Native Instruments release Claire piano library Built using the same engine that powers NI's acclaimed Noire library, Claire promises to deliver a deeply immersive playing experience and an unparalleled sound.

The Blessed Madonna: “There’s never been a moment where I wasn’t learning something; this album is the sound of that”30-plus years into a storied DJ career, Blessed Madonna has finally dropped her debut studio album, Godspeed, on October 18 via Warner Records. 24 house-infused tracks (six of which are playful interludes) feature a diverse group of collaborators including Chicago house OG Jamie Principle, dance pop queen Kylie Minogue, Chicago funk artist Ric Wilson and London dance duo Joy Anonymous, and explore classic house, gospel house, underground rave sounds and beyond.
“Ahh, it hurts when I say it out loud. [30 years] is a whole person,” the Kentucky-born producer, real name Marea Stamper, exclaims on a video call from her home in London. “The great thing is that there’s never been a moment where I wasn’t learning something new. In some ways, this album is the sound of that. It’s me bumbling my way through trying to learn how to make every record that I love.”

READ MORE: “It always starts with the sample”: Laurence Guy is connecting listeners to loops in more meaningful ways than ever

For example, the whistling flutes in the sunny, euphoric rave anthem Serotonin Moonbeams nods to Frankie Knuckles’ 1991 house classic The Whistle Song, while the lyrics (“Ecstasy technology, M-D-M-A-S-M-R”) harken back to Stamper’s youthful rave memories. The experience of creating the song (and much of the album) was as playful and expansive as the track itself. A few days after sharing Thanksgiving dinner together, she sat in the studio with rising dance duo Joy Anonymous, DJ/producer Karma Kid, and dance songwriter Jin Jin — her core creative brain trust on the project — all adding to each other’s ideas and giddily shouting out lyrics.
“When people ask how a song gets made, the real answer is that it shows up and you are kind of a witness to it. That really is what this album is,” says Stamper. “I’m just a product of all of the sounds that I’ve heard before — like that sample on Endtroducing by DJ Shadow — and all the DJs that I’ve loved. These little homages are inside of [Godspeed].”
She cites the wide-ranging six-hour sets from Laurent Garnier and Mr. Scruff in her early Chicago days as deeply influential to her approach to DJing. Now, this omnivorous approach to dance music has bubbled up in her approach to production, as she wove her inspirations together on her debut album.
Image: Aldo Paredes
“I couldn’t not make a house album,” the Happier producer emphasizes when asked if she set out to make a house LP. “But just like a DJ set, we’re going to go from James Ruskin to Patrick Cowley; I just wanted to show how all those things are connected.”
The three-year journey of making the project came with significant growth and exploration for Stamper as a producer. The sessions marked the first time she sat in a room with a group of people to songwrite collaboratively, which she says initially felt like “peeing with the door open” but turned into creative moments and friendships she cherishes. While she’s been tapped to remix major pop stars including Dua Lipa — even executive producing the underground-DJ-heavy remix album, Club Future Nostalgia – Ariana Grande and Florence + the Machine, she hadn’t recorded with vocalists before Godspeed.
“Secretariat [track 20 on Godspeed] was the first time I ever wrote words and melody,” says Stamper. “I wrote all of that myself and then had to walk Shaun [J. Wright] through what I wanted him to do. That was really terrifying for me, but Shaun and I were close enough that I felt comfortable.”
“Before this album, I had [produced] tracks with people but that is a very different process than writing song songs. It was all kind of like, ‘Yeah, sure, I can do that,’ which, of course, you don’t know if you can or not. But I did,” she notes with a chuckle.
Image: Aldo Paredes
Godspeed came with a lot of learning-on-the-go as a producer. A lot of it was made in the box, using esoteric methods to get the sounds she desired. For example, she wanted an orchestra and choir on the gospel house number Brand New, but instead asked every Godspeed collaborator that came through to sing the parts, building her own faux-choir. For the old-school record scratches, Fool’s Gold Records head and champion turntablist A-Trak recorded and sent some over in the eleventh hour.
“Faking an orchestra was wonderful. I went from not writing songs for people to doing proper, professional-level vocal arrangement just by sitting around and watching other people. But also, I grew up in church. If you’re from Kentucky, the four- to six-part harmony is just what we call Christmas,” she recalls with a laugh. “So much of [Godspeed] is just so humble. Whoever was there [in the studio] was working on their laptop.”
