Musical Instrument Industry Unites to Support Victims of the Los Angeles WildfiresIn the wake of the devastating wildfires in Southern California, leading manufacturers from the musical instrument (MI) industry have joined forces to help support the recovery of music programs and musicians impacted by the fires. Gibsonthe iconic American-made instrument brand,and Guitar Centerthe world’s largest retailer of musical instruments, are bringing the music community together through their philanthropic divisions Gibson Gives and The Guitar Center Music Foundation to provide immediate funds and support for musicians and humanitarian aid organizations across Los Angeles.To maximize this effort, Gibson and Guitar Center have enlisted the assistance and support of many prominent manufacturers from the MI industry including AKG, AlphaTheta/Pioneer, Audio-Technica, DW, Eastman, ESP Guitars, Hoshino (Ibanez Guitars/TAMA Drums), JBL Professional, C. F. Martin & Co., Pearl Drums, Remo Inc., Roland, Saga, Schecter Guitar Research, