Rotor by LyricFind Helps Creators with Spotify Canvas VideosDefining your creative identity can be tough, especially when the tools you have aren’t built with your unique needs in mind.

What makes LyricFind's Spotify Canvas creator special? It’s the only tool that transforms your videos into seamless, continuous loops—no pro editing skills needed. These Canvas videos enhance both the visual and audio experience, giving your fans an extra way to connect with your music.

With Rotor, you can easily create all the video content you need to promote your track. From album artwork videos to music and lyric videos, your visuals will be perfectly designed for social media or streaming platforms.

1 Million Clips

Choose from an expansive clip library, containing real-life footage, professional animations and striking visualizers.

Easy-to-use editing tools

Spotify Canvas videos may be short, but what listeners see is important! Select exact segments of clips with intuitive editing tools.

Stunning visual effects

Take your videos up a notch with engaging effects and filters! Get creative - the possibilities are endless.

Sleek Loops

Spotify Canvas creator is the only tool that can turn your videos into an ultra-smooth, continuous loops without professional editing tools.

rotorvideos.com

The post Rotor by LyricFind Helps Creators with Spotify Canvas Videos first appeared on Music Connection Magazine.

Tackle sibilance with apulSoft splitS apulSoft say that splitS isn’t actually a de-esser, but rather a mixer than makes it possible to balance the level of sibilances with the rest of the vocal signal. 

Witch’s Staff Build is a Rad Glowing Costume PropLet’s say you’re going to a music festival. You could just take water, sunscreen, and a hat. Or, you could take a rad glowing witch’s staff to really draw some eyes and have some fun. [MZandtheRaspberryPi] recently undertook just such a build for a friend and we love how it turned out.
The concept was to build a staff or cane with a big glowing orb on top. The aim was to 3D print the top as a very thin part so that LEDs inside could glow through it. Eventually, after much trial and error, the right combination of design and printer settings made this idea work. A Pi Pico W was then employed as the brains of the operation, driving a number of through-hole Neopixel LEDs sourced from Adafruit.
Power was courtesy of a long cable running out of the cane and to a USB power bank in the wielder’s pocket. Eventually, it was revealed this wasn’t ideal for dancing with the staff. Thus, an upgrade came in the form of an Adafruit Feather microcontroller and a 2,000 mAh lithium-polymer battery tucked inside the orb. The Feather’s onboard hardware made managing the lithium cell a cinch, and there were no more long cables to worry about.
The result? A neat costume prop that looks fantastic. A bit of 3D printing and basic electronics is all you need these days to build fun glowing projects, and we always love to see them. Halloween is right around the corner — if you’re building something awesome for your costume, don’t hesitate to let us know!

FLOSS Weekly Episode 803: Unconferencing with OggCampThis week Jonathan Bennett and and Simon Phipps chat with Gary Williams about OggCamp! It’s the Free Software and Free culture unconference happening soon in Manchester! What exactly is an unconference? How long has OggCamp been around, and what should you expect to see there? Listen to find out!

https://ogg.camp

Did you know you can watch the live recording of the show Right on our YouTube Channel? Have someone you’d like us to interview? Let us know, or contact the guest and have them contact us! Take a look at the schedule here.

Direct Download in DRM-free MP3.
If you’d rather read along, here’s the transcript for this week’s episode.
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How the SP-303 connects hip-hop’s Holy Trinity: J Dilla, Madlib, and MF DOOMOnce dubbed a DJ sampler and effects unit, the SP-303 was originally aimed at turntablists. However, this compact phrase sampler managed to find its way into the hands of some of hip-hop’s most creative producers.
Introduced by Roland Corporation in 2001, the BOSS SP-303 Dr. Sample is a compact sampler with eight voices of polyphony, 26 effects, and a real-time pattern sequencer that offers external sync. Two banks of eight mono samples can be stored, with a total sampling time of over three minutes at 11.025kHz, and the option of using 22.05 kHz, and 44.1 kHz sampling modes and extending the sample memory with SmartMedia cards.

