says that Spotify Free users tune in to the platform for two hours each day. These are the listeners who hear these adverts. Although its new report doesn’t clearly outline how exactly these new advertising changes might affect artist payouts, it does report that its ad revenue has more than doubled since 2020.
As part of Spotify’s annual royalty report, it shared a video revealing how the money flows from its platform to artists and publishers, in which it said it pays rights holders roughly two thirds of every dollar it makes; this is from both users who pay for its premium tiers, and from advertisers on its free tier.

Spotify has faced criticism of its payout model over the years, but it addresses this through what it called the “paradox” of the modern music industry. “Streaming has allowed millions to easily share their music globally – that’s an amazing thing. But the sheer volume of uploaders means the fraction who find success appears smaller over time,” it says.
“The fact remains: Thanks to streaming, more artists than ever before are generating royalties at every career stage. More than at any time in music history. And we think that’s what really matters.”
To find out more about Spotify’s advertising changes, you can read more via its Newsroom.
The post Spotify introduces new changes to its advertising model – could they impact artist payouts? appeared first on MusicTech.

HYBE’s Joon Choi: ‘90% of Weverse traffic comes from regions outside of Korea. Most of our users are global superfans.’MBW speaks with Weverse President Joon Choi following the launch of its Spotify-powered 'Listening Party' streaming service
Source

Output’s Co-Producer: the Future of Sample-Based Music Production?Ad feature with Output
Have you ever found yourself spending way too much time searching through sample libraries for the right sample? This could save you a lot of time.
Producers have an infinite number of inspiring sounds available and accessible to them at all times. The problem is finding what you need — and quickly. But what if someone had come up with a way to make this a thing of the past? And even better, with unlimited access to an ever-expanding library of royalty-free samples?
Built on Output’s legacy of software innovation and high-end sound design, Co-Producer is a simple yet incredibly powerful way to find and incorporate premium, musician-made samples that fit your track with just a couple of clicks.
Output Co-Producer. Image: Output
Running as a plug-in across the master bus of your DAW project, it analyses the harmony, rhythm and complexity of a section of your track and — with the help of your prompts — intelligently suggests compatible samples which you can then audition and drop directly into a song. Co-Producer was designed from the ground up to work in any DAW. Whether you’re deep in Ableton, Logic, FL Studio, or anything else, it adapts to your workflow, not the other way around.
“We built Co-Producer to address the real frustrations of music makers,” says Gregg Lehrman, founder and CEO of Output. “After talking with thousands of writers and producers, it was clear that endlessly scrolling for samples held back creativity. Artists want sounds that fit their track from the start, with the ability to preview them in context and drag-and-drop directly from within their DAW.”
To do this, Co-Producer uses a combination of state-of-the-art AI algorithms, but the developer is keen to point out that this plugin does not generate music for you. Instead, it simply helps you discover a vast range of samples that fit rhythmically and harmonically with your track, giving you creative choices to dial in your sound.
“We’re not using AI to generate audio — we’re using it to improve how music makers work. By combining language models, audio analysis and a scalable engine, we deliver high-quality, musician-made results that are 100% free and clear to use,” says Spencer Salazar, Output’s Head of R&D.
Output Co-Producer. Image: Output
And improve producers’ lives it does, with over 73% of searches returning results that people love – a number that will surely only increase as more  people interact with the system. The workflow is incredibly simple. Just open the plugin, enter your song’s key and sample a few bars into Co-Producer with a click.
Then, tell the plugin what kind and style of sound you want – like chilled vocals or funky guitar, for example – and it will return a plethora of compatible results you can audition in context by clicking on them and listening as they play along with your track. When you find a sound you like, drag and drop it from Co-Producer into your DAW to have it added, all fully in sync. You can refine your search with more text input or search for similar sounds, again with just a couple of clicks.

So, what about the sample library? Co-Producer gives you unlimited access to its entire royalty-free sample collection for just $9.99/month — no credit system, no hidden limits. Output called out that they are actively expanding the library across every genre and style, with new royalty-free samples every day and significant updates planned to be announced soon. This includes new samples created by Output’s renowned sound design team as well as incorporating samples from a small set of highly vetted partners from the world’s best libraries and sound designers that meet Output’s exceptional standards in sound quality.
And it doesn’t stop at sounds. Co-Producer has a series of planned feature updates in the coming months to bring new, smarter capabilities and an even tighter integration into your workflow. As music production evolves, Co-Producer promises to evolve with it.
In an age where musicians have almost too much choice when looking for sounds, Co-Producer solves a very real problem that can slow you down and stifle your creativity – that of cutting through thousands of samples to find exactly what will work for you, quickly and with no fuss. Best of all, since the library is stored online, it doesn’t require you to install huge files on your computer, and it’s constantly updated with new content — there will always be something new to find whenever you sit down to make music. Inspirational, efficient and easy to use, Co-Producer might just be the future of sample-based music production.
Try Output Co-Producer for free 
 
The post Output’s Co-Producer: the Future of Sample-Based Music Production? appeared first on MusicTech.