Unlike X, Bluesky says it won’t train AI on your postsBluesky, a social network that’s experiencing a surge in users this week as users abandon X, says it has “no intention” of using user content to train generative AI tools. The social network made the announcement on the same day that X (formerly Twitter) is implementing its new terms of service that allow the platform […]
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Bypassing Airpods Hearing Aid Georestriction With a Faraday CageWhen Apple recently announced the hearing aid feature on their new AirPods Pro 2, it got the attention of quite a few people. Among these were [Rithwik Jayasimha] and friends, with [Rithwik] getting a pair together with his dad for use by his hard-of-hearing grandmother. That’s when he found out that this feature is effectively limited to the US and a small number of other countries due them being ‘regulated health features’, per Apple. With India not being on the approved countries list and with no interest in official approval legalities, [Rithwik] set to work to devise a way to bypass this restriction.
As noted in the blog post, the primary reason for using AirPods here instead of official hearing aids is due to the cost of the latter, which makes them a steal for anyone who is dealing with mild to moderate hearing loss. Following the official Hearing Aid feature setup instructions requires that your location is detected as being in an approved country. If it is, the Health App (on iOS 18.1) will popup a ‘Get Started’ screen. The challenge was thus to make the iOS device believe that it was actually in the FDA-blessed US and not India.
Merely spoofing the location and locale didn’t work, so the next step was to put the iOS device into a Faraday cage along with an ESP32 that broadcast California-based WiFi SSIDs. Once the thus treated iPad rebooted into the US, it could be used to enable the hearing aid feature. Next [Rithwik] and friends created a more streamlined setup and procedure to make it possible for others to replicate this feat.
As also noted in the blog post, the Hearing Aid feature is essentially a specially tuned Transparency mode preset, which is why using AirPods for this feature has been a thing for a while, but with this preset it’s much better tuned for cases of hearing loss.

Megan Thee Stallion Event Calls on Showtime & Sommer CableLeading event production specialists Showtime Sound LLC recently supported the debut concert at the new Audi Field in Washington, D.C. Featuring Megan Thee Stallion, the event utilized SC-Mercator QUAD 4 x CAT.7 cable from Sommer Cable, a 2025 TEC Award finalist.One of the biggest US music gatherings, the Broccoli City Festival was an impressive debut for the new Audi Field venue. This year's two-day festival was headlined by Megan Thee Stallion and Gunna, with special guest Offset. The star-studded gathering celebrated music, culture, and unity for crowds of 40,000+ attendees over two days.Showtime Sound continued their reliance on trusted partners at L-Acoustics, Absen Inc., Tyler Truss Systems, LLC, and Sommer Cable to ensure a smooth and flawless event. Marc Chauvin (SSM, MSPM, CTS), Showtime's Director of Technical Operations explained the choice of cabling, "In planning transmission systems for audio, lighting, and video distribution we know that reliability and quality is a must to ensure the high level of productions that we do. No single show for us is more or less important than any other - that's why we continue to invest and rely on our partnership with Sommer Cable."Photo by Pete Redel.The post Megan Thee Stallion Event Calls on Showtime & Sommer Cable first appeared on Music Connection Magazine.

