Leapwing Audio introduce LimitOne LimitOne uses two algorithms to combine processing in the frequency and time domains for a fresh approach to limiting.

Lisa Bella Donna Incorporates Found Sound with Austrian Audio MiCreator StudioLisa Bella Donna is one of the most visible and prolific figures in the world of synthesizer-based composition working today. Across dozens of full length releases, she has explored a vast array of evocative sonic landscapes created with a unique combination of intuitive modular composition techniques and natural found sounds.

Her latest release, Hysteresis, dives even deeper into these possibilities across a diverse quartet of compositions that range from the gently hypnotic chimes of Gardens of Windfall to the pulsing rollercoaster of the title track. A key component in the creation of Hysteresis was the natural inspiration provided by Bella Donna’s home in Appalachia, which she incorporated through purposeful field recording. One of her favored microphones for capturing these natural sounds in-the-moment was the Austrian Audio MiCreator Studio.

Hysteresis is available now on Lisa Bella Donna’s Bandcamp and all streaming platforms. For more information, visit: lisabelladonna.bandcamp.com

For more information about the Austrian Audio MiCreator Studio, visit: austrian.audio/micreatorThe post Lisa Bella Donna Incorporates Found Sound with Austrian Audio MiCreator Studio first appeared on Music Connection Magazine.

BNY nears crypto custody for ETFs after SEC softens SAB 121 stanceBank of New York Mellon will not be held to SEC accounting practices for client crypto custody after a review.

ChatGPT: Everything you need to know about the AI-powered chatbotChatGPT, OpenAI’s text-generating AI chatbot, has taken the world by storm since its launch in November 2022. What started as a tool to hyper-charge productivity through writing essays and code with short text prompts has evolved into a behemoth used by more than 92% of Fortune 500 companies. That growth has propelled OpenAI itself into […]
© 2024 TechCrunch. All rights reserved. For personal use only.

ESP32 Powers Custom Darkroom TimerDeveloping your own film is an unabashedly analog process, which is one of the reasons people still gravitate towards it. After spending all day pushing buttons and looking at digital displays, spending some quiet time in the dark with pieces of paper and chemicals can be a way to decompress. But that doesn’t mean there isn’t room for a bit of modern digital convenience.
Specifically, [John Jones] wanted a timer that offered more features than his old school analog model, so he decided to build one himself. He took the long away around to make sure the end result would be a tool he could rely on, which meant getting a custom PCB made, 3D printing a case to fit in with his existing workspace, and designing a control panel that he could operate in the dark.
The PCB plays host to an ESP32 development board and an I/O expander that connects up to the array of LEDs, switches, and buttons on the front panel. The bottom-half of of the 3D printed enclosure is pretty simple, but the control panel is quite a piece of work.
Borrowing a trick from the flight sim community, [John] switched over to a clear filament after laying down the first few layers of the panel. This essentially created an integrated light diffuser, and with the addition of a few red LEDs, he had very slick backlit labels on his panel with relatively minimal effort.
We’ve covered custom darkroom tools in the past, from this relatively simple enlarger to an automated system that will develop the film for you.

Firebird’s latest deal is with Hills Artists, the management home of LANYLos Angeles-based Hills was launched in 2018 by Rupert Lincoln
Source

