OKX pleads guilty, pays $505M in penalties to settle DOJ chargesOKX’s Aux Cayes FinTech Co. Ltd agreed to pay over $500 million worth of fines for operating an unlicensed money-transmitting business.

Atmospheric Water Harvesting With High VoltageOne of the two stakes that make up the electrostatic precipitator system for atmospheric water harvesting. (Credit: Plasma Channel, YouTube)
Atmospheric water harvesting is a way to obtain fresh water in arid regions, as there is always some moisture in the air, especially in the form of morning fog. The trick lies in capturing this moisture as efficiently as possible, with a range of methods available that start at ancient low-tech methods involving passive fog droplet capture all the way to variants of what are effectively large dehumidifiers. A less common way involves high-voltage and found itself the subject of a recent Plasma Channel video on YouTube. The inspiration for the build was a 2018 paper by [Maher Damak] et al. (PDF) titled Electrostatically driven fog collection using space charge injection.
Rather than passively waiting for dew to collect on the collector, as with many of the methods detailed in this review article by [Xiaoyi Liu] et al., this electrostatic approach pretty much does what it says on the tin. It follows the principle of electrostatic precipitators with a high-voltage emitter electrode to ionize the air and grounded collector wires. In the video a small-scale version (see top image) was first constructed, demonstrating the effectiveness. Whereas the passive grid collected virtually none of the fog from an ultrasonic fog maker, with 35 kV applied the difference was night and day. No water was collected with the first test, but with power applied a significant 40 mL was collected in 5 minutes on the small mesh.
With this scale test complete, a larger version could be designed and tested. This simplifies the emitter to a single wire connected between two stakes, one of which contains the 20 kV HV generator and battery. The mesh is placed right below it and grounded (see image). With an extreme fog test inside a terrarium, it showed a very strong effect, resulting in a harvest of 14 mL/Wh for this prototype. With a larger scale version in a real-life environment (i.e. desert) planned, it’ll be interesting to see whether this method holds up in a more realistic scenario.