As for hardware, Stamper uses an old Roland Juno-106, a Moog Grandmother, a “bootleg” 909 drum machine and was recently, toward the end of the LP process, gifted a Teenage Engineering EP–133 K.O.II sampler by her husband Vadim. (He makes a guest appearance rocking a custom Godspeed belt buckle on the single’s cover art and the back of the vinyl version of the album.)
For plugins, she likes layering Sonic Academy’s Kick 2’s slam and kick drums, and uses a TR-909 emulator. “Pretty much any kick drum on [the album] is like five kick drums. I used a 909 emulator because I couldn’t afford a real 909 and the emulator actually is easier to use, and nobody ever sends me gear. I just want to say to anyone that’s reading: I make records for a lot of people, and it would be super cool if you wanted to send me gear like you do other people, whoever’s listening,” she says with a wink.
The Blessed Madonna with Karma Kid, Pat Alvarez, Jin Jin, Uffie and Joy Anonymous. Image: The Blessed Madonna
She also loves Audiorealism’s emulators — the ABL Pro semi-modular synth and the ABM drum machine, which has sounds of Roland’s TR-606, TR-808 and TR-909 — and has used them since she first started producing. (She admits they were bootleg copies back then, while she’s happy to be able to give them her money now.) Stamper also uses SoundToys’ AlterBoy and Decapitator, plus “all of the Arturia [plugins].”
“Half the tracks on the album are just run through Decapitator 25 times. I also used [SoundToys’] Radiator on everything,” the Strength (R U Ready) producer says. The latter trick came from Atlanta-based wildcard DJ/producer Nikki Nair, and his “complete lack of fear around distortion and saturation.”
“There are little pieces of all kinds of people that changed me forever: Nikki Nair, Dance System, Joy Anonymous,” continues Stamper. “It’s a pretty extraordinary thing to be able to sit with Paul Epworth — he [co-]wrote [Adele’s] Rolling In The Deep — I want to know what he knows, I want to know what James Vincent McMorrow knows.” One of those things is a recording and audio engineering feat that has always fascinated her; the impossibly close and clean claps on D’Angelo’s Black Messiah, a classic album she cites as a reference point for mixing, use of space, placing of mics and more. McMorrow, who sings on Brand New, actually learned the handclap trick from someone who worked on the album and taught her, to her astonishment.
“You put your hand right next to the microphone [and clap quietly]. You record it with high gain, so you’re getting almost no reflection; it [sounds] like the clap is almost inside you. If you get two or three people to do it at exactly the same time, it sounds like this perfect clap,” she explains.

Another musical hero she brought on to the album was Chicago house luminary, Jamie Principle, whose iconic voice takes centre stage on We Still Believe. The original version came out in 2013 — one of the first tracks she ever made — and featured her own voice recorded on a BlackBerry phone, an acid line from a bootleg version of ABL Pro and strings from Apple Logic Pro 9. “I will always be obsessed with Jamie Principle… I wanted to make a record that sounded a little bit like Dan Bell, but what if Jamie Principle was on it?” Stamper reflects, underscoring the personal significance of including him on it later. After meeting and bonding with Principle at a Midsommar-evoking chalet they stayed in for a Sweden festival they both played, she asked him to record the vocals for the track.
Back in 2013, she was excited that anyone wanted to release her music and sold the rights to We Still Believe for just 300 dollars. Later, her management helped her buy it back and, shortly after, she licensed the version featuring the Chicago legend — the same iconic voice behind Baby Wants To Ride and Waiting on My Angel — to Grand Theft Auto, an understandably surreal experience.
“I bought my catalogue back and licensed it to Grand Theft Auto 36 hours later, which was a really nice thing. It felt good to own my own stuff and be able to control it,” the producer says.
She also sent tracks to producers she knows and admires to get another pair of ears on it. We Still Believe is now in its third iteration, after getting the Soulwax touch.”If you want to make a record sound great, send it to Soulwax because their audio chain is great,” Stamper asserts. The legendary brother duo added a chugging, sparkling finish to the tune and uncovered ad-libs (including “We have the right to resist… This racist fascist shit”) from Principle that gave the track an extra kick.