3D Printing On Top Of Laser Cut Acrylic[Julius Curt] needed to mark acrylic panels with a bit more clarity than the usual way of rastering the surface, so they attempted to 3D print directly to an acrylic sheet, which worked perfectly. The obvious way to do this was to bond the acrylic sheet to the bed with glue temporarily, but another way was tried, and it’s much less messy and precarious.
The bond between a 3D print and acrylic is very strong
The first step was to create a 3D model which combined a constraining ‘fence’ to contain the acrylic panel with the required artwork floating above. It was easy enough to run the print long enough to build the fence, then pause the print mid-way to add the pristine panel and restart after a quick re-prime and wipe.
There were a few simple takeaways from the video below. First, to ensure sufficient tolerance between the fence and the panel, consider the layer width (plus associated tolerance when printed) and the laser kerf of your machines to ensure a not-too-sloppy fit. Secondly, that hot nozzle won’t do the acrylic surface any favours during travel moves, so enabling Z-hopping is essential!
Another use for this simple technique is to fully incorporate an acrylic sheet within a print by pausing at an appropriate height again, dropping the panel in, and continuing the print. A degree of overlap will lock the panel tight, with the plastic bonding very firmly to the acrylic, as [Julius] demonstrates in the video.
It’s always a delight to see how techniques can combine to create the desired effects. Here’s how to use a color laser printer and toner transfer paper to apply designs to a 3D printing front panel. Whilst we’re thinking about the multitude of uses for hacking with acrylic, what about not doing that and using corrugated plastic instead?

The MLC urges court to deny Spotify’s motion to dismiss ‘bundling’ lawsuitThe MLC has filed a formal response to Spotify's motion to dismiss
Source

Apple Album Booklets: 50K added to Classical but not Apple Music50,000 Apple Album Booklets have been added to Apple's classical music app "to enhance your listening experience," but no booklets are available on the main Apple Music service.
The post Apple Album Booklets: 50K added to Classical but not Apple Music appeared first on Hypebot.

Arturia announces AstroLab 1.3 update  AstroLab 1.3 update introduces six new and updated instruments, along with 290 new presets, including tributes to iconic artists.

Roland’s new JUNO-D synthesiser keyboard models feature the same ZEN-Core engine found in its “top-tier” synthsRoland has launched a new range of synthesiser keyboards for gigging musicians and budding creators – the JUNO-D series.
The lineup features the JUNO-D6, -D7, and -D8, all of which feature light, “go-everywhere designs” and host its ZEN-Core engine, found in other Roland “top-tier” synths. They also feature flexible connectivity, and according to Roland, are easy to operate.

READ MORE: Roland’s new AIRA Compact P-6 offers high-quality sampling on-the-go

The models also feature keyboards inherited from Roland’s FANTOM-0 series instruments. The 61-note JUNO-D6 and 76-note JUNO-D7 are equipped with synth-action keyboards, while JUNO-D8 offers a piano-style experience with 88 weighted-action keys and hammer action. Aside from the actual keyboards and physical specifications, all JUNO-D models offer the same features.
The models also come with a large sound library, an eight-track sequencer, and can be powered via AC or a standard USB-C mobile battery, ready for on-the-go stage playing, street performance, or music creation at home.
Over 3800 sounds are on board in each, including acoustic and electric pianos, vintage and modern synths, organs, orchestral instruments, world sounds, and more. You can also import WAV samples to your JUNO-D model, or utilise the Roland Cloud for further Sound Packs and Wave Expansions.

Players can additionally access 16 different sound categories via dedicated buttons found on each instrument, plus Dual, Split, and Super Layer functions to combine tones or assign different parts to the left and right hands. There’s an eight-track sequencer with TR-REC step input available, real-time recording options, and eight phrase pads to trigger rhythm patterns or mute tracks to shape arrangements too.
You can also add vocals to performances using a built-in mic input and make use of handy effects, including compression, EQ, reverb, and noise suppression. Auto pitch and vocoder effects are also available.
The Roland JUNO-D6, JUNO-D7, and JUNO-D8 are now available in the US for $899.99, $1,149.99, and $1,299.99 respectively. Find out more over at Roland.
The post Roland’s new JUNO-D synthesiser keyboard models feature the same ZEN-Core engine found in its “top-tier” synths appeared first on MusicTech.

3 Reasons Artists should still do Virtual ConcertsCheck out why, even post-lockdown, artists should still do virtual concerts. Discover the benefits and challenges, how they offer a new way connect with fans worldwide, and their impact on the future of live performances.
The post 3 Reasons Artists should still do Virtual Concerts appeared first on Hypebot.