In the early 2000s, hardware samplers were the primary tools used by hip-hop producers, as DAW-based samplers, like many used today, were still evolving. However, there was some similarly priced competition in the form of the Yamaha SU200 and the KORG ElecTribe ES1. As a result, the SP-303 wasn’t an instantaneous hit.
Although the SP-303’s range of effects and sonic quality was impressive, you could only use one effect at a time which, according a 2001 Sound On Sound review, was a creative limitation. Also, when we consider that older samplers like the AKAI S950 were capable of time stretching over a decade before, the underwhelming initial response to budget samplers wasn’t so surprising.
Astonishingly, the SP-303’s pitch engine was not an improvement on its predecessor. However, with its basic pattern sequencer, it offered a more standalone solution than the SP-202. The digital degradation, jitter, and artifacts introduced when pitching a sample up or down became intrinsic to the 303’s sound, especially when combined with the legendary ‘Vinyl Sound’ compression effect.
The SP-303 was not a complete music production system like the MPC. Nevertheless, it began to develop a mighty reputation when producers like Madlib, J Dilla, and MF DOOM took a shine to its simplicity, creative immediacy, and lo-fi sonic aesthetic.
How Madlib used the SP-303
From about as musical a background as one can have, Otis Jackson Jr, AKA Madlib, grew up with an insatiable musical curiosity. When confronted with his dad’s record collection, it didn’t take him long to express himself through sampling — he flipped his first record at age 11.
Between the early and late 1990s, he truly came into his own as a prolific artist and producer, with his group Lootpack signing to Peanut Butter Wolf’s Stone’s Throw Records in Los Angeles in 1998.
This relationship between Madlib and Peanut Butter Wolf’s indie imprint was fruitful and would bring a cult-like status to both artist and label. A turning point in this journey would come during Madlib’s trip to Sao Paulo for Red Bull Music Academy 2002, where his travelling companions included Cut Chemist, Egon, and J.Rocc of The Beat Junkies.

Although Madlib enjoyed crate-digging with his compatriots, his approach to choosing records was vastly different from his fellow producers. Instead of listening to each record, searching carefully for samples, he would harvest a wide scope of outlandish records, returning to his hotel room with a massive stack under his arm.
According to a 2005 interview with Scratch Magazine, Madlib “did most of the Madvillain album in Brazil. Cuts like Raid I did in my hotel room in Brazil on a portable turntable, my (BOSS SP) 303, and a little tape deck.” During this time, he developed a certain affinity with the SP-303 workflow, saying, “I like to move quickly, and these little boxes are easy to use.”
In Madlib’s high-output workflow, it was the SP-303’s creative immediacy that made it an inspirational tool to use. While sampling vinyl with a Fisher-Price turntable sounds like a delightfully naive idea, it led to the creation of the genre-defining Madvillainy (2004) album.
From this point, the gritty sound of the SP-303 became almost mythical, influencing artists such as Earl Sweatshirt and Tyler, The Creator, who were inspired by DOOM’s laid-back cadence and unrelenting flow and Madlib’s eclectic production style.
How J Dilla used the SP-303
James Dewitt Yancey, AKA J Dilla, emerged in the early 1990s as one of hip-hop’s most influential producers. Only two years after he first touched an MPC, he was working on The Pharcyde’s 1995 album, Labcabincalifornia, now widely regarded as a classic.
This was the beginning of a journey that would take Dilla into studios with some of the most important artists in hip-hop history including D’Angelo, The Roots, and Erykah Badu. Under the mentorship of his manager and fellow hip-hop artist, Q-Tip, Dilla was able to navigate his path as a solo artist and producer.