“Dance music can seem so superficial because you are talking about this party, but there’s always this other layer to it, this place just underneath the surface. Think about You Make Me Feel (Mighty Real) by Sylvester. Boy. It’s got all the standard lines about being in a dance club, and then it hits, “You make me feel, mighty real.” That line is 1,000 pounds; it has the whole universe contained in it. I’m always wanting to find that feather that weighs a ton.”
“House music, dance music, is about comforting people but also making people uncomfortable.”
For an album that stitches together deliciously hedonistic dance pop, glitchy underground rave tunes, soulful gospel house, and messages of hope, triumph and freedom, it’s safe to say The Blessed Madonna has done that with Godspeed.
“I’m just trying to make records that express what it’s like to be on this earth, in my very, very short time here. Each one of us is a tiny little blip, and I would like my blip to be funky.”
The post The Blessed Madonna: “There’s never been a moment where I wasn’t learning something; this album is the sound of that” appeared first on MusicTech.

IK Multimedia iLoud Micro Monitor Pro: Superb for on-the-go producers; not so great for everyone else£510/$560/€560 pair with MEMS measurement mic, ikmultimedia.com
IK Multimedia created the iLoud Micro Monitors in 2016 as a solution for producers who need professional sound in their studio and on the move. The new Micro Monitor Pro slims down your travelling setup even further than its previous non-Pro version while also offering additional features. But are these really the right monitors for you?