I Want To Believe: How To Make Technology Value JudgementsIn the iconic 1990s TV series The X Files, David Duchovny’s FBI agent-paranormal investigator Fox Mulder has a poster on his office wall. It shows a flying saucer in flight, with the slogan “I Want To Believe”. It perfectly sums up the dilemma the character faces. And while I’m guessing that only a few Hackaday readers have gone down the full lizard-people rabbit hole, wanting to believe is probably something that a lot of us who love sci-fi understand. It would be a fascinating event for science if a real extraterrestrial craft would show up, so of course we want to believe to some extent, even if we’re not seriously expecting it to appear in a Midwestern cornfield and break out the probes any time soon.
By All Means Believe. But Don’t Wreck Your Career
The infamous Fleischmann and Pons paper from 1989 on cold fusion.
Outside the realm of TV drama and science fiction it’s a sentiment that also applies in more credible situations. Back at the end of the 1980s for example when so-called cold fusion became a global story it seemed as though we might be on the verge of the Holy Grail of clean energy breakthroughs. Sadly we never got our Mr. Fusion to power our DeLorean, and the scientific proof was revealed to be on very weak foundations. The careers of the two researchers involved were irreparably damaged, and the entire field became a byword for junk science. A more recently story in a similar vein is the EM drive, a theoretical reactionless force generator that was promising enough at one point that even NASA performed some research on it. Sadly there were no magic engines forthcoming, so while it was worth reporting on the initial excitement, we’re guessing the story won’t come back.
When evaluating a scientific or technical breakthrough that seems as miraculous as it is unexpected then, of course we all want to believe. We evaluate based on the information we have in front of us though, and we all have a credibility pyramid. There’s nothing wrong with having an interest in fields that are more hope than delivery, indeed almost every technology that powers our world will at some time have to overcome skepticism in its gestation period. Perhaps it’s best to say that it’s okay to have hope, but hope shouldn’t override our scrutiny of the proof. Of course I want a perpetual motion machine, who wouldn’t, but as a fictional engineer once allegedly said, “Ye cannae change the laws of physics”.
An Example Here In 2024
The hydrogen future is very seductive. But does it work? Jóhann Heiðar Árnason, CC BY-SA 3.0.
All this introspection has been brought to the fore for me by something very much in the present, the so-called hydrogen economy. It’s difficult to ignore our climate emergency, and among the energy solutions aimed at doing something about it, hydrogen seems very promising.
It’s really easy to make from water by electrolysis, there are several ways to turn it into useful energy, and the idea is that if you can store it for later use you’re on to a winner. We’ve seen hydrogen cars, trucks, aircraft, heavy machinery, trains, and even the gas supplanting methane in the domestic grid, so surely the hydrogen future is well under way, right?
Sadly not, because as many a pilot project has shown, it’s difficult to store or transport, it makes many existing metal fittings brittle, and the environmental benefit is often negated by the hydrogen being generated from higher carbon electrical supplies. We still want to believe, but we can’t claim it’s delivering yet.
Whenever we feature a hydrogen-based story, as for example with this experimental storage tech from Swiss researchers, there is no shortage of comments about all of hydrogen’s shortcomings, and some even accuse us of somehow being the snake-oil salesmen shilling the questionable product. I feel this misses the point, that even though in almost all cases the battery is for now the better option, we cover interesting technology stories regardless of judgements over their eventual success. Hydrogen has enough real science and engineering behind it that its problems might one day be overcome, thus we’d be doing our readers a disservice if we didn’t cover it. There are sometimes newsworthy stories upon which we very much take a credible stand based on opinion, but when it comes to pure tech stories such as a hydrogen vehicle we’re simply reporting on the story because we find it interesting and we think you will too. We don’t know that the breakthrough engineering work won’t occur, but we do know that it hasn’t yet.
So when looking at a piece of technology that’s not delivered on its promise, ask for a moment whether there’s a likely “yet” on the end of the sentence without too much of a suspension of credibility. You might find yourself pleasantly surprised.

“We dare say it’s probably the most complete, portable sequencer ever built”: Teenage Engineering introduces the OP-XYLast week, astute Reddit users cottoned on to a potential new product from the Teenage Engineering camp, thanks to an FCC filing which suggested the imminent launch of the OP-XY.
Now, the OP-XY, a successor to the Swedish brand’s OP-Z synth, has officially arrived. Dubbed an “all-in-one powerful synthesizer and composer with deep, direct sequencing capabilities”, the OP-XY takes the advanced sequencing of the OP-Z and places it in a smaller enclosure, more similar to the brands’ OP-1.

READ MORE: 5 of the best new plugins, effects and VST instruments released this week

The OP-XY features a shrunk-down keyboard relative to the OP-1, and adds a strip of 16 LED-equipped buttons which control its 64-step sequencer. There’s also portability-friendly features like a built-in speaker and a USB-C rechargeable battery with up to 16 hours of continuous use, as well as 8GB of internal storage, 512MB of RAM and a dual CPU system. There’s also a gyroscope which enables the user to bring tracks in and out by rotating the unit.

