PreSonus release Studio One Pro 7.2 update  PreSonus have released the v7.2 update for Studio One Pro, their flagship DAW which delivers a bunch of much-requested key improvements and a brand new bass VI.

Hollywood Independent Music Awards DeadlineAre you feeling hyper-positive about your music? Consider for a moment how great it would feel to hoist aloft a Hollywood Independent Music Award in a moment of victory, a baying crowd chanting your name Rocky-esque. The world at your feet.Well, you'd better get a move on because the deadline for submissions is fast approaching. "HIMA is accepting SONG, ALBUM, PUBLISHER and RECORD LABEL submissions through June 15th," they said this week in a statement. "Reviews are ongoing and a select few early nominations will be posted in a few days. Early selections are for the benefit of nominees located outside of California, allowing time to make travel arrangements."June 15 is deadline day, and all of the submission links can be found here.So make it happen. Back yourself and get submitting.The post Hollywood Independent Music Awards Deadline first appeared on Music Connection Magazine.

Why are Elon Musk and Donald Trump fighting?Elon Musk donated $288 million to Trump's 2024 election campaign, but now, the tech mogul is calling for Trump's impeachment.

Circle stock price jumps 167% on first day of trading after IPOCircle had boosted its IPO to a range of $1.05 billion on June 4 as investor demand grew significantly.

Turning the Pluto SDR into a Network Analyzer
Usually when we see a project using a software-defined radio (SDR), the SDR’s inputs and outputs are connected to antennae, but [FromConceptToCircuit]’s project connected an ADALM-Pluto SDR to an RF bridge and a few passive components to make a surprisingly effective network analyzer (part two of the video).The network analyzer measures two properties of the circuit to which it is connected: return loss (S11) and insertion gain or loss (S21). To measure S21, the SDR feeds a series of tones to the device under test, and reads the device’s output from one of the SDR’s inputs. By comparing the amplitude of the input to the device’s output, a Python program can calculate S21 over the range of tested frequencies. To find S11, [FromConceptToCircuit] put an RF bridge in line with the device being tested and connected the bridge’s output to the SDR’s second input. This allowed the program to calculate the device’s impedance, and from that S11.The RF bridge and other components introduce some inaccuracies to the measurements, so before making any other measurements, the system is calibrated with both a through connection and an open circuit in place of the tested device. The RF bridge’s directivity was the biggest limiting factor; transfer back from the bridge’s output line caused the reflection under load to exceed the reflection of an open circuit in some frequency ranges, at which point the analyzer couldn’t accurately operate.[FromConceptToCircuit] was eventually able to make measurements throughout most of the 0.1-3 GHz range with a dynamic range of at least 10 dB, and expects a more directive RF bridge to give even better results. If you’d like to repeat the experiment, he’s made his Python program available on GitHub.We’ve previously seen [FromConceptToCircuit] use the Pluto SDR to make a spectrum analyzer. We’ve also featured a guide to the Pluto, covered a project that improved its frequency stability, and seen it used to transmit video.

Black Octopus Sound Dubbed Out Techno by BlackwarpBlack Octopus Sound and Blackwarp have released Dubbed Out Techno - a collection of samples ideal for Techno, Tech House and a variety of other electronic music genres. What's inside: 100% Royalty Free. 24-bit high quality wavs. Cleared for: Spotify, Youtube, Soundcloud, Record Label Releases. Inspired by: Dubfire, Boris Brejcha, Tale of Us. 1+ GB unzipped. 349 Total Sounds. 111 Synth Loops. 82 Drum One Shots. 65 Drum Loops. 50 Bass Loops. 17 FX One Shots. 14 FX Texture Loops. 10 Synth Pad One Shots. https://www.youtube.com/watch?v=16B8RZyNA84 Read More

Save over 70% on Melodyne 5 Essential at Plugin Boutique
Melodyne has long been the industry standard for pitch correction, and it’s a great tool to have in your arsenal if you can get a good deal. You can save over 70% on Melodyne 5 Essential at Plugin Boutique. Plugin Boutique is offering Melodyne 5 Essential for £22, rather than the regular price of £63, a [...]
View post: Save over 70% on Melodyne 5 Essential at Plugin Boutique

Ableton Live 12.2 is coming out of beta – Here’s all you need to know, from launch date to new featuresAbleton Live 12.2 now has an official launch date following its public beta testing phase, which began back in March this year.
Now, with a confirmed release date set for this June, Ableton Live 12.2 is due to bring increased creative capabilities and introduce new devices and workflows, completely free for all Live 12 users.