Tip Jar: Promotion or Emotion?By Darryl Evan JonesAs an artist—especially an indie artist—it’s very easy to find yourself chasing the rabbit of promotion. Don’t get me wrong, promotion is essential to every artist’s career. However, a very common mistake I’ve seen artists make (including myself) is losing scope with their promotion efforts. Too often artists make decisions about promotion based on emotion, rather than on a scientific approach. For example, every recording artist would love to see their name on and moving up the charts. This becomes a problem when it’s only based on the emotion, the high of that accomplishment, rather than having a plan and purpose for seeking that out. If there’s no plan beyond “look mom, I’ve charted,” it’s all emotion and counterproductive. Before long, you’ll find yourself spending thousands of dollars feeding the promo machine and your ego—a good recipe for disaster. If at least part of the plan is to convert charting into something tangible and lucrative like high profile and high paying performances, then have at it!Let’s face it, while an artist is struggling to build name recognition and gain a better foothold in the music game, everyone has their hand out. And sadly, the very last one with any hope of making money in the music business is the artist. While attempting to navigate the promotion gauntlet, most often artists inevitably become trapped on the hamster wheel of promotion versus emotion. What do I mean by that? Very simply, artists become completely distracted from their personal mission and goals and instead find themselves lost in the quagmire of competing in someone else’s vision. That’s very often displayed by spending tons of money in a certain area of promotion that may not quite fit that artist’s goals and vision. Everyone wants to be respected and appreciated for their craft. That doesn’t mean that your respect and appreciation must mirror anyone else’s—neither should it.Before you find yourself in the never-ending cycle of riding the carousel of promotion, I recommend the following:Ask yourself these questions:1. What do I want out of my music career?2. Do I want to be a major act locally, nationally, internationally?3. How do I plan to get people to know about me and my music?Then:1. Refocus. Put some blinders on, if necessary. Don’t completely block out the outside world, but definitely focus on YOUR goals and accomplishments.2. Plan. If you haven’t already done so, write down how you want your music career to look. Remain open and flexible but at least map out your career path and goals.3. Budget. Although the cost of making music has come way down due to constant advancements in technology, promotion costs have not. Your promo budget won’t look exactly like anyone else’s, but should be reflective of the goals and plan you’ve laid out. Your promo will be the highest cost of your venture—if you plan to follow the more traditional music business role.Let’s visit three main arms of music promotion:Radio PromotionIf radio promotion is in your plans, ask yourself why? I’m not at all suggesting you don’t pursue radio promotion. I’m only advising you to understand why it is or isn’t a viable avenue for you. If radio promotion is part of your strategy, you’ll want to vet a reputable independent radio promoter. Things to consider include but are not limited to how long will the campaign (for each song) last; how much does the term of promotion cost; what’s the cost to extend a promotion; what’s the promoter’s track record? (Which charts and chart positions have their artists attained and what’s their reputation in the business?); how many artists and/or songs does the radio promoter represent/pitch at one time; is the radio promoter completely independent or is he/she beholden to a record label? There are ways to get your music to radio program managers without a promoter. The question becomes, are you willing and able to do the tremendous amount of legwork required to accomplish this? Also, be sure to ask yourself why you would consider the expense of radio promotion. The average independent radio promotion campaign can range from $300 per week to $1,000 per week or more, depending on the genre. Is radio a justifiable consideration? Are you trying to earn a place on “the charts”? If so, why? Keep in mind that in an age where “everybody’s got a chart,” not all charts are the same or carry the same weight. Social Media PromotionExtremely vital in today’s world is an effective social media marketing campaign. Again, you could do all the legwork yourself. The question is, should you? There are those out there who specialize in this arena and are very familiar with nuance strategies most artists are not. Plus, how can you be sure you’re posting the right content on the right platform(s) at the right time(s)? Yes, there’s a science to it. Just throwing something against the wall and hoping it sticks is Not a good strategy. In my opinion, a professional, experienced social media marketing manager is a must for any music career. Do your homework and vet any social media people you’re considering working with.PublicityNot to be confused with social media marketing (although the two can sometimes intersect), publicity is also a must for your music career. A good publicist will have access to opportunities and industry gatekeepers the artist couldn’t even imagine. In addition, they have the experience and ability to create effective press releases, networking and interview opportunities, as well as chances to interface with key publications vital to your career. When deciding on a publicist, check their credentials and client roster. Don’t get sucked in by the sparkling social media pics they post, which are easily misconstrued as client representations—which are usually just casual event pics. Publicists and social media marketing managers should become friends to the artist, getting to know them intimately. This builds trust and helps the artist navigate the industry landscape better. A good publicist can easily run you thousands of dollars per month, but if you can afford it—they’re easily worth their weight in gold. In closing, make sure your decisions on promotion are scientific and not guided by emotion. And don’t be afraid to try things that rattle your comfort zone.About Darryl Evan Jones: Bronx-born, classically trained flutist and Ambassador of Instrumental Soul grew up playing in church, has released four studio albums, and has opened for major names like Boney James, Howard Hewett, Jeff Lorber, and Kem. Darryl Evan Jones wrote or co-wrote most of the songs he’s recorded. He has a most unique style and is beloved my his ever growing fanbase. Keep up with Darryl Evan Jones at dejmusic.com.The post Tip Jar: Promotion or Emotion? first appeared on Music Connection Magazine.

Klamper Audio Simple MixDownThe Simple MixDown is a versatile and intuitive Cabbage-based plugin designed to provide precise control over your audio mixing process. It integrates a variety of professional-grade audio effects... Read More

“We crossed swords a few times and then it turned into a feud”: Fatboy Slim recounts feud with MobyFrom Eminem’s Without Me diss to Aphex Twin apparently calling him an “elitist”, Moby has had a small handful of feuds throughout his career. And it seems Fatboy Slim is the latest to add his name to the pile, admitting that the electronic producer was once his “nemesis”.
Speaking to The Guardian, DJ Norman Cook admits that he and Moby haven’t always seen eye-to-eye. When asked if he had a nemesis, Cook replies: “For a while, Moby. We crossed swords a few times and then it turned into a feud.”