Having been exposed to his work through the circulation of his beat tapes, Dilla crossed paths with Madlib in the early 2000s and the pair went on to form the Jaylib collaboration. Although the duo’s Champion Sound (2003) album on Stones Throw was recorded separately in Detroit and LA, Madlib’s influence made the SP-303 a part of its creation.
During this time, there was a creative cross-pollination between these two great producers as Dilla became part of the Stones Throw family. As a direct result, he would make the move to LA in 2004, and the SP-303 reportedly became a part of his beat production workflow for his next and final solo album Donuts (2006) until his death in February 2006.

There are contrasting accounts about what gear Dilla used in his final days. According to revered musician and friend of Dilla, Karriem Riggins, the Stones Throw crew visited him in the hospital with a 303. “They brought him a little BOSS [SP] 303 sampler and little 45 record player,” he says. “That’s what brought him through to make a lot of music that we hear on Donuts.”

Other reports state that, when the Roland SP-404 came out in 2005, Peanut Butter Wolf gifted Dilla the new sampler as he continued creating music until his passing.
How MF DOOM used the SP-303
Although he was born in West London, the story of Dumile Daniel Thompson aka MF DOOM within hip-hop began in New York in the late 1980s with the graffiti and breakdance crew, KMD — his stage name back then was Zev Love X. It didn’t take long before the trio were signed to Elektra Records and released their debut album Mr. Hood in 1991.
For most of the 1990s, following the death of his brother, DJ Subroc, Dumile went into exile, making his eventual return as MF DOOM in 1999 with his debut album Operation DOOMsday on Bobbito’s Fondle ’Em Records. Under the guise of this new Marvel-inspired supervillain, MF DOOM became a mystical figure. With his unique wordplay on the mic and the atmospheric sample-laden beat productions under his Metal Fingers alias, the legend continued to grow.
Having moved to Atlanta in the late 1990s, DOOM happened across Madlib’s beats through a mutual contact at Stones Throw. Slowly, the seeds were sewn for a new collaboration that would stand the test of time: the now iconic album, Madvillainy.

As Madlib was also an instrumentalist, staying in the same house in LA (and working in Madlib’s The Bomb Shelter studio) exposed DOOM to a different side of hip-hop production. In an interview from late 2004, he mentioned being put onto the SP-303 through Madlib and Jay Dee (Dilla) and it becoming one of his favourite pieces of gear. Sometimes pictured holding the 303, he also commented on the “live feel” of its looping and sequencing workflow as well as the overall simplicity of its interface and raw sonic character.
what’s he holding? byu/riah-lanee inmfdoom

In another interview, DOOM described Madlib as a true partner in his musical journey, saying that he had rekindled the fun for him.
The Legacy of the SP-303
Although Roland replaced the SP-303 in 2005 with the release of the SP-404, it was the 303 that remains an undeniable thread that connected Madlib, Dilla, and MF DOOM. The stripped-down nature of its design encouraged collaboration, and although there are other ways to achieve lo-fi sounds, the 303 allowed an artist to invite another into their creative process without being hindered by technicality.
Over the years, the feature set within the SP series became more comprehensive, but the phrase-sampling workflow remained. This enables producers to access the same creative platform no matter which model of the SP series samplers they use. The key remains in the samples themselves and how you put these puzzle pieces together.
A prime example of this in a modern context is the LA boom-bap producer, Dibia$e. As one greatest exponents of the SP series samples, his use of SP-303 and SP-404 samplers is easily recognizable in the sound of his music.

