Taylor Swift is redefining Copyright and Empowering all ArtistsShe isn’t just a pop icon. Taylor Swift is redefining copyright and reshaping the music industry, Discover how her bold moves are changing the rules and empowering artists everywhere.
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Best Hashtags for Musicians to Boost EngagementLearn the best practices for choosing the best hashtags for musicians to elevate your online presence and engagement. by Lauren Davish of Disc Makers Blog We’ve all heard of a. Continue reading
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“What’s interesting about this song is there’s actually very little going on”: Watch Jack Antonoff break down Sabrina Carpenter’s Please Please PleaseJack Antonoff has peeled back the curtain on his production work for Sabrina Carpenter’s chart smashing hit, Please Please Please, revealing how he used the works of ABBA and Electric Light Orchestra as a reference point for its dreamlike synth sound.
The track peaked at number one in the Billboard Hot 100 chart, and topped charts across the UK, Australia, Ireland and more. Its influences of disco, country and pop see the track utilise acoustic guitar, a sturdy drum beat, and synth work utilising a classic ARP.

READ MORE: “I always know when it’s done. It’s a feeling”: Jack Antonoff explains how he knows when a track is finished

In the new video for Variety, Antonoff explains, “That reference point of ELO or ABBA, one of the great hallmarks of that is you have incredibly organic, ‘I hear a person playing guitar, I hear a person playing drums, I hear a vocalist,’ and you hear a human being struggling with a machine. I love that sound.
“I always wanna play things in some way like it’s the first time I’ve played them. And one thing that gives, Please Please Please great character is this grand push and pull between things that are gritted and on time, and things that are like floating around. It makes you feel a little bit drunk, a little bit dreamlike.”
He further expands, “[You have] that interplay between hearing a human being very humanly, playing an acoustic guitar a full take all the way through, and then hearing a human being express humanity through a synthesiser by not feeding MIDI, not feeding click, you know? I’m playing an ARP, and this is the hallmark of the whole song, right? So if I have a super tight LinnDrum, then I start playing around with something that is not locked to tempo. The lockness of the LinnDrum makes the song looser, because now I know where the beat is perfectly.”

He adds, “What you start to feel is these exciting moments that to me are very reminiscent of ELO or ABBA where there wasn’t the technology to make things too great and so people are expressing themselves on synthetic instruments and it gave this song an incredible character.”
As for the main chorus, it consists of a large vocal stack. “What’s interesting about this song is there’s actually very little going on, what you really have is one lead and you have three stacks beneath it. So it’s a four stack, but it’s not.”
Antonoff continues, “Essentially what I’m doing here is instead of using too much reverb or delay, I’d rather just have someone do a few more takes that I can spread out. You have two harmonies, doubled each. So the entire vocal stack of the chorus, which to me in my head sounds like the heavens opening up, is literally eight vocals, and three of them barely count. The only other thing I have going on is I have that stack running through a copycat and a space echo, which I’m manipulating in real time. So the EQ of this, the tune, the pitch, it’s all getting fucked with.”
You can watch the full video below:

In other Antonoff news, the esteemed producer recently revealed plans to open accessible studios across the US for those who would normally be priced out of their use. The initiative is still in a very early phase, though Antonoff hopes to roll these out across LGBTQ+ youth centres first.
The post “What’s interesting about this song is there’s actually very little going on”: Watch Jack Antonoff break down Sabrina Carpenter’s Please Please Please appeared first on MusicTech.

StubHub Fake Ticket Lawsuit StallsAs the fight to reign in ticket resellers like Vivid Seats and StubHub heats up in Washington, DC and state legislatures over excessive markups, fees and fake Oasis tickets, Chris Castle revisits a StubHub fake ticket lawsuit stalled in the courts.
The post StubHub Fake Ticket Lawsuit Stalls appeared first on Hypebot.

“I just found a way to make the sound come out”: Rick Rubin says he still doesn’t know the “right way” to program an 808Rick Rubin still doesn’t really know the “right way” to program an 808 drum machine, as he learned to do so without a manual.
He made the confession during his new interview with Rick Beato, in which he explains how his Def Jam label – which he co-founded with Russell Simmons – got started. It’s Yours by rapper T La Rock and DJ Jazzy Jay was the first rap recording made by Rubin, in which he used the iconic Roland machine.