READ MORE: Brian Eno taught me these 10 lessons in his music-making workshop

Cook isn’t exactly the kind of person you’d expect to get into a feud. His acid house mixes are the perfect soundtrack to a good time – but Moby, somehow, managed to grind his gears. “Now, I’m kind of an easy-going person,” Cook admits. “I don’t really get into beefs. But we fell out and we were on each other at that point.”
To some extent, Cook admits that the clash may have been due to how alike they were. Musically, the pair were hugely influential in their own rights, with Cook helping forge big beat as a genre and Moby paving the future of dance music as a whole. “We were quite similar in what we were doing and I think that’s one of the reasons why we got into the feud,” he says.
Over the years, the pair have been pitted against one another by both fans and critics. Back in 2020, Riff magazine noted that Moby and Fatboy Slim embody “turn-of-the-millennium electronica” and “will always be connected”. Elsewhere, the DVD Talk forum has a thread comparing the two DJs, rather hilariously entitled ‘Battle of the Skinny White Boys – Fatboy Slim vs. Moby.’
Admittedly, it’s hard to imagine how Moby managed to ruffle Cook’s feathers. Even when discussing his beef with Eminem with Steve-O’s Wild Ride podcast, he’s quick to try and soften any remaining bitterness, asserting that he thinks Eminem is “really talented”.
And Moby is fully aware that the Eminem feud – and any feud, for that matter – doesn’t suit his message. “[At the time] Howard Stern said… ‘who wants to pick on Moby?’” he recalls. “‘It’s like picking on the weak kid who doesn’t know how to tie his shoelaces.’”

The post “We crossed swords a few times and then it turned into a feud”: Fatboy Slim recounts feud with Moby appeared first on MusicTech.

Rick Rubin is “not musical… at all”, according to the Cult’s Billy DuffyThe Cult guitarist Billy Duffy has recalled his time working with producer veteran Rick Rubin, recounting in the process his lack of musical ability.
Despite his stature as one of the industry’s most commercially successful producers, Rick Rubin has made no secret himself of his lack of musical ability. Back in 2023, he famously sat down with CBS’s 60 Minutes and revealed that he knows “nothing about music”.

READ MORE: Jacob Collier disagrees with Rick Rubin’s philosophies: “His audience is non-creative people for whom creativity is novel”

When pressed by interviewer Anderson Cooper, Rubin iterated that his value as a producer lies in his “taste”. “My ability to express what I feel has proven helpful for artists,” he said.
So it might come as no surprise, now, that Billy Duffy is corroborating Rubin’s own statements about his lack of technical ability. That said, he does also confirm that Rubin was helpful to The Cult’s artistic development, nonetheless.
In a new conversation with Gary Kemp and Guy Pratt on their Rockenteurs podcast, Duffy remembers how Rubin was drafted to work on their 1987 record, Electric. Hot on the heels of their previous album Love (1985), Duffy and his bandmate and frontman Ian Astbury sought to develop their sound.
“Long story short, we’d heard of Rick Rubin,” Duffy says [via MusicRadar]. “We’d heard from a friend in Canada. He’d done the Beastie Boys’ Cooky Puss, which is basically [the] Back in Black riff with a beat.”
“And we met Rick in New York, and the whole deal was, Rick was gonna just mix. He said, ‘I’ll remix your whole album, but you must let me record one song from the ground up.’ That was the deal. So we said, ‘Okay.’ The record company [wasn’t] gonna let us re-record a super-expensive album again.”
Knowing his weak spots in terms of musicality, Rubin recruited a team to help him finish the album.
“He did hire Andy Wallace to be the engineer. He’s not stupid,” Duffy says. “And [producer and A&R exec] George Drakoulias was there all the time. Rick and George were like a team.
“I would say Rick was the senior partner, but George and Rick were like literal partners because George was more musical. Rick’s not musical… at all.”

“We literally deconstructed the album on the spot. I went from a Gretsch with the Roland and the chorus and the echoes. And he was like, ‘Well, that’s a Marshall, that’s a Les Paul, off you go.’ It was quite traumatic for me, I gotta tell you.”
The recruitment of Rick Rubin proved to be a good choice for Electric. The album subsequently went platinum in America and is often seen as one of the top rock albums of the late ‘80s.