READ MORE: Best MIDI controllers to buy in 2025: 12 best Ableton Live controllers to buy

What are the new features of Ableton Live 12.2?
Ableton Live 12.2 brings new key features like the introduction of Bounce to New Track, plus improvements to the search and browsing experience. It also brings the launch of Expressive Chords and the new Auto Filter. There are also major new features for Push.
Expressive Chords is a new MPE-enabled Max for Live device, for all editions of Live and Push. It lets you play interesting progressions intuitively, one key or pad at a time.
With the update you’ll also be able to bounce clips or time selections on any MIDI or audio track, including all processing, to a new audio track with a few clicks. Similarly, you can also use Bounce Track in Place to convert the whole track to audio.
Auto Filter – which now comes to Move for the first time – has also been redesigned with new filter types, real-time visualisation, and a revamped modulation section.
To view the full list of new changes, you can view the beta release notes. Check out the videos below for more:

When will Ableton Live 12.2 be released?
Ableton Live 12.2 will officially launch on 11 June. This update is free and automatic if you own a Live 12 licence, but if you have Automatic Updates turned off, you’ll need to download 12.2 in your user account on release day.
Am I eligible for the Ableton Live 12.2 update?
If you own a Live 12 licence you are automatically eligible to receive the Ableton Live 12.2 update for free. Ableton Live licences can be purchased online directly from Ableton Live Shop, with three tiers available – you can pay in full or in three instalments for these. System requirements are also listed on the shop website.
For more information, you can head over to the Ableton website to read its new blog post on the update.
The post Ableton Live 12.2 is coming out of beta – Here’s all you need to know, from launch date to new features appeared first on MusicTech.

Concord’s film and TV division acquires legendary studio RKORKO was behind numerous classic films such as 'King Kong,' 'It's A Wonderful Life' and 'Citizen Kane'
Source

AI futures: Culture warsAI is transforming culture, entertainment, business, and society at a pace unprecedented in the digital era. Unlike previous tech, AI is evolving at the speed of computing, not the speed of the human brain. While some disillusionment with AI will inevitably follow, it is likely to be shallow and short lived. Meanwhile, entertainment business and culture will have been turned upside down. 

Building on MIDiA’s already-extensive body of AI analysis, we have just released our biggest and most comprehensive report yet. The report provides an exhaustive view of where AI is at right now, where it is heading, and how entertainment companies need to respond and adapt. With more than a hundred companies and brands referenced, nearly 30 pages of analysis, new data, workflow analyses, and scenario mapping, if you are in entertainment or the creator economy, this report is a must read. The report is immediately available to MIDiA clients.

Here are a few highlights…

The early buzz around AI has focused on what it can make rather than what it can do. The simple fact is, it is easier to gauge the potentially transformational impact of something by seeing or hearing what it does than by thinking about how it might change processes and workflows. Yet, it is the latter that we should pay most attention to – and this is where AI’s most important work will be done.

AI will reshape entertainment from three directions:

Creators using AI

Consumers using AI

Companies using AI

AI alone will not drive change and disruption to entertainment – it needs consumers, creators, and companies to use it. While the first wave of AI hype focused on creation, creators’ primary needs lie in their wider workflows, and the AI vendor landscape is evolving to meet this wide array of needs. The following are key workflow focuses:

●  Inspiration (e.g., Songstarter, CoSo, vidIQ) 

●  Creative co-pilot (e.g., CoPilot, Descript, CoProducer)

●  End-to-end creation (e.g., LTX Studio, Mubert)

●  Final touches (e.g., LANDR, Captions AI, Resound.fm)

●  Workflow(e.g., Podcastle, COSMOS, Dream Screen)

●  Career (e.g., MNGRS.AI, Replo, Albert)

While creators are leaning into workflow tools, consumers are engaging en masse with utility and creation tools. While much of this leans towards functional creation (writing cover letters, writing college papers, etc.) AI is also presenting wider creative opportunities to consumers, and this behaviour will grow. Rather than a blurred line between creator and audience, the overlap is more like a segment of a Venn diagram. AI will result in more consumers creating – not just for the results, but because creation will become a form of entertainment in its own right. 