READ MORE: “Everything is white – like you need to fill the space with your music and thoughts”: Beabadoobee on Rick Rubin’s studio, Shangri-La

At this point in time during the 1980s, Rubin felt that no rap albums were really made by professionals, and that “the professionals didn’t know what rap was”. As a result, rap recordings more often turned out as “polished” R&B records.
Rubin, who was much more involved with the culture of DJ-ing, wanted to make a record that captured the real lively essence of this scene, and just how it felt to him when he saw it live: “I wanted to make a record with the Treacherous Three ‘cause they were my favourite group,” he tells Beato. “They’d already made three great records and now they had signed to Sugar Hill and they stopped being great.
“Again, I know nothing about the music industry, all I know is I love this music. I met a guy in my favourite band who made great music and now he’s making not as good music, and I want to say, ‘let’s try doing this together’, and he says, ‘I can’t, I’m signed to Sugar Hill’. I didn’t even know what it meant, and he said, ‘but if you want to make a record, talk to Special K [Kevin Keaton, member of the Treacherous Three]. His brother is T La Rock, and his brother is not signed’.”

He continues, “We recorded this song, It’s Yours, and I had a drum machine that I borrowed from a punk rock band called The Speedies. Eric the guitar player lived in my dorm room. I borrowed his drum machine, an 808, so I had that in my room. He didn’t really use it anymore so I kept it in my room for a long time and programmed loads of beats just for fun and it’s really easy to program. I still don’t really know the right way to program it, I know how I programmed it because I didn’t have the instruction manual so I just found a way to make the sound come out.
“I had a PA in my room and a DJ setup, because I was a DJ at that time and I would DJ at the parties in the dorm… At that time most of the rap records that were coming out were like Kurtis Blow or Jimmy Spicer. When you went to the club you saw that the DJ was a really integral part of the way the music worked and I said, ‘I feel like instead of it being a T La Rock record, it would be better if it was a T La Rock and whoever your DJ is’. He didn’t have a DJ and my favourite was Jazzy Jay.”
You can check out the full Rick Beato interview below:

The post “I just found a way to make the sound come out”: Rick Rubin says he still doesn’t know the “right way” to program an 808 appeared first on MusicTech.

The Very Loud Indeed Co. Fall Sale The Very Loud Indeed Co. have announced the launch of their 2024 Fall Sale, with significant discounts being applied to their entire product line-up until 17 October 2024. 

Solid State Logic SSL 2 and 2+ MKII: These interfaces have the edge in a crowded marketSSL 2 MKII: £211 / €249 / $229
SSL 2+ MKII: £278 / €329 / $299
solidstatelogic.com
The 2020 release of the SSL 2 and 2+ audio interfaces marked a new chapter in the history of Solid State Logic. Unlike its previous forays towards the more affordable end of the market, the 2 and 2+ were aimed squarely at the needs and budgets of home and project recording studios. Coupled with the company’s growing presence in the plugin market, the interfaces brought a slice of SSL class within reach of the masses.

READ MORE: Audio interfaces for studios, bedrooms and podcasters: Best audio interfaces and how to choose one that’s right for you