Rick Rubin is also widely known for his rules-free attitude to music production. “The rules regarding the right way to do it – none of those are real,” he said last year. “You can discard all of them.”
The post Rick Rubin is “not musical… at all”, according to the Cult’s Billy Duffy appeared first on MusicTech.

One of the Bay Area’s top ambient producers has created a sample library for Soundbox – and it’s totally freeLast October, Audiomodern introduced Soundbox. The free, fully customisable MPE sampler allows users to create “bespoke” instruments from scratch – the only cost being any library expansions you may desire. Thankfully, even some library content is available for free.
Ambient music producer Chris Bryant (otherwise known as S1gns of L1fe) has created SPECTRA. This Soundbox instrument offers 30 immersive ambient presets, spanning a rich palette of atmospheric sounds and effects.

READ MORE: Brian Eno taught me these 10 lessons in his music-making workshop

Promising “ambient electronic bliss,” SPECTRA is a perfect addition for anyone wanting to add an extra sense of theatricality to their sound. From drones to vast soundscapes, Bryant’s pack can capture a sense of eerie mystery, or sink you into a peaceful, meditative ambient world.
The virtual instrument is supported by all major DAWs, including Ableton Live, Pro Tools, Logic Pro, FL Studio, and more.

In terms of Soundbox, the MPE sampler continues to grow with every month. Recently they’ve introduced multiple other free virtual instruments, such as VOXMOTIVE and MORPHIA.
A comment on SPECTRA’s promo video hints that Audiomodern is working towards even more updates in the future. “Round Robin modes were our most popular user request, and they’re already here!,” the company writes. “Next up: Time Stretching modes coming soon!”
You’re obviously someone who loves expanding their plugin library otherwise you wouldn’t be here. So why not head over to our best free and paid-for plugins roundup – which is updated weekly, we might add – to browse the latest software for your production arsenal.
SPECTRA is available for free now. Soundbox is also available for free on Windows, MacOS and IOS.

The post One of the Bay Area’s top ambient producers has created a sample library for Soundbox – and it’s totally free appeared first on MusicTech.

10 Approved Ways to Promote Music on SpotifyWant to get more streams, grow your fanbase and promote music on Spotify? These helpful promotion tips will help you optimize your profile, land on playlists, and turn listeners into loyal fans.
The post 10 Approved Ways to Promote Music on Spotify appeared first on Hypebot.

6 Questions with country-folk favorites Wild PoniesWe caught up with country-folk favorites Wild Ponies for this latest edition of '6 Questions With' on their way to Montreal to showcase at Folk Alliance conference.
The post 6 Questions with country-folk favorites Wild Ponies appeared first on Hypebot.

“Daft Punk were deadpan people trying to be techno… It was too gimmicky”: Why John Lydon turned down a collab with the robotsBack in his heyday, you could argue John Lydon was a bit of a daft punk. But don’t get your wires twisted. While the ex-Sex Pistols frontman was happy to wreak havoc onstage, he’s recently revealed he turned down a chance to work with the actual Daft Punk.
In a new chat with NME, Lydon has revealed that he had the opportunity to work with the duo – but says it didn’t feel right. “Daft Punk wanted to work with me a while back, but I didn’t feel the vibe,” he explains. “I felt it was too much of a ‘studio’ thing and gimmicky.”

READ MORE: Brian Eno taught me these 10 lessons in his music-making workshop

While Lydon is primarily a punk, he isn’t averse to jumping on an electronic track. He points to 1993 track Open Up, a prog-house track he worked on in 1993 with with British electronic duo, Leftfield. He “adored” the track so much that he even went on to work with Leftfield’s Neil Barnes again in 2003. The collaboration would result in a dance remix of Pistols classic, God Save The Queen.
Lydon recalls the “fun you could get up to” with the duo. Daft Punk, on the other hand, were quite straight-laced. “They came at me with many ideas, but it was all ‘just turn up, there’s the studio, we expect you to do this. Go!’,” he says. “I can’t work like that. I have to be able to get good and fucking drunk with you before! [Laughs] I have to see your drawers drop!”

Lydon says Thomas Bangalter and Guy-Manuel de Homem-Christo were “just deadpan serious people trying to be techno”. “I’m not one for fellers that wear helmets as their live performance achievement!” he adds.
Elsewhere, Lydon also unintentionally snubs one of the most acclaimed DJs in the world, David Guetta. In 2023, Guetta came out on top of DJ Mags’ Top 100 DJs poll, falling to number two last year… but Lydon insists he’s “never heard of him”.
“Was that anything to do with Daft Punk?” he asks.
While the Sex Pistols are currently on tour without Lydon, the ex-Pistols frontman will be touring with his current band, Public Image Ltd, this May. Tour will be kicking off in Bristol this May, running til August.

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The post “Daft Punk were deadpan people trying to be techno… It was too gimmicky”: Why John Lydon turned down a collab with the robots appeared first on MusicTech.

$1bn-valued Create Music Group acquires catalog from Pack Records as companies form new JVCMG and Pack's existing partnership is being expanded to include recorded music and publishing
Source

JMG Sound launch Cyberdrive Core Cyberdrive Core contains the same 64 distortion models as its larger sibling, but with a simpler set of controls and a more straightforward signal path. 

Save $19,000 on this completely restored Yamaha CS-60 – but you’ll still need deep pocketsWould you like to be the proud owner of a Yamaha CS-60? There’s one currently up for sale on Reverb, and it’s had over $19,000 slashed off its asking price. You’ll still need deep pockets, though, as its discounted price is still $35,000…
The CS-60 was first released in 1977 as a smaller version of Yamaha’s CS-80 synth, and has been used by artists such as Air, Gary Numan, Stevie Wonder, and more. This particular model is described as being in excellent condition.

READ MORE: Could Google NotebookLM help you never read a gear manual again?

The seller describes the synth as fully recapped, and says the original power cord has been swapped with one that’s longer and more high-end, with larger diameter conductors, and better quality copper. The power cord also features a premium CEE7/7 Schuko plug which fits most EU outlets, though this is a simple swap if you are based elsewhere.
[deals ids=”1orOgUJnMEQ0cy69NbAt8f”]
The original audio connectors from the 70s have also been replaced with modern Neutrik gold-plated 1/4” jack connectors, and an LED has been added on every voice board for assistance with tuning. The instrument has also been cleaned inside and out, but all of its original Yamaha type IG and YM chips are still on board, and have never been moved. Its original cover and chrome music stand are included.
Credit: Reverb
The seller has also shared a demo of this specific CS-60 in the below YouTube video:

While the Yamaha CS-60 is a scaled down version of the CS-80, you’ll still need a big budget in order to afford one. Thankfully, though, there are plugin emulations out there that need not destroy your bank balance. In our 9/10 review of Softube’s Model 77, we called it possibly the “most impressive Yamaha CS emulation out there”. There’s also Cherry Audio’s GX-80 which offers another cost-effective entry point to the CS sound palette.
In other Yamaha news, the company announced plans to invest $50 million in startups in the music tech and audio space earlier this year. The investment will be the first initiative from the Yamaha Music Innovations fund, which was established in December.
According to Yamaha, the corporate venture capital (CVC) fund comes as part of the company’s mission to “explore innovation opportunities with startups and other companies.” The main aim is to “contribute to the well-being of people around the world through sound and music”.
To purchase or find out more information on the CS-60, head over to Reverb.
Credit: Reverb
The post Save $19,000 on this completely restored Yamaha CS-60 – but you’ll still need deep pockets appeared first on MusicTech.

Production tips: Exploring digital distortion and mimicking retro samplersHardware samplers of the mid-80s and 90s are utterly outclassed by modern software samplers, but there are still producers who use them religiously. Workflow is a factor, but this feeds into a more fundamental attraction: The sound.

READ MORE: How to create your own drum sample packs for hardware and software samplers

Limited bit depths, downsampling to save memory, comparatively crude processing algorithms and relatively unsophisticated analogue input and output electronics combine to give classic samplers a distinct — and often genre-defining — sonic character. Fundamentally, this is just a blended sauce of different distortion flavours.
Some software samplers can emulate these distortions to some degree but offer only limited ways to hone – and abuse – the effect for specific creative results. Thankfully, you can create your own version of this blended distortion sauce, and once you know how to do it you can make it spicier, fruitier or smokier as you see fit. You can also slather this tasty retro sauce on anything you like – software samplers, synths or live performances.
1. Input and Output Treatment

A hardware sampler’s transistor-based preamps will always have a sonic impact and, when pushed, will lean towards a gritty, hard-clipped distortion. To emulate this, add a suitable distortion at the front of your signal chain. A good option may be included with your DAW; alternatively, something like BLEASS Saturator or Kilohearts Distortion will do the trick.
Analogue to digital converters include filters to remove frequencies that could cause aliasing. We can control this stage by adding a low-pass filter to the chain. Ideally, this should be part of the input distortion processor or placed after it in the chain, but you can place it at the top of your signal chain if needed.
The output circuitry of a real-world sampler would rarely, if ever, get overdriven, but consider adding a second hard clipping processor at the end of the chain nevertheless. It isn’t essential, but it can add some realistic colour, leading to a slightly harder sound. Plus, it lets you add a bit more drive if you want. You can also add another low-pass filter here, ideally placed prior to the distortion, but it’s OK if placed at the very end of the chain.
Bear in mind that if the sound source you are using is adding reverb to the sound, then you may want to bypass this and recreate it after the distortion processing — although distorted and downsampled reverb can have a charm all of its own!
2. Simulating Digital Conversion and Processing

A sampler’s digital specification is the most important factor in the character of its sound. Bit depth is fixed for any particular sampler. The sample rate is more fluid and sampling at lower rates and applying additional downsample processing are common techniques for maximising sample memory.
Plugins that create these digital distortion flavours tend to combine both bitcrushing and downsampling. Better examples will also provide control over jittering, aliasing and/or imaging artefacts introduced by a hardware sampler’s converters and processing algorithms.
Place this type of distortion after any processing that’s emulating the sampler’s input path, and before any processing emulating the output path. We’ve decided to use SSL Digicrush because of the amount of control it gives over the details of its digital distortion. It also features a suitable input overdrive of its own, allowing us to dispense with the separate input distortion stage (we’ll retain the other input and output treatments). If you don’t have Digicrush then grab the demo to follow along; alternatively, apply the following techniques using your bitcrusher/downsampler plugin of choice.
3. Emulating Vintage Samplers

The first two iterations of the E-mu Emulator were 8-bit samplers with a 27kHz maximum sample rate, qhile its SP-12 drum machine lifted this to 12-bits and 27.5kHz. The first truly affordable sampler, the Ensoniq Mirage, was also 8-bit but boasted a 32kHz sample rate. And the samplers that started Akai’s rise to the forefront of the sampling revolution, the S900 and S950, were both 12-bit devices with 40kHz and 48kHz (respectively) maximum sample rate.
If you wish to emulate the sound of any vintage sampler, the first step is to configure your bitcrusher and downsampler to match that sampler’s specs. Artefacts such as jitter, aliasing and imaging tend to be more pronounced with older hardware, so dial in more if you’re after an early E-mu or Ensoniq sound, and a bit less if you’re chasing a classic Akai sound.
As a general rule, older units will also tend to introduce more colouration at the input and output stages, so bring in some dirt at the input and, maybe, a tiny bit at the output too. Experiment with different amounts of input drive to see what tones and harmonics come out.
4. Downsampling

To maximise hardware sample memory, it was common to reduce a sample’s rate to as low a value as possible. Going even lower can give some interesting results.
So, how low to go? There is a rule, the Nyquist frequency, that specifies how low the sample rate can be before aliasing and other artefacts are introduced. Put simply, this is twice the highest frequency contained in the sample. Therefore, bass sounds and kick drums can be taken to much lower rates than pianos or vocals before they start to get mashed up.
Load up a bass instrument and create a bassline for it, then insert Digicrush (or your preferred plugin) on the channel. Choose a bit depth – we’re going for a marginally crispy 12-bit – then, with the bassline playing, adjust the downsample frequency. When you just start to hear aliasing and degradation you’re close to the Nyquist frequency for the sound you’re using. Experiment with different frequencies to find one that gives a pleasing colouration and dirtiness.
Explore how the aliasing controls impact the results. Aliasing can enhance high frequencies, which can sound a bit incongruous on a bass or kick, so use an output filter to tame these if need be. Also explore the impact of the input drive on the overall sound.
Be sure to repeat the above using different types of sound, noticing how those containing higher frequency components will have a higher Nyquist frequency, and so will start to distort earlier as you reduce the sample rate.
5. Low Bit Depths