Entertainment companies are adopting AI at pace too, integrating it across their workflows, from sourcing content through to royalties and reporting. The most interesting area to keep an eye on is entertainment companies using AI to stamp their visual or sonic identity on their releases and output and using AI to identify talent before it is talent. In other words, the top of the funnel is going to start outside the funnel!

It is becoming clear that, unless specific lanes are built for it, AI will encroach upon everything. There is a growing body of thinking about how to compete against AI, but the harsh reality is AI can compete with everything where it can exist, and we are going to reach a point where it is hard to distinguish between “AI” and “non-AI” content. It is the platforms, therefore, that must actively build walls around AI.

This is just a high level overview of the report. There are lots (and I mean, lots) of interesting reads about AI at the moment – but, this is not only an interesting read, it is a necessary read! 

If you are not yet a MIDiA client and would like find out more about the report, email businessdevelopment@midiaresearch.com 

Why DIY Live Music Spaces are more important than everEven as streaming dominates music and the music industry, grassroots and DIY live music spaces remain the heart of real music culture. Learn how they build community and launch careers even in an increasingly algorithm-driven world.
The post Why DIY Live Music Spaces are more important than ever appeared first on Hypebot.

46 Industry Pros named to Leadership Music Class of 202646 industry professionals have been named to the Leadership Music Class of 2026. The 8 month program begins in October and offers an immersive exploration of the music business, fostering cross-sector understanding. Continue reading
The post 46 Industry Pros named to Leadership Music Class of 2026 appeared first on Hypebot.

Softube and Weiss collaborate on Weiss Exciter Designed for professional mix and mastering engineers, Weiss Exciter uses a proprietary algorithm developed in collaboration between the two companies.

JMG Sound releases HyperspaceCore, a FREE version of their flagship reverb plugin
HyperspaceCore originates from JMG Sound’s flagship reverb plugin, Hyperspace, and serves as a successor to the discontinued Hyperspace CM (Computer Magazine Edition). Hyperspace has been around for years now, but a free version will be welcome news to anyone put off by the hefty price tag. Hyperspace developed a reputation as a reverb plugin that [...]
View post: JMG Sound releases HyperspaceCore, a FREE version of their flagship reverb plugin

“It’s better to be friends with the robots,” OSMIUM on jamming with robots for their debut albumOSMIUM stretches the concept of a band to its furthest limits. They fit the traditional description of a small group of artists creating music together under one name — but nothing else about this collaboration is at all conventional.
Three of the four members — the lauded experimental musicians Hildur Guðnadóttir, Sam Slater, and James Ginzburg — built their own instruments for the ambient project. Slater crafted a self-oscillating drum with a feedback system developed with the Berlin-based instrument manufacturer, KOMA Elektronik. Ginzburg designed an apparatus that expands upon an ancient stringed instrument called the monochord. Guðnadóttir uses the Halldorophone, which combines her primary instrument of cello with an attachment that catalyses feedback from the strings and outputs it into a new sound.

READ MORE: Moby at Cercle Odyssey: The closest I ever came to floating through space