READ MORE: AIAIAI Unit-4 Wireless+ studio monitors prove they are unparalleled

Starting with design, the Pros are slightly larger and heavier than their predecessors, yet they’re still compact for such advanced speakers, weighing just 1.4kg each. They now have an integrated power supply which accounts for some of that weight, but they each require a power cable rather than lugging around an external power supply. It would be nice, of course, if you could power the monitors via battery, but this would significantly increase the size, weight and price.
The speakers can be pole mounted using a screw thread, though you’re probably more likely to use them on a desk or table. Their compact size means you will need to either angle them at your head using their integrated fold-out foot or raise them to a level where they fire at your head while they sit flat. Being small, they remain quite directional so placement and angling are crucial considerations here. IK provides detailed guidelines in the manual on how best to achieve this.
Image: Press
The manual also explains how to use the Pros’ biggest new feature: self-calibration. IK devised the ARC room correction system for adjusting speakers’ output to compensate for the imperfections of any listening space, be it a pro studio or a more acoustically-problematic home studio. The idea is that you can recalibrate for any space you happen to be in, compensating for nearby reflective surfaces and resonant frequencies.
You will need a MEMS microphone — this comes as part of the pair or is available separately, for some reason. The mic connects directly to each speaker and you press and hold the new Calibrate button, having positioned the mic as the manual advises. The speaker plays test tones which the mic captures, storing the resulting calibration on the speaker. The whole process takes just a couple of minutes. This can be further refined with all settings managed using the X-Monitor app for macOS and PC. Communication with X-Monitor is handled by each speaker’s USB-C port, though these only carry this data and not audio.
Despite this software integration, the Micro Monitor Pros are still very much studio-style speakers, with the bulk of their controls first and foremost on-body and as noted, no USB audio. So on the back of each one, you’ll find a volume dial, XLR input, unbalanced RCA input (only one can be used at once) and power controls. This means you’ll need to use an audio interface to transfer audio between your computer and the Micro Monitor Pros.
X-Monitor app. Image: Press
Then there’s the Mode button, which cycles between EQ modes such as Desk (for use on flat surfaces), Flat response and Calibration mode. There are also high- and low-frequency adjustable filters, and an LF extension option to filter frequencies below 50 or 80 Hz if using a subwoofer.
Internally, the crossovers and other components are all DSP-controlled and there’s a Class D bi-amped design with a three-inch cellulose mid-woofer and one-inch silk dome tweeter. They’re front-ported for bass extension and easier placement in small spaces, sharing 50 watts apiece (30 to the low end and 20 to the top).
All of this, with a frequency response of 50 Hz to 20 kHz, the sound these monitors produce is excellent. It’s far richer and more detailed than their compact size would lead you to believe possible, all with plenty of volume in reserve. The low end is rich and tight, the mids feel punchy and the top end sparkles — all the more so post-calibration. Correct positioning is vital, however. Their small size does make them more directional than larger models, but this is not difficult to set up.
Image: Press
The self-calibration is straightforward and makes a real difference to the sound in your particular space. In our home attic studio, with its partly sloped ceilings, we notice a sharpening of the mid-range with calibration on, and a slight lessening of the bass, which usually gets artificially boomy courtesy of nearby walls. Mixing decisions are made far simpler since the frequency response is no longer being affected by the room acoustics.
If you never move your setup, you’re unlikely to calibrate your system often but it’s still a valuable process in any space, from use in home studios or as secondary reference monitors in a larger space. If you do travel and mix or record in different places it’s going to get a lot more use.
USB audio transfer would make a product like this even more portable, though the counterargument is that going via an audio interface provides more flexibility for ins and outs, including headphone outputs, all of which would be sacrificed by using your computer’s main audio path just for the speakers. And since these are ‘Pro’ branded, IK would likely argue that an audio interface is a standard component of most setups anyway.
Image: Press
Adding internal power and the self-calibration feature makes the Micro Monitor Pros more capable and overall more portable than ever before – the extra weight of the power supply is negligible. Calibration for your home studio is valuable and welcome, while for travelling producers it’s a lifesaver.
So who are these monitors for? If you’re on a budget and never use speakers outside your home studio, you can spend less than £500 on compact speakers and still get effective sound. A pair of conventional active monitors would be a more affordable bet in this case. The MM Pros are a relatively niche proposition — while AIAIAI’s Unit 4s are also portable, adding wireless audio for their admittedly higher price of £700, they’re bigger and heavier and don’t have the calibration. They do have a battery power option, however, which the MM Pros don’t.
But for anyone who moves around, the self-calibration of the MM Pros is well worth the extra expense. Correctly positioned and set up, they’re a joy to work on. Whether you’re short on space or mixing in different places, the Micro Monitor Pros offer an awful lot of punch in a portable package.

Key features

Bi-amped, digitally controlled speakers
2 drivers sharing 50W of power
50 Hz – 20 kHz frequency response
Digital self-calibration using MEMS microphone
XLR and RCA input
On-body EQ compensation controls
Angle with foldable foot
Internal power supply
Works with X-Monitor app over USB-C
Weight: 1.4 kg each

The post IK Multimedia iLoud Micro Monitor Pro: Superb for on-the-go producers; not so great for everyone else appeared first on MusicTech.

Black Friday Specials from EastWest EastWest are offering a substantial discount to those who sign up for a yearly ComposerCloud+ plan during their Black Friday Special Offer. 

FTX filed for bankruptcy 2 years ago — What’s happening now?The exchange’s creditors haven’t been made whole despite a judge approving a plan, and sentencing for former executives is nearing an end.