In an interview by Gino Sorcinelli, Dibia$e describes how he used the SP-303 and SP-404 for its compression, even when he produced his album Swingology 101 (2011), using Reason 5. He also details how the SP-303 has a unique feature that allows you to sample the input and sequencer simultaneously. This allowed him to create sounds over a record playing, a feature that was subsequently discontinued.
The SP-303, and even its predecessor the SP-202, will forever remain on the radar for modern lo-fi hip-hop producers. Once they’ve mastered the latest model (the SP-404 MKII), there is a tendency to go back and explore the grittier sound of the SP-303. As Madlib, J Dilla, and MF DOOM discovered, its limitation made it a catalyst for creativity and meaningful collaboration.
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San Francisco’s Portola Festival is for the music heads — but still has room to growPortola Music Festival is for the real music lovers, the ones that like to get down.
On September 28 and 29, seemingly every raver from the San Francisco Bay Area descended upon SF’s crane-filled Pier 80, transforming the active shipyard into a massive dance floor.
Portola’s strength is its expansive definition of dance music fortified by a hearty dose of live performers like Justice, Gesaffelstein, Tycho, RÜFÜS DU SOL, Disclosure, Soulwax, Barry Can’t Swim, and LP Giobbi (who showed off her deft piano skills in a sparkling hybrid set).
Launched three years ago by Coachella-producer Goldenvoice (owned by American live event monolith AEG), Portola has become a major event in California’s festival season. Amidst a shaky, saturated festival market, where events like Goldenvoice’s This Ain’t No Picnic and Barcelona-bred Primavera Sound, both held in Los Angeles County in 2022, weren’t renewed and even Coachella was unable to sell out this year, Portola’s success is impressive (and warranted). The two-day dance music festival sold out for the first time this year, spiking its estimated attendee count to 45,000, up from 35,000 attendees the past two years.
Justice at Portola Festival 2024. Image: Press
While electronic music festivals proliferate across Europe, they remain more limited in the United States — EDC and Ultra are two of the biggest, geared towards the EDM crowd in the glitzy, bottle service havens of Las Vegas and Miami, respectively. Portola feels much more closely related to Detroit’s Movement, one of the country’s longest-running and most authentic-feeling dance music fests, where people show up to dance.
French electro duo Justice is the undisputed highlight of Portola 2024. Their dizzying new 11-ton light apparatus, debuted at Coachella, enraptures revellers as they mashup their catalogue in a raucous, captivating mix, where Mannequin Love, We Are Your Friends and The Party become one, for example. It’s hard to tell what gear Xavier de Rosnay and Gaspard Augé are commanding at their three stations, but the pair spent the captivating 75-minute set carefully attending their synths and controllers, meticulously crafting the sound design live. Even with an annoyingly quiet main stage (likely to avoid noise complaints), Justice still provided a transcendent space trip.
Chicago-bred, SF-based Portola three-time attendee Mike speaks for many of us when naming his favourite sets of the weekend. “JUSTICE in all caps. My friends and I jumped up and down until our bones hurt. The set was truly thrilling and probably a top 10 ever for me…I was looking up their tour schedule afterwards. I want more.”
Soulwax at Portola Festival 2024. Image: Press
Disclosure’s set also stands out; a reminder that the Lawrence brothers’ 2013 debut album Settle still slaps. Their live set is a jovial demonstration of their musicality, with the lads playing drums, bass and synths, even enlisting help from a brass band for Tondo.
Other 2024 highlights include nu-disco queen Jessie Ware, representing the dance pop side of the lineup, who shook it until the Pearls came off in a silver-sequined, pink marabou-lined tunic. Landing a stunning cover of Cher’s Believe, she took a victory lap of the Pier Stage to party with her fans, closing with the unabashed enthusiasm of piano house bop Free Yourself.
Le petite dark prince Gesaffelstein slayed us with his abrasive, sexy synths from up high in his jet-black crystal lair, while Four Tet went into full rave mode in the Warehouse. On the complete other end of the electro spectrum, yet equally captivating, was Peaches with a poignant dose of activism, nudity and full-on camp provided by dancers dressed as vaginas and laugh-out-loud lyrics (see Dick In the Air).
The stacked lineup is the sell for many attendees and something the artists also appreciate. Four Tet could be seen vibing side-stage for Joy Orbison, and Marc Gilfry of funky dance pop outfit Neil Frances tells us that Soulwax’s set was “life-changing” while dancing to Gesaffelstein.
Portola Festival 2024. Image: Press
For Carlita, who played the Warehouse stage with DJ Tennis as their Astra Club duo, the crowd was the highlight of the event. “The vibes were amazing, and I really liked the stage we played. People were really receptive to the music we were playing, and we were going a bit more experimental,” the Turkish-Italian DJ/producer says. “It was a music head crowd. They were not just there to be there; they were there to listen to music.”