Meanwhile, the OP-XY also features 24-voice polyphony, multiple synth engines, and a stereo signal path. In terms of connectivity, the OP-XY also sports a 3.5mm stereo input, MIDI in and MIDI sync, and Bluetooth.
“Be careful what you wish for – we know you’ve had wet fantasies about a no-compromise, dual-CPU-boosted and fully rebuilt sequencer, sampler and performance instrument, based on the much-loved workflow of the OP-Z,” reads the product page on TE’s website.
“Now including built-in CV, effect sends, and a best-in-class DAC. with 8 individual instrument tracks and 8 auxiliary tracks for controlling any external synthesizer, modular or otherwise, and adding effects. We dare to say it’s probably the most complete, portable sequencer ever built. It’s here. It’s real. It’s black. And it’s got so much more than you’ve wished for.”
In terms of price, the OP-XY clocks in at $2,299, a significantly higher price tag than both the OP-1 and OP-Z.
For more information, head to Teenage Engineering.
The post “We dare say it’s probably the most complete, portable sequencer ever built”: Teenage Engineering introduces the OP-XY appeared first on MusicTech.

“We wanted to make something simpler, more immediate, more joyful”: How Ableton built MoveA tiny-but-mighty travel buddy. A pint-sized production station. A mini, mobile, music machine. What are we talking about? Ableton Move, of course.
In October, seemingly out of nowhere, the Berlin-based outfit dropped its latest foray into the world of standalone hardware – and this time it’s all about portability. “We wanted to make something more accessible to enable music makers of all experience levels to create with Ableton hardware,” says Johannes Russ, Ableton’s head of product, Move. “We wanted something simpler, more immediate, more joyful.”
Appealing to the small, but not insignificant, demographic of music makers who want to regularly produce on the go, Move boasts in-built speakers, a rechargeable battery, a microphone for quick and gritty sampling, some premium pads, buttons, and dials, and a solid selection of instrumental sounds. It’s also surprisingly robust at just under 1kg, with a tough, slab-like feel that seems to promise longevity, and while there are no immediate plans to weather-proof the Move – “maybe in future generations” Russ laughs when asked – this is a groovebox that will be as much at home on a park bench as on a couch cushion.
Ableton’s vision is for Move to serve as a starting point – ideal for catching a rough idea on the fly, building it up into something with legs, and then taking it to the next level in Ableton’s recently refreshed desktop DAW, Live 12. Once you’re familiar with the unit’s largely intuitive layout, the journey from a vague idea to fully realised production can happen surprisingly fast.
Ableton Move, photo by Simon Vinall
This is no accident. To ensure that Move will become your go-to device for rapid musical ideation, Ableton has taken pains to ensure you can blast past those irksome creative roadblocks “We have this design principle of immediacy,” Russ explains. “We want to get you creating super quick. But something we learned, from talking to people about Push and Live, is that when you start a new idea there can be this feeling of decision paralysis; this is something we wanted to address.”
The team’s solution was to build in some creative variation at the foundational level. Boot up Move and each new set you make will come populated with four randomly selected instruments broadly providing melody, harmony, percussion and bass. It’s a simple but surprisingly effective way of avoiding the decide-o-phobia that can come with a blank canvas “Honestly, it started as a hack when we were quickly building and prototyping,” Russ says of the design feature. “But everyone just loved it, and so we stuck with it. Now people want it for Push and Live as well because it’s such a great idea starter.”
Of course, Russ points out that if you already have a strong idea, or just prefer to start from scratch, then Move can also provide you with a clean slate. “It’s not for everyone,” he concedes. “We certainly don’t want to overrule your creativity – but in the context of Move, it’s just a great way to get started super quickly.”
You might think a device that prioritises accessibility would primarily interest young producers who are still learning their craft, but Russ says that, surprisingly, the people initially seizing on Move’s potential have been the power users.
Image: Simon Vinall for MusicTech
“It’s interesting,” he muses. “The first wave of people that bought it are on the very prolific end of things; existing Live users that view it as this kind of idea machine.” Russ points out that users have already gotten busy hacking still-experimental features to export Drift and Drum Rack presets to Move from Live – with one user exporting a whopping 196 Drift presets and sharing them with the Ableton community. “There’s a Discord channel where people are starting to share these presets, I have to say it all happened much faster than I expected.”
While the pros are already pushing Move’s limits, Russ says that over the longer term, he sees the device having lots of potential for producers who are just starting out – or even as a tool for music education. “It’s a great way to teach concepts around how loops work, how drum machines work,” he enthuses. “I’ve given it to younger people in my family and they had a great time because there’s this immediate sense of ‘Hey, I can play this!’ So, we are looking into how Move can work in education; we have a partnership with Melodics, and we’ve included some lessons with Move so that you can use Melodics to start playing finger drums.”
Move invites a number of comparisons with its hardware big brother, 2023’s Push 3 standalone, but, in truth, initial ideas for the instrument started percolating through Ableton in 2016 with the release of Push 2.“The question of how to make standalone hardware was quite important at that time,” Russ recalls. “One answer to that is Push, which is based on Live, but we also began building up a completely new technology platform, which now powers Note and Move.”
For this reason, Russ says the frequent characterisations of Move as a ‘mini Push’ miss the mark: “The connotation there is that Move can do everything Push can do. We borrow concepts from Push, obviously, but the better comparison is to see it as Note in hardware form.”
Image: Simon Vinall for MusicTech
Ableton’s Note app for iOS has fast become a favourite for producers on the go – offering a boiled-down version of Live’s clip-centric Session View, some nice input methods for capturing beats and melodies, and the ability to export projects and port them over to Live via Ableton Cloud. As it’s built on the same engine, it’s no surprise that Move harnesses the same instruments, effects, and workflow – but where the iOS app served as a digital notepad, Move is more of a full-fledged sketchbook.
There’s a row of nine endless-scroll, touch-sensitive encoders, thirty-two velocity-sensitive pads, lots of navigation buttons which give a very satisfying ‘click’ when pushed, and, in contrast to Note, a nicely featured offline sequencer section. Where touchscreen-based music production can still feel a bit cramped and uninspiring, Move takes those same foundations and makes them feel liberating.
“It has this tactility in its workflow,” says Russ of the hardware’s design. “The pads have polyphonic aftertouch so you can express yourself in a much richer way, there are all these direct access buttons, different modifiers, and shortcuts. It’s for people who really enjoy playing an instrument.
“There’s also something about the immersion you get when sitting down on the couch with Move on your lap,” Russ continues. “Speaking for myself, I could easily spend an hour with it and I get really immersed – the Note app is great for shorter moments, like when you want to put down an idea or quickly try out a couple of things.”
Image: Simon Vinall for MusicTech
While Move may be most closely related to Note, the instrument also fits seamlessly into Ableton’s larger product ecosystem. Achieving that tight integration was a significant design challenge in itself. “It meant many iterations and many conversations with designers from Live, Push, and Note,” allows Russ. “You always need to think about what can easily be transferred to these other products. So, there were prototypes where we had a fantastic feature idea that worked well on Move, but we just couldn’t make them work with the existing concepts of Live. Those ideas we had to take out.”
For the most part, Ableton’s pursuit of seamless integration has paid off. The new Move Manager, a browser-based tool for handling sets, samples, presets, and recordings, lets you wirelessly sync projects to your computer via a local area network, and everything you do on Move can be continued on Live. Of course, taking your projects in the opposite direction – from Live to Move – is not currently feasible, but Russ makes clear that the links between these devices will only get tighter in the future.
“How these products connect and collaborate with each other is something we will look into over the coming years,” he states. “That’s really the next phase because we have these four products now; two based on Live and Push, and two based on the new platform that powers Move and Note. They’re always going to be in slightly different worlds, but there are ways to connect these things.”
Image: Simon Vinall for MusicTech
It’s unlikely we’ll ever be able to open a fully-fledged Live project on Move, but a safer bet would be a streamlined process for loading on your own presets and samples – something Russ clearly sees as essential. “Move is not just a preset machine,” he emphasises. “There’s a real need for people to personalise it, to enable people to bring their own sounds to it and make it their own.”
Slotting Move into the Ableton software ecosystem was tricky, but perhaps the biggest hurdles lay on the hardware side. Balancing weight, power, portability, and real-time audio performance, while keeping the unit affordable – compared to the mighty Push, which comes in at £1669 for the standalone version, Move’s £399 price point is downright cheap – presented plenty of challenges. Hell, even fine-tuning Move’s wireless connectivity system took the better part of a year, says Russ.
“In all honesty, figuring out the hardware stack took us much longer than expected,” he reflects. “In the end, we realised we were trying to build a computer – with everything that entails.”
Image: Simon Vinall for MusicTech
Move employs a low-power Quad-core ARM CPU with a bare 2GB of RAM, and has to balance its capabilities against a four-hour battery life. With those kinds of real-world limitations, the team behind Move at times had to sacrifice more expansive feature sets to ensure that the instrument retained the fast and immediate workflow they were aiming for.
“We know there’s a big conversation around why Move has four tracks and not eight,” Russ concedes. “Our top priority was that Move would feel very fluid and very snappy; the UI shouldn’t lag, there needs to be really fast loading times, you can automate any parameter and there’s never any performance issues or audio dropouts. That’s something we prioritised over feature breadth.”
What’s important about those trade-offs is that the team weren’t working in a bubble when they made them; from conception, to design, to prototyping, to production, Russ says user involvement is key. “There’s a whole process around how we think about UX and usability,” he says. “We iterate a lot, we do a lot of user testing to really make every interaction as intuitive as possible, and we listen a lot to community feedback. Our Discord server is open and people put up their wish lists, and it’s something that we actively look at.”
Image: Simon Vinall for MusicTech
The importance of user feedback doesn’t end on launch day either, Russ makes clear that during the post-release period, users have a lot of power to steer future updates: “The community can really help us shape the future. Of course, we’re always going to factor in our own product vision, our design principles, and things like feasibility — but we actively look at that user feedback to see what the community is wishing for.”
So do people wish for? And what might Ableton deliver? On that front, Russ says we’ll have to wait and see. “Obviously people ask us ‘when is feature XYZ’ coming,” he says ruefully. “That’s something we don’t disclose for a simple reason: we just don’t want to disappoint people. Things are often more complex than people expect, and they just take longer.”
“We are actually not a big team,” Russ continues. “I feel that sometimes people think of Ableton as this huge company which, in the grand scheme of things, we’re not. So, we need to go step by step and take time to get things right.”
He might opt for discretion when it comes to specific features or timeframes, but Russ is unequivocal about the potential Move has to grow in the coming months and years. “It is a very modern software platform that’s powering it,” Russ says as he considers Move’s future. “There’s a lot of potential to bring new instruments and effects and add to the workflow. There’s still a lot of things we want to unfold in the future.”
Image: Simon Vinall for MusicTech
It’s hard not to love Move once you get your hands on it. It identifies and addresses a musical niche few other companies are touching, and does so with style. For people who want to get creative on the morning commute, sit under a tree and jam some beats, or just need an affordable Live controller that won’t eat up too much desk space, Move is an intriguing option. As Ableton continues to refine and expand its capabilities, it could become an essential.
The post “We wanted to make something simpler, more immediate, more joyful”: How Ableton built Move appeared first on MusicTech.