Heritage Audio announces availability of SUCCESSOR, successfully recreating its industry-changing SUCCESSOR outboard predecessor as a plug-inVintage-sounding recording equipment developer Heritage Audio is proud to announce availability of SUCCESSOR — successfully recreating all of its industry-changing SUCCESSOR outboard predecessor’s features as a DAW (Digital Audio Workstation) workflow-friendly plug-in with welcomed additions — as of October 31…As a British Diode-bridge STEREO BUS COMPRESSOR released to widespread critical acclaim back in 2019, Heritage Audio’s SUCCESSOR readily represented a first in its class, finally allowing creative engineers, musicians, and producers alike to apply colourful, fat, and warm compression to their treasured productions. Prior to its release, only clean and transparent VCA-based processors had been available for performing those duties, and — although adequate for mix bus usage, often — they simply do not possess anything like the energy, mojo, and vitality that Heritage Audio’s SUCCESSOR can clearly offer.Originally conceived for mix bus usage itself, SUCCESSOR subsequently became a popular choice for all aspects of the music and audio production process. Present in thousands of studios worldwide, it has made its way into tracking sessions, on sub-groups and even at the mastering stage, showing that it works well wherever anyone chooses to use it. Top-tier engineers — such as GRAMMY® Award-winning mix engineer Chris Lord-Alge — have happily integrated SUCCESSOR into their setups, drawn to how it lets them feel how their separate tracks interact and blend together in a way that was previously not possible when master bus compression duties are relegated to the mastering stage.Saying all that, though, having received dozens of offers from plug-in developers eager to try and capture SUCCESSOR’s sought-after energy, mojo, and vitality, Heritage Audio admirably opted to take on the challenge itself. Indeed, SUCCESSOR successfully recreates all of its industry-changing outboard predecessor’s features as a DAW workflow-friendly plug-in with welcomed additions — after all, as a newly-designed plug-in, its creator could not resist bringing a little extra to the production table. The new NUKE function, for example, will actually apply an extra 20dB to the front end before compression, so SUCCESSOR is working much harder and, therefore, producing more and more of the desired artefacts and characteristics for which its hardware namesake is renowned. It is fair to say that this can sound incredible — well worth trying on most material, in fact, as the results can surely surprise. And an OUTPUT TRIM control offers an additional +20 (dB) of GAIN MAKEUP right before the output stage to compensate for the extreme compression. Combined, those welcomed additions essentially take the compressor into new sonic territory that benefits from its exaggerated response.Helpfully, Heritage Audio’s goal with its SUCCESSOR plug-in is to create a tool to channel creativity and put the focus firmly back on music production, which is exactly why the vintage-sounding recording equipment developer wants to reach as many users as possible by applying a pricing scheme that is both comprehensive and fair. For instance, all SUCCESSOR hardware owners can complete an online form (https://heritageaudio.com/successor-owners-form/) to redeem a native version of the SUCCESSOR plug-in for free, while that native version of the SUCCESSOR plug-in is also available for free to owners of any i73® PRO family products — offering varying I/O and features as the first ever USB-C audio interfaces with built-in Class A 73-style preamps — from here: https://users.heritageaudio.com. Additionally, a DSP (Digital Signal Processing) version of the SUCCESSOR plug-in will soon be available for those i73® PRO family products via a firmware update. Fortunately for everyone else, a no-nonsense price of €99.00 EUR/$99.00 USD is guaranteed. The post Heritage Audio announces availability of SUCCESSOR, successfully recreating its industry-changing SUCCESSOR outboard predecessor as a plug-in first appeared on Music Connection Magazine.