The band’s vocalist, Rully Shabara, is being studied by an Indonesian university because he can make sounds with his voice that humans aren’t supposed to be able to make.
Last, but not at all least, there is a fifth member of the band: a set of robotic beaters playing the custom instruments through automation.
Osmium live. Image: Lawrence Sumolong
“You’ve got a mechanically sequenced band. If we step away from our instruments, they’re just going to sit there and play,” Slater says. “A conversation that we’ve kind of jokingly had is that it’s better to be friends with the robots.”
Through their individually impressive careers, the members of OSMIUM have certainly befriended technology. Ginzburg is a member of the multiplatform art project Emptyset and the boss of the electronic label Subtext Recordings. Slater and Guðnadóttir, as husband and wife, have created experimental synthetic music for various projects, including video games such as Battlefield 2042 and television programs such as Chernobyl.
OSMIUM is the next phase of their experimental journey, and the latest instance of being surprised by music.
“You could actually make a project entirely based on a ‘What if’?’” Slater says.
“It’s always really exciting when you stumble upon a new process, or even a new set of sonic relationships that create something unexpected,” Ginzburg adds. “Obviously, as time goes on, it becomes more challenging to be surprised by music and sound. But that doesn’t stop us from having that spirit of exploration. Creating situations where unexpected things can happen is the primary interest in approaching projects like this.”
Osmium live. Image: Lawrence Sumolong
That situation is built around OSMIUM’s robotic counterpart. Slater and Guðnadóttir had experimented with automated mechanical beaters in previous works. For OSMIUM, they refined the process with the other members, using the patterns to create the traditional idea of a piece of music. The way the beaters engage with the instruments is consistent for every performance because Ginzburg, Slater, and the other members program the sequences in advance.
As this robotic framework performs the pieces, all of the instrumentalists engage with their instruments individually to expand upon the piece. They create a conversation within their own mechanical sequences and with each other, almost like a jam. Then, Shabara contributes his intriguing and almost inhuman vocal tones.
“You can play counter rhythms or you can not play at all. Each one of those ways of agitating the strings creates a different outcome as it interacts,” Ginzburg says. His reimagined monochord is a stringed instrument, and so he has the option to play with bows or his beaters. “I can bow while it hammers. If I hit something, and then the hammer hits it, that mutes what I just hit. So you get very, very strange interactions happening.”
Osmium live. Image: Lawrence Sumolong
“Honestly, there are points where I can’t really add anything,” Slater continues. “As musicians, we come along and join in. We try and affect what’s going on. We alter the dialogue, we add counter rhythms. We might play along the same rhythm as the machine and enjoy the fact that humans are just shitter than the mechanized thing.”
The result of this amalgamation of musical conversations is a mass of clanging, scratching, rhythmic noises and enduring ominous tones. When listening to a recording, it’s unclear at any point which member is making any particular sound. Each instrument is generating its own sonics while also creating feedback at various frequencies. According to Slater, audience members have come close to vomiting during OSMIUM performances because of resonant feedback at low frequencies around 30 Hz.
Osmium live. Image: Lawrence Sumolong
“In this whole project, there are two quite strong variables. One is the ability to deal with chaos. We have live feedback from instrument to instrument going on, and the only thing that is guaranteed is the hammers are going to come down at the same time,” Slater says. “You have a really rigid structure on one side, and you have chaos on the other side. You have to be quite a specific kind of musician to enjoy that process.”
When it was time to record their debut, self-titled album, they used the same specific process. Slater, Ginzburg, and Guðnadóttir visited a studio called Bunello in Berlin and set up their instruments to track live, capturing the musical conversations in the moment. Each instrument has its own direct input, and they also populated the space with room mics to balance the individual sounds with the combined sounds.
They set aside three days for recording, but, unfortunately, Guðnadóttir’s Haldorophone “blew up” on the first day. With the time it took to get hold of a new one, they ended up only having one full day for instrumental tracking.
Shabara was in Indonesia during this session, so Ginzburg recorded him at a later date in his home studio. Ginzburg used multiple mics, distortion chains, and “exotic” compression in processing. To maintain the conversational dynamic of the group, Ginzburg set up multiple reverb returns that he would adjust while Shabara was vocalising. Essentially, he was performing the mix in response to Shabara’s foreboding noises.
Image: Press
“It was very intense because when he gets into it, he goes somewhere else,” Ginzburg says of Shabara. “I followed him, and then you sort of snap out of it and you’re like, ‘Oh, I guess we should go eat some noodles or something.’”
To finish off the recordings, they edited down the raw takes into listenable sections and implemented automation to let different sounds move through the background and foreground. For the final, granular mixing process, they approached it similarly to how Ginzburg recorded Shabara: adjusting parallel processing in the moment to perform the mix.
“Everything can have some kind of organic interactions imprinted on them ex post facto,” Ginzburg says.
“Organic” is an interesting word given the highly mechanical nature of OSMIUM. But these four experimentalists prove that no matter how advanced or idiosyncratic technology becomes, humans can harness it into something new and exciting.
The post “It’s better to be friends with the robots,” OSMIUM on jamming with robots for their debut album appeared first on MusicTech.