“You may never EQ again – if we succeed”: Waves Audio announces new Curves plugins, which it claims can do your EQ for youWaves Audio has announced a new trio of plugins, the Curves Spectral Series, which it claims will help do your EQ for you.
The first plugin in the trilogy, the Curves Equator, focuses on resonance suppression and will be available this month. The next two plugins will arrive next year and are set to focus on traditional audio equalisation and EQ matching respectively.

READ MORE: PreSonus users rage at Studio One Pro 7 upgrade prices and lack of new feature mentions

In a new video hosted by Product Manager Shai Fishman, he claims: “You may never EQ again… if we succeed.”
“We know you know how to EQ,” Fishman continues. “If you think about EQ technology, it hasn’t really advanced in the last 30 years. We thought there had to be a better way to get rid of Q’s and frequencies and nodes and all that stuff that’s really tedious and technical about EQ. Why not have the technology do the work for you? Go where you want to go, without worrying about the technical aspects?”
Fishman later explains how the Curves plugins together can effectively “do the EQ for you” with artificial intelligence. “It listens to your content,” he says. “Each plugin in the Curves series can learn your audio. Equator stabilises and protects it from anomalies. The next plugin will be able to EQ for you and even provide you with a few options, and the last plugin will be able to match any target you give it. It’s going to minimise errors, it’s going to actually do the work for you with a very intuitive GUI that allows you to control a lot of technology with very simple and basic functions.”

In June, Waves was one of 50 companies to sign a set of guidelines called Principles for Music Creation with AI, which advocated for the responsible use of AI in music creation. The guidelines seek to protect the rights of musicians as generative AI technology develops, while also acknowledging that AI can be an empowering tool if used correctly.
Waves says the Curves Equator, the first plugin in the Curves Spectral Series – will arrive September 2024. And as we’re nearing the end of the month, we’re betting the release is imminent.
For more information, stay tuned at Waves.
The post “You may never EQ again – if we succeed”: Waves Audio announces new Curves plugins, which it claims can do your EQ for you appeared first on MusicTech.

Women’s Empowerment Anthems: Understanding What MattersWomen's empowerment anthems are not knew but they are seeing a resurgence. What makes some, like Charli xcx's "360" resonate, while others, like Katy Perry's "Woman's World," flop? 
The post Women’s Empowerment Anthems: Understanding What Matters appeared first on Hypebot.

How to create an authentic vintage drum reverb for synthwave and chillwave music stylesThe story of how gated reverb came about at the end of the 70s is a well-read chapter in the Book of Music Production Lore. We aren’t going to rake over those old coals here, but the effect, best exemplified by that drum fill in Phil Collins’ In The Air Tonight, became a defining element of 80s music production.

READ MORE: How to make samples sound better in your music

Overuse of the effect saw it fall out of favour and become increasingly clichéd, but the growing popularity and influence of synthwave is driving a resurgence of interest in the effect.
Many modern reverb plugins feature algorithms and presets for gated ‘verb, but used in isolation these rarely deliver that quintessential 80s sound, especially when it comes to drums. With a little bit of additional work, though, the sound and spirit of the age can be resurrected.
Create a Beat
Create a new project in your DAW and add a drum machine, sampler, or other instrument that can create drum sounds. We’re using Native Instruments Battery 4.