A quick glance at the newly-released update to the range may leave you thinking nothing much has changed. But you’d be wrong!
The tough, black plastic desktop-style enclosure of the MKII is the same that SSL used for the MKI, meaning the layout of knobs and buttons is also the same. This means a spacious, clearly labelled control panel loaded with solidly mounted pots and switches.
There is a hint of the new in the lighter grey of the buttons, the change from blue to dark grey of the large output level dial, and the marginally redesigned metal top plate which now offers contrast between a brushed gunmetal border and smooth black central panel. These tweaks look smart enough but, thankfully, on closer inspection factors far more significant than cosmetic changes become apparent.
SSL 2+ MKII
What inputs and outputs do the SSL 2 and 2+ MKII interfaces have?
SSL 2 and 2+ provide two input channels supporting mic, line or instrument inputs. Mics and lines are connected via the rear-mounted XLR/jack combo sockets, but instrument inputs now have their own dedicated jacks located on the front panel, where they’re easier to access.
Each channel’s rear input can be switched between mic and line modes at the press of a button, but where the MKI units also had a button to switch to hi-z mode, MKII switches automatically to this mode when a jack is plugged into one of the new front-panel instrument sockets. In place of that hi-z button, each channel now sports a high-pass filter for cutting low boom and noise. And talking of buttons, all now have accompanying LEDs to indicate when they’re active. This is a marked improvement on the previous version where you had to judge a button’s state based on whether it looked like it was up or down.
Each input channel retains the ‘Legacy 4K’ mode that introduces an EQ curve that seeks to recreate the sound of SSL’s legendary 4000-series mixing consoles. Whilst it takes more than just EQ to truly emulate a 4K preamp, results are pleasing nonetheless, adding a definition, presence and focus that is particularly complementary to vocals and acoustic guitars.
Line outputs are around the back as you would expect, and are DC-coupled so can be used to send CV signals to analogue synths. SSL 2 has a single stereo output bus carried via a pair of balanced jacks and SSL 2+ has two stereo output channels (or four mono). Where previously the second pair was served via phono sockets, MKII features balanced jack sockets to carry the output 3&4 signals, which is far preferable.
SSL 2 MKII
Both units have a pair of 6.35mm headphone outputs that have also been relocated to the front for convenience. With SSL 2, both headphone outputs carry the main stereo output bus and there’s just a single amp driving both sockets (still, having two is an improvement on the single headphone output of MKI). With SSL 2+, though, the second headphone output has a separate amp and can be switched to carry the output 3&4 bus, allowing two different headphone mixes to be created.
Input monitoring is handled via a single knob that balances between the direct input signals and the playback signal from the host computer. This method of monitoring is simple to use and means the interface doesn’t need additional software for mixing monitor cue signals. On the downside, though, it becomes problematic when the two input channels carry different signals that demand different monitoring levels.
Both interfaces now have a built-in stereo loopback bus that makes it easy to record the output of other apps running on the host computer. Also, the SSL 2+ retains its pair of MIDI ports. Classic though this connection format might be, it never fails to come in useful when attempting to free up a USB port on your computer.
SSL 2+ MKII
Are there any big changes?
Alongside the cosmetic changes and ‘quality of life’ improvements mentioned above, the new SSL 2 and 2+ have one very big update to boast about. Both now feature 32-bit converters, and these can run at up to the same 192 kHz sample rate as the MKI. This major change brings big increases to the dynamic range of inputs (from 110.5dB to 116.5dB), line outputs (from 112dB to 120dB) and headphone outputs (from 111dB to 119.5dB).
The significance of these extra bits and improved dynamic ranges aren’t just in the dry numerical specifications, though. They are clearly discernible when working with either of the MKII interfaces.
Input signals benefit from improved crispness and clarity, and the increased resolution means you can choose to be conservative on the amount of headroom you allow on an input without compromising the accuracy of the digitised audio. The improvement to the output conversion can be heard in the detailed spectrum, precise and accurate stereo image, and the overall coherence of the sound. It isn’t what we’re used to hearing from interfaces in this price bracket, and we like it!
Adding to the value of the SSL 2 and 2+ is the included Production Pack bundle. This contains licences for SSL’s VocalStrip and DrumStrip plugins as well as a three-month trial of Complete Access, which includes everything from the company’s ever-expanding stable of quality plugins. There’s also Ableton Live Lite (is there a software bundle out there that doesn’t include Live Lite?), Native Instruments Hybrid Keys and Komplete Start, free samples from Loopcloud, and much more.
While the visible overhaul of SSL 2 and SSL 2+ may be minor, the repositioned connectors and added high-pass filtering provide a definite step up in functionality. More significantly though, the upgraded converters make for a major leap forward in sound quality.

Key features
SSL 2

USB-C, bus-powered audio interface
32-bit, 192 kHz converters
2 mic/line/hi-z input channels with a high-pass filter and phantom power
2 balanced, DC-coupled line outputs
Legacy 4K switch adds an analogue-console-like presence and high-end detail
Two headphone output jacks
Internal stereo loopback input
SSL Production Pack bundle
Comes with USB-C cable and A-to-C adapter

SSL 2+

All the features of SSL 2
Additional pair of balanced line outputs
Second headphone output can switch between outputs 1&2 and 3&4
MIDI input and output

The post Solid State Logic SSL 2 and 2+ MKII: These interfaces have the edge in a crowded market appeared first on MusicTech.