As well as adding a general gritty patina, lowering the bit depth both reduces dynamic range and enhances noisiness. 12-bit gives a pleasant balance between grit and clarity, and 8-bit is a good choice if you want a lot of dirt but still want the original sound to come through.
If you head much below 8-bit then noise is going to become a major component. To make this more useable, consider using your post-distortion filter to take away some of the harshness of this noise. Also, if using Digicrush, experiment with the ‘Bit Mode’ setting, as this can also calm the noisiness…
Or, unleash it: Using the un-gated ‘Destroy’ and ‘Noisy’ modes along with low bit rates can do some serious damage to your audio. You can also use this combination to create some very cool retro gaming effects – just drag the bit rate low, the jitter high, and sweep the Downsample frequency.
6. Going Beyond

Recreating a retro sampler vibe aside, one of the most interesting things about this distortion setup is how the various stages interact with, and impact upon, each other.
Load up a sound with a wide frequency range – we’re using an upright piano – and insert your distortion chain on the instrument’s channel. Dial in some strong bitcrushing and downsampling settings for a nice, gnarly digital distortion, then continue to explore the chain, pushing it and backing it off in different places to see what results you can achieve.
Notice that strong digital distortion produces frequencies and overtones that remain somewhat static no matter what it is given to chew on. Because of this, automating and modulating the downsampling rate can produce dramatic and very accentuated comb-filter-ish sweeps that sound great on pads.
Be sure to explore the interactions between the input filter and the downsampling rate, and add automation or modulation to the former as a means of adjusting the prominence of digital artefacts. And don’t forget to try different filters and distortions at either side of the digital distortion processing.
Learn more music production tips and techniques.
The post Production tips: Exploring digital distortion and mimicking retro samplers appeared first on MusicTech.

Why you should “bail on bad ideas instead of pumping them through $20,000 of outboard gear”, according to FINNEASBefore a song can shine in production, it has to stand strong on its own – such is the philosophy FINNEAS swears by as he balances his roles as a songwriter and producer.
The 27-year-old Grammy-winning producer, best known for his work with his sister Billie Eilish, released his self-produced sophomore album, For Cryin’ Out Loud! last October. Discussing his creative approach in a new Tape Op interview, FINNEAS shares a conversation he recently had with St. Vincent, who, too, produced her latest album All Born Screaming.
“She was asking the other day, ‘How do you not go down a rabbit hole while you’re writing a song if you’re also the producer?’” he recalls. “I replied, ‘Well, I know I don’t have the one right answer to this, but I do think that the song comes first.’”

READ MORE: BBC Radiophonic Workshop archive will be made available for the first time for use by musical artists and producers

The musician explains that focusing on production too soon can be a trap: “An example of a bad use of time to me would be: I start writing a little song – say I have two lines – and then I start doing some production,” he says.
“I start figuring out drums for it, because I get inspired. And then I spend seven hours on a kick drum because I’m haunted by it, I want it to be perfect, and I get the kick drum sounding so good. It sounds perfect on those two lines. Then I go back in, and I write a terrible song.”
“Of course I might write some bad songs. I’ve written many,” FINNEAS concedes. “But if I can write a bad song before devoting hours of production time into my bad idea, that is smarter. So, I try to think about it from that perspective.”
FINNEAS also notes how many producer friends of his who are “much more technically savvy” than he is about gear would often “get distracted by something that is so not making the song better.”
“I have spent many hours in studios with producers where they’re off on a tangent,” he says. “I’m saying, ‘Guys, this chorus is bad.’ [laughs] This would be a great time to bail on this idea instead of pumping it through $20,000 worth of outboard gear, and saying, ‘Hear how much it shines?’ No, the lyric’s still bad, dude. [laughs]”

The post Why you should “bail on bad ideas instead of pumping them through $20,000 of outboard gear”, according to FINNEAS appeared first on MusicTech.