Thermoelectric Blaster Flings Ice ProjectilesNerf blasters are fun and all, but flinging foam can get old. Picking it up again, even moreso. This blaster from [Concept Crafted Creations] gets around that annoying problem by shooting ice instead. 
The concept was to build a better water gun with longer range—and what better way to do that than by shooting ice instead? The blaster relies on a PVC air tank for propulsion—one of the most controversial design choices you can make if you read the comments around here. It’s charged by a small air compressor, and dumping the air is handled by a solenoid valve. So far, so simple.
What makes this blaster special is where it gets its ammunition from. The blaster uses a custom CNC-machined block from PCBway to act as a freeze chamber. Water enters an aluminum block, and is cooled by thermoelectric elements. Once the projectile has frozen inside the chamber, it’s stuck in place, so the chamber is then heated by a small heating element. This melts the projectile just enough to allow it to be fired.
It’s a complicated but ingenious way of building an ice blaster. It does pack some real punch, too. It shoots the ice projectiles hard enough to shatter wine glasses. That’s enough to tell us you don’t want to be aiming this thing at your pals in a friendly match of Capture the Flag. Stick to paintballs, perhaps. Video after the break.

Making a Unique Type Of Wind Gauge For Home Assistant UseSometimes, it’s nice to know how windy it is outside. Knowing the direction of the wind can be a plus, too. To that end, [Sebastian Sokołowski] built himself an unusual anemometer—a wind gauge—to feed into his smart home system.
[Sebastian’s] build is able to tell both wind speed and direction—and with no moving parts! Sort of, anyway. That makes the design altogether different from the usual cup type anemometers with wind vanes that you might be used to seeing on home weather stations. [Sebastian] wanted to go a different route—he wanted a sensor that wouldn’t be so subject to physical wear over time.
The build relies on strain gauges. Basically, [Sebastian] 3D printed a sail-like structure that will flex under the influence of the wind. With multiple strain gauges mounted on the structure, it’s possible to determine the strength of the wind making it flex and in what direction. [Sebastian] explains how this is achieved, particularly involving the way the device compensates for typical expansion and contraction due to temperature changes.
It’s a really unique way to measure wind speed and direction; we’d love to learn more about how it performs in terms of precision, accuracy, and longevity—particularly with regards to regular mechanical and ultrasonic designs. We’ll be keeping a close eye on [Sebastian’s] work going forward. Video after the break.

Warner acquires minority stake in India-based live entertainment and ticketing platform SkillBoxSkillBox also runs an artist management arm, LevelHouse
Source

Amazon confirms employee data stolen after hacker claims MOVEit breachAmazon has confirmed that employee data was compromised after a “security event” at a third-party vendor. In a statement given to TechCrunch on Monday, Amazon spokesperson Adam Montgomery confirmed that employee information had been involved in a data breach. “Amazon and AWS systems remain secure, and we have not experienced a security event. We were […]
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Ikenna Nwagboso, co-founder of Mr Eazi’s emPawa Africa, to step downExec to step down from his role effective January 2025
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Fans reacting to Tyler, The Creator’s new album Chromakopia are getting copyright strikes – but he’s working overtime to reverse themFans using music from Tyler, The Creator‘s new album Chromakopia in their social media posts are seeing them muted or removed, and the rapper and producer is working overtime to stop this from happening.
Chromakopia landed on 28 October through Columbia Records, and has since seen a flurry of reaction videos and other content featuring its music posted online. These have been flagged by copyright infringement detection algorithms, and some fans say their accounts have been taken down entirely.

READ MORE: Tyler, the Creator: “I’m always ahead of even myself, so AI will never catch up to me creatively”

But Tyler, The Creator has since told fans that his team is working on getting these copyright strikes lifted. And in an age when artists both large and small rely upon fans on social media to share and circulate their releases, it’s no surprise.
Tyler is the latest in a string of artists to insist their music not be subject to copyright restrictions; Kendrick Lamar and Drake reportedly removed said restrictions from the diss tracks they aimed at each other earlier this year, seemingly aiming to push further virality online.
Why do some artists want copyright restrictions lifted online?
While copyright laws fundamentally exist to protect artists, many were written pre-social media and the internet. Thus, a law that may have been beneficial years ago, might work to damage an artist’s reach in the present day, by preventing fans who aren’t seeking to monetise from promoting a song or album.
In the case of Tyler, The Creator, those playing Chromakopia in their reaction videos are helping to generate publicity for the record and start more conversations about his music. Some may even refer to this kind of promotion as User Generated Content, or UGC – a term commonly associated with brands and marketing, in which social media users create unpaid/unsponsored content about a specific brand, and in turn, promote it.
How things are changing
In today’s world, where platforms like TikTok are changing how we listen to and discover new music, some artists are becoming more flexible in how listeners use and share their music online.
TikTok has licensing deals in place with a number of labels for its library – it even famously feuded with Universal Music, as the label argued for a better deal – so that users can use music from popular artists in their videos. Given how the platform has had a significantly positive impact on the careers of a plethora of artists, labels and musicians would essentially be missing out by not having a deal in place.
Platforms such as Twitch are also introducing similar licensing deals. The platform now allows DJs to use copyright-protected music, with a royalty payment system that reimburses copyright holders. It’s likely that more online platforms will continue to implement systems like this, however it looks unlikely that entire albums will be available to include in any online content. This may mean full album reaction videos may still be subject to removals and restrictions going forwards, unless the artist argues otherwise.
 
Copyright and music – the law
As outlined by PRS For Music, copyright of a musical work begins automatically once a piece of music is created and documented or recorded. In the UK, this is detailed in the Copyright, Designs and Patents Act 1988. In the UK, copyright lasts for a period of 70 years from the end of the calendar year in which the author dies.
To use copyright protected music in content online, you need permission from the copyright holder(s). This is referred to as a licensing deal, and will often involve a fee and royalty payments. Copyright laws in music exist to prevent work from being stolen or shared without permission, and also enable financial reimbursement for copyright holders.
What is a copyright strike? How does it work?
For this, we’ll use YouTube as an example. As per Google Support, “If you get a copyright strike for sharing a song in a YouTube video without permission, it means that a copyright owner has submitted a legal copyright removal request for using their copyright-protected content. When a copyright removal request is submitted to us, we review it. If the removal request is valid, we have to remove your video from YouTube to comply with copyright law.”
On YouTube, after three copyright strikes, your channel becomes “subject to termination”. Bear in mind, a copyright removal request is done manually by a copyright holder. However, YouTube also has a system in place known as Content ID. This works a little differently, and is fully automated.
A Content ID claim is “automatically generated when an uploaded video matches another video (or segment of a video) in YouTube’s Content ID system”. Content ID claims can block a video from being viewed, monetise the video by running ads on it (thus sometimes sharing revenue with the uploader), and even track the video’s viewership statistics.
The post Fans reacting to Tyler, The Creator’s new album Chromakopia are getting copyright strikes – but he’s working overtime to reverse them appeared first on MusicTech.

How To Prepare Spotify Artist Accounts For Wrapped: 5 DAYS LEFT!Spotify Wrapped is a rare opportunity for every musician to be part of a global cultural moment regardless of their level of success. The are now just 5 days left to prepare Spotify Artist Accounts for Wrapped 2024.
The post How To Prepare Spotify Artist Accounts For Wrapped: 5 DAYS LEFT! appeared first on Hypebot.

Battle for Control Of The Creator EconomyThe competition for control of the creator economy is intensifying as tech giants build all-encompassing ecosystems designed to lock in creators. Where should creators invest their time and content for long-term success?
The post Battle for Control Of The Creator Economy appeared first on Hypebot.

How to Legally Cover a Song: A Musician’s Guide to CopyrightLearn how to legally cover songs while respecting copyright and protecting your music career. This guide breaks down essential steps every musician needs to take before releasing a cover song.
The post How to Legally Cover a Song: A Musician’s Guide to Copyright appeared first on Hypebot.