Release details
Release title:
Мои 16 лет
Main artist name:
Pchelsh
Release date:
13th Dec, 2024
https://publme.lnk.to/16
#newmusic #Release #Music #indepedent #artist #pop #electronic

US gov files complaints to seize assets from North Korean hackersAccording to PeckShieldAlert, losses from crypto hacks and exploits accounted for over $120 million in losses during September 2024.

Tinkering with Klipper: Making The ManiPilator Robotic Arm[Leo Goldstien]’s entry into the world of robotics has been full of stops and starts. Like many beginners, he found traditional robotics instructions overwhelming and hard to follow, bogged down with dense math that often obscured the bigger picture. So he decided to approach things differently and create something with his own hands. The result? A 3D-printed robotic arm he affectionately calls “ManiPilator.”
This article is the first in a three-part series documenting [Leo]’s hands-on approach to learning robotics from the ground up. Building ManiPilator became an opportunity to learn by doing, and the project took him on a journey of experimenting, failing, and eventually succeeding in tasks that seemed deceptively simple at first glance. Each hurdle provided him with insights that more traditional learning methods hadn’t delivered. Below is one of the videos [Leo] captured, to show one step in the process: doing a check using multiple motors.
To make his project work, [Leo] relied on open-source software like Klipper, piecing together code and hardware in a way that made sense to him. In sharing his story, he offers fellow beginners an approachable perspective on robotics, with practical insights and candid reflections on the challenges and breakthroughs.
[Leo]’s project shows that there’s more than one way to start exploring robotics, and that sometimes the best way to learn is simply to dive in and start building. Follow along with his journey as he tackles the complexities of robotics, one step at a time.

Tearing Down a Digital Scope from ’78If you’re a fan of vintage electronics and DIY tinkering, you’ll find this teardown by [Thomas Scherrer] fascinating. In a recent video, he delves into a rare piece of equipment: the Data Lab Transient Recorder DL 901. This device looks like a classic one-channel oscilloscope, complete with all the knobs and settings you’d expect.
The DL 901, made by Data Laboratories Ltd., is a mystery even to [Thomas], who couldn’t find any documentation online. From the DC offset and trigger settings to the sweep time controls, the DL 901 is equipped to handle slow, high-resolution analog-to-digital conversion. The circuitry includes TTL chips and a PMI DAAC 100, a 10-bit digital-to-analog converter. [Thomas] speculates it uses a successive approximation technique for analog-to-digital conversion—a perfect blend of analog finesse and digital processing for its time.
Despite its intriguing features, the DL 901 suffers from a non-responsive analog input system, limiting the teardown to a partial exploration. For those who enjoyed past Hackaday articles on oscilloscope teardowns and analog tech, this one is a treat. Watch the video to see more details and the full process of uncovering this vintage device’s secrets.

AWS CEO Matt Garman on generative AI, open source, and closing servicesIt was quite a surprise when Adam Selipsky stepped down as the CEO of Amazon’s AWS cloud computing unit. What was maybe just as much of a surprise was that Matt Garman succeeded him. Garman joined Amazon as an intern in 2005 and became a full-time employee in 2006, working on the early AWS products. […]
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MPW: Women in Music Tech Summit Taking place on 19 and 20 October 2024, the Women in Music Tech Summit will features a collection of masterclasses that aim to empower female and non-gender conforming musicians.

Vitalik Buterin donates 100 ETH to Roman Storm defense fundThe United States Office of Foreign Assets Control sanctioned the Tornado Cash mixer in 2022 — accusing it of facilitating money laundering.

OpenAI closes the largest VC round of all timeWelcome back to Week in Review. This week, we’re diving into OpenAI’s $6.6 billion fundraising round, the fifth Cybertruck recall in less than a year, and a neat project that’s Shazam-ing songs heard on a San Francisco street. Let’s get into it. OpenAI closed the largest VC round of all time this week. The startup […]
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