The festival is a respite from the city’s notorious unfashionableness, offering residents a vital space to let their creativity shine and freak flags fly, with colourful, sparkly and downright silly attire encouraged. Cute coordinating ‘fits identified friend groups and couples, including an adorable partnered rave raccoon and disco chicken, a nod to Portola’s mascots. While he may have lost his fellow Teletubbies, gay icon Tinky Winky spread unbridled joy as he raged to Justice atop someone’s shoulders.
“We sorely needed a festival like this. People here love to dance (I think noticeably more so than my hometown of Chicago) and Portola is a wonderful venue for that,” Mike adds.
Nia Archives at Portola Festival 2024. Image: Press
It’s refreshing to experience a lineup with an expansive definition of dance music. Portola leans into live electronic acts, including dance pop queens, with a fun helping of millennial nostalgia, including artists ripe for a “comeback,” like Nelly Furtado last year and Natasha Bedingfield and Peaches this year. Yet the decisions to offer M.I.A. a platform to rant about immigration ahead of the election and to keep Róisín Murphy on the 2023 lineup after making anti-trans comments online are deeply questionable.
There are women and people of colour on each lineup, but it could easily be more diverse and representative of dance music’s Black, queer roots in Chicago and Detroit. Futuristic 00’s Bay Area rap group Deltron 3030 was a welcome addition, but it would be nice to see more local acts young and old getting their shine. Portola 2024’s B2Bs were thoughtful, stellar pairings: Astra Club; Ed Banger icons Braxe + Falcon with label head Busy P; earth-rattling techno and electro from Boys Noize and VTSS. A few more pairings would be welcome at future Portolas, including ones uniting younger artists and their elders.
Braxe + Falcon and Busy P at Portola Festival 2024. Image: Press
“Portola is a great lineup. It’s hard to find festivals in the United States where the lineup is focused on good music, there are a lot with lineups that are all over the place,” DJ Tennis asserts. He has some helpful suggestions, though.
“They need to improve the setting because it’s a bit generic. They have to transform the stages into something more special; club-oriented or something [unique]. That’s why I love festivals in Europe like Draaimolen in the Netherlands. They have custom-made visuals and stages and a setting that feels very special.”
DJ Tennis also suggests moving stages be closer to the crowd, to enhance the connection between the artists and fans. Noteworthy moments that collapsed the boundaries of the mainstage—when Jessie Ware danced in the crowd and Justice walked through the middle of the audience to high-five hundreds of fans during The End—underscore this point.
While Goldenvoice noticeably ironed out many of the new event kinks from the first year, 10,000 more guests felt chaotic and intense. Cell service dissipated early in the day, packed stages and very limited rest areas and décor amplified the matter, while bar and bathroom lines remained notably short throughout the event in both GA and VIP. The VIP offering felt worth it, offering prime vantage spots and dancing space at all four stages, with a new VIP area connecting the adjacent Crane and Ship stages this year, making bouncing between them much easier. Yet given the steep starting price point of $440 for GA and $670 for VIP (a slight increase from 2023) and the already not-very-underground idea of offering the latter in the first place, its value is relative. The lack of seating outside of VIP feels cruel, especially considering the ground is asphalt, not grass.
Jessie Ware at Portola Festival 2024. Image: Press
“It’s fun to see how it’s evolved,” Dallas-born, SF-based Christy, whose been to every Portola, reflects. “The lineup is always really great and not oversaturated. There’s only four stages, which is manageable; it’s not too big and it’s easy to get from one stage to the other.”
Portola is now a highlight of California’s music festival scene and electronic-centric North American fests. It’s a much-appreciated homecoming event for Millennial ravers, with a lineup fresh and eclectic enough to have more-than-something for everyone. As it continues to grow, using its platform to highlight the genre’s American-bred OGs and local innovators would be a welcome expansion of its concept.
Read more features on culture, artistry and creativity. 
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Range Media Partners sued by talent giant CAA for alleged theft of confidential informationLawsuit claims that Range is 'an unlicensed talent agency built on deceit'
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John Summit on Collaboration, His New Record Label and Advice to Aspiring DJ/ProducersThis week, Ari talks with John Summit, world-renowned DJ/producer, about how he worked his way from bedroom beats to global success.

H200 headphones from ADAM Audio ADAM Audio’s latest product sees the company take their first step into the headphone world, introducing a new pair of closed-back cans that promise to deliver the same signature sound as their popular range of studio monitors.

CRBN2 headphones’ SLAM acoustic technology offers groundbreaking bass response – but it doesn’t come cheapSony-owned headphone manufacturer Audeze has given one of its flagship products an upgrade. Building on the bones of the original CRBN model, CRBN2 promises an immersive, fully optimised listening experience.
Thanks to Audeze’s very own Symmetric Linear Acoustic Modulator (SLAM) technology, CRBN2 boasts a bass response superior to its predecessor. The acoustic system enhances lower frequencies, giving the earphones a tactile, physical bass sensation.

READ MORE: Best headphones for music producers, DJs and musicians

Audeze argues that its SLAM technology provides an “unmatched” listening experience unlike any other electrostatic headphone on the market right now. The enhanced bass response aims to plant listeners firmly in the world of the track they are listening to, allowing for a truly spatial sonic experience.
Audeze CEO Sankar Thiagasamudram has emphasised this factor, insisting that the company’s latest product will provide a ‘lifelike’ listening experience. “Our goal was to create an immersive experience that truly brings music to life leveraging the audio innovations Audeze is known for,” he says.
“With CRBN2, we’ve pushed the boundaries of electrostatic technology even further, introducing our new SLAM system to deliver the most lifelike bass and transparency ever achieved in an electrostatic headphone,” he asserts.
The headphones are designed with pretty premium materials, so your musical journey will be nice and comfortable. We’ve got leather earpads, a suspension headband, all the carbon fiber you could hope for. And it comes in at a relatively light 480 grams.
The design is inspired by a project to produce headphones that can safely be worn during MRI scans. Headphones with any ferrous metals are a no-go when getting an MRI due to the machine’s powerful magnetic fields. Alongside the UCLA School of Medicine, Audeze developed the carbon-nanotube electrostatic driver.
As well as bring MRI-safe, Audeze’s second-gen carbon-nanotube electrostatic driver pairs nicely with the fresh SLAM technology. The combo is set to offer “exceptional” sound fidelity.
Each pair of CRBN2 headphones is also hand-assembled and tested in California. With that in mind, the company insist means each pair will be of the utmost quality.
CRBN2 headphones can be pre-ordered now for $5,995.00. However, if you already own CRBN headphones, a Loyalty Update Program will allow you to upgrade for just $995.

The post CRBN2 headphones’ SLAM acoustic technology offers groundbreaking bass response – but it doesn’t come cheap appeared first on MusicTech.

The UK ‘hit’ music industry is becoming an import market for US stars.MBW founder Tim Ingham discusses the paucity of British artists making waves in the UK's own charts in 2024
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Graillon 3 is a live voice changer and pitch correction plugin – and you can get it for freeAuburn Sounds has given its Graillon pitch correction plugin a long-awaited facelift: enter Graillon 3.
As Graillon 2 was beloved for its live voice alteration and pitch correction, Graillon 3 offers an enhanced experience. With a fresh UI, built-in effects and an intuitive trio of pitch engines, Auburn Sounds has pulled out all the stops – even for the free version.

READ MORE: AIAIAI launches “world’s first” wireless headphones designed for DJing

The plugin’s core pitch-shifting technology can now be achieved through three different pitch engines. The selection offers G2, G3 and I1 engines.
G2 entirely recaptures Graillon 2’s classic sound, including the outdated instalment’s flaws and distinctive textures. G3 embodies Graillon 3’s renewed engine, offering Auburn Sounds’ fastest pitch-correction to date, as well as allowing the detection of high notes (unlike G2). However, the best engine seems to be the I1, which utilises Auburn Sounds INNER PITCH pitch-shifter technology. However, while I1 offers the best, most natural pitch-shifting, it is seven times slower than the other modes.

The plugin also comes with a handful of built-in effects; you can toy with compression, gate, preamp, chorus and bitcrusher effects. Thankfully, every effect has been fine-tuned to avoid latency, meaning you can compress vocals to your heart’s content without fear of delay.
Graillon 3 also offers a few other features to tweak how much pitch-correction is at play. The Snap Min feature allows you to minimise correction, enabling you to preserve some of your natural timbre and vibrato. Formant shifting has also been added, allowing you to scale your formant shifting between 0-100 per cent
While the plugin remains free, there are a few features that can only be accessed through purchasing the Full Edition. This includes a doubler effect, and Pitch-Tracking Modulation to allow precise microtonal adjustments.
Graillon 3 also boasts the same CPU-friendly costs as its predecessors. While it offers up a wider range of features and enhanced voice-changing potential, it still wont slog down your system.
Graillon 3 is free to download at Auburn Sounds. The Full Edition upgrade currently costs $29.

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Scalpers offer hundreds of US Oasis tickets before they are on saleTicket scalpers are offering hundreds tickets at grossly inflated prices to upcoming Oasis North America tour dates before they are even on sale.
The post Scalpers offer hundreds of US Oasis tickets before they are on sale appeared first on Hypebot.

Pink Floyd catalogue finally sold in $400 million deal with Sony, reports claimPink Floyd have sold their music catalogue to Sony in a $400 million deal, according to sources.
Original reports that the English rock band were looking to make the sale first began circulating in 2022. The sale was then delayed, allegedly due to “infighting” among band members.

READ MORE: Sony Music CEO wants free streaming users to start paying – would it ever work, though?

At the time, a bidder for the catalogue alleged that the strained relationship between bassist Roger Waters and guitarist David Gilmour had “made it impossible” to come to an agreement.
Gilmour shared back in September this year that he was hoping a sale would still go ahead, and confirmed that discussions were ongoing. He told Rolling Stone, “To be rid of the decision making and the arguments that are involved with keeping it going is my dream.”
Now, according to the Financial Times, the sale is believed to have gone ahead, and includes Floyd’s recordings catalogue, neighbouring rights, and also ‘name and likeness’ rights. However, it does not include publishing rights.

According to Music Business Worldwide, it was originally believed that the catalogue had attracted interest from the likes of Warner Music Group, BMG, Hipgnosis, Concord, Primary Wave, and private equity group Blackstone, as well as Sony Music Group.
Back in June, Sony landed the biggest acquisition sale of its kind for the back catalogue of Queen, with a reported record-breaking deal of $1.27 billion. Allegedly, another bidder (who remained anonymous) almost secured the catalogue, but had not offered more than $900 million. As well as Queen, Pink Floyd join artists such as Bruce Springsteen (whose catalogue sold for $500 million) and Bob Dylan, in making such a deal with their music.
The post Pink Floyd catalogue finally sold in $400 million deal with Sony, reports claim appeared first on MusicTech.

How To Get ISRC Codes & Report Music Sales for Charts to LuminateUnderstanding ISRC codes is crucial for tracking performance and reporting music sales for chart inclusion accurately. Learn how to get ISRC codes and report music sales for charts to Luminate.
The post How To Get ISRC Codes & Report Music Sales for Charts to Luminate appeared first on Hypebot.