From GEMA’s copyright lawsuit against OpenAI to Hipgnosis’ $1.47bn ABS deal… it’s MBW’s Weekly Round-UpThe biggest stories from the past week – all in one place…
Source

Jin of BTS is the latest artist to launch an interactive hub on TikTok to promote new solo album, ‘Happy’TikTok has partnered with K-Pop superstar Jin on a new multimedia campaign in support of his first solo album, Happy,
Source

Spotify extends Musicians Wrapped deadlineSpotify extends Musicians Wrapped deadline to November 2Oth. Learn what every musician should do to prepare.
The post Spotify extends Musicians Wrapped deadline appeared first on Hypebot.

Exp DSP releases FREE Exp Filtertable Lite for Windows
Exp DSP released the Exp Filtertable plugin, plus the free Lite version, for Windows only. Both versions of the plugin are 64-bit only releases available in CLAP and VST3 formats. The full version is currently available for $36.75, which is a 25% off Black Friday deal down from the list price of $49.  This deal [...]
View post: Exp DSP releases FREE Exp Filtertable Lite for Windows

Hard Truths For Musicians: You may not like them, but…11 Hard Truths For Musicians has been the subject of much discussion in the last couple of weeks. We have not been able to find the origin of the list,. Continue reading
The post Hard Truths For Musicians: You may not like them, but… appeared first on Hypebot.

HeadRush Flex Prime, FRFR-GO & ReValver Amp Cloner HeadRush have expanded their product range with three new guitar-focused releases.

Why Podcasts for Marketing Music is a game changerPodcasts for marketing music is an underutilized and powerful tool, reaching engaged audiences and niche fans. Learn how artists, labels and publishers can use podcasts to boost visibility and grow a fanbase.
The post Why Podcasts for Marketing Music is a game changer appeared first on Hypebot.

Intel introduces FREE OpenVINO AI-powered plugins for Audacity
Intel created the OpenVINO toolkit (open source) to more efficiently integrate AI into a typical workflow (no internet connection required). OpenVINO aims to deliver accurate results while optimizing hardware use by running AI models on supported accelerators, like CPU, GPU, and NPU. Intel’s Audacity plugin suite includes AI-powered effects, generators, and analyzers. These AI tools [...]
View post: Intel introduces FREE OpenVINO AI-powered plugins for Audacity

Shel Talmy, producer for The Who and The Kinks, dies aged 87Shel Talmy, the legendary producer known for his work with British icons like The Who and The Kinks, has died at the age of 87.
Songwriter Alec Palao, whom Talmy had worked with, said the musician “died peacefully in his sleep” at his Los Angeles home on Wednesday (13 November) from “complications due to a stroke” [via Sky News].
Talmy’s career, which spanned several decades, played a pivotal role in defining the sound of early British rock, particularly during the vibrant 1960s.
Born in Chicago in 1937, Talmy moved to the UK in 1962, where he quickly made a name for himself at Decca Records. His early work included producing some of The Kinks’ most memorable hits, such as You Really Got Me, Tired of Waiting for You, and Waterloo Sunset. Music journalist Robert Christgau once dubbed Waterloo Sunset “the most beautiful song in the English language.”
In addition to his work with The Kinks, Talmy produced The Who’s groundbreaking debut album, My Generation, whose title track remains one of the most influential songs in rock history. The producer also played an important role in some of David Bowie’s early recordings, contributing to the foundation of what would become one of music’s most celebrated careers.
In a poignant statement released posthumously, Talmy expressed gratitude for his long life and career: “Hi to all, and many thanks to all of you who have been reading my rock stories for all this time, it has been greatly appreciated! Please note, that if you’re reading this now, this is my final vignette, as I am no longer residing on this plane of existence, and have ‘moved on’, to wherever that may be,” Talmy wrote.
“I’d like to think there is something beyond where I was to where I am now, assuming that the millions of suppositions as to what is next, are accurate. I’d like to think that I’m thoroughly enjoying my new ‘residence’, and that the countless rumours that there is a big working ‘studio in the sky’ are true, and that we are, dare I say, making heavenly music!”
“I’ve had a good run, and I am delighted it lasted as long as it did. I’m also delighted that I am told I have a legacy that will last even longer.”
The producer joked, “I look forward to meeting some of you in the future who are reading this, but LOL, don’t hurry to get here, I’m not going anywhere!”

Talmy is survived by his wife, Jan Talmy, brother Leonard Talmy, daughter Jonna Sargeant, and granddaughter Shay Berg.
Tributes have poured in from across the music community, with many remembering Talmy for his impressive discography and legacy. Alec Palao described the producer as “truly a one-off”, stating “even the briefest survey of the most essential pop and rock recordings of the 1960s would need to include something Shel produced, and that in itself is an incredibly meaningful legacy.”
Read more tributes below.

I really loved the man. He was really crucial to the beginning of our career. I send all my love and condolences to his family. He was a really sweet gentle soul. Rest in Peace Shel Talmy
— Dave Davies (@davedavieskinks) November 14, 2024

Rest In Peace Shel Talmy. As a huge fan of his I was blessed to interview and get to know Shel, he was a lovely fellow. Hugely important to the '60s music scene! He was an American record producer and arranger who became a pivotal figure in the British Invasion and 1960s rock… pic.twitter.com/iCFh80mzlJ
— Produce Like A Pro (@ProduceLikeAPro) November 14, 2024

Farewell to the great Shel Talmy, dead at 87. He is credited as producer on the first three Pentangle albums as well as records by Roy Harper, The Who, David Bowie, Manfred Mann, The Easybeats and The Creation pic.twitter.com/0B0jbtou8x
— Stuart Penney (@StuartPenney1) November 14, 2024

What a legacy producer Shel Talmy has left us.A whole raft of classics from the likes of The Who, The Kinks, The Creation, Manfred Mann, The Easybeats, the early Bowie among many other artists that he worked with across other genres of music.
Thanks for the magic Shel…RIP pic.twitter.com/yGbeScm5bu
— Gary Crowley (@CrowleyOnAir) November 15, 2024

RIP Shel Talmy. Loved reading his thoughts on the bands he had worked with, his insights will be missed. The Creation 'Making Time' blew my younger mind on fuzzy VHS… https://t.co/J1M8OafysZ
— Gary Raine (@Octopusraine) November 15, 2024

The post Shel Talmy, producer for The Who and The Kinks, dies aged 87 appeared first on MusicTech.