The 80s was when all the now-classic drum machines appeared, so load up a patch or sample bank that mimics a machine of the age. The ongoing popularity of 808s and 909s means their sound can be somewhat timeless, so we suggest looking for something that isn’t so widely used today, for example, a 707 kit (which is what we’re using).
Choose a tempo and create a few bars of a simple beat. We’ll be using the reverb to create interest and impact in the drum sounds, but it doesn’t work so well on rapidly played parts. So keep the beat simple and avoid rapidly repeating parts such as hi-hats, shakers, etc.
Choosing A Reverb Plugin

We aren’t going to create a gated reverb effect entirely from scratch here, but we are using a plugin dedicated to producing the effect: SSL GateVerb. This has an authentic sound and full control over both the gate and the reverb so, if you don’t already have it, grab the demo to follow along closely. If you’re using a different reverb, be sure it has a gated algorithm or impulse – most of this should translate well enough.
We want to use the reverb as a send effect, so create a new bus track (or whatever your DAW calls such things) and insert an instance of your chosen reverb plugin.
Route the Signals

Unlike regular reverb, where typically the aim is to simulate an acoustic space, the aim of gated reverb on drums is to add something that becomes an intrinsic part of the sound itself. The source drum sound does little more than trigger the reverb and provide a transient, and it is the reverb itself that constitutes the majority of the overall drum sound.
Create a send from your instrument track to the reverb track. Set the reverb’s wet/dry balance to 100 per cent wet, turn its channel up to 0dB (remember, we want the gated reverb to be prominent), and then start playback.
Configure the Reverb

Set the reverb’s pre-delay to zero. Adjust GateVerb’s reverb time, trigger threshold and hold time, with the aim of creating a snap of reverb that partially fills the gaps between drum hits.
Keep in mind that, even though the gate hold time deals with the length of each burst of reverb, if you use a long reverb time those bursts may still contain the sound of previous hits, which sounds messy. Conversely, if you use a shorter time, the natural decay of the reverb will kick in before the gate shuts, changing the nature of the effect. So be sure to explore balancing these three parameters until you get a crisp, clean reverb snap after each drum hit.
Adjust the other GateVerb settings to hone in on a sound that you like, and adjust the effect track’s fader to get a good balance with the source drum sounds.
Tuning the Reverb Sound

The gated reverb should now sound like part of the drum sounds themselves. But to get the effect just right we need to do some sculpting with EQ.
Insert an EQ plugin on the effect track, positioning it after GateVerb in the chain. Typically, we want to shape things so the reverb blends well with the snare, and we don’t want too much boominess. Experiment with your reverb until you get to a sound you like.
Further Enhancing the Effect

The varying energy of different drum sounds and hits can create an unevenness in the sound of the gated reverb, and can also make it tricky to set a “just right” trigger threshold for the gate itself. Fix this by adding a compressor plugin prior to GateVerb in the effect chain.
Turning down the source drum track can make it easier to hear the compressor’s effect during setup. To do this you will need to switch the drum track’s effect send to operate in pre-fader mode and then turn down the track’s fader; it will also help to disable GateVerb so you can focus on the compression.
Load a compressor. Set a very fast attack and fairly quick release, and configure the threshold and ratio such that every drum hit has a very similar output level from the compressor.
Re-enable GateVerb, return the drum track to post-fader mode and turn up the drum channel once you’re happy with the compression. Tweak GateVerb’s parameters, in particular the gate Trigger level and Hold time, to accommodate the now compressed input signal.
Different Verbs For Different Drum Sounds

Whilst applying the same gated reverb to kicks, snare, toms and like can work just fine, the point of gated reverb is to enhance each drum hit, and so ideally you should add different gated ‘verbs to match each drum sound or group of sounds. This becomes particularly important with hi-hats, shakers and other drum sounds that are higher in pitch and that tend to have shorter gaps between each hit (shorter gaps demand a shorter reverb time and gate hold time).
The solution here is to create separate outputs from your drum machine/sampler/instrument, and send each to its own effects chain. Some sounds may warrant their own dedicated output (kicks, for example) while others may be happy sharing the same chain (snares and claps, for example).
Configure your drum sound source to use multiple output channels (if it can), and then use the techniques above to create perfect gated reverb effects for each drum channel.
Learn more music production techniques.
The post How to create an authentic vintage drum reverb for synthwave and chillwave music styles appeared first on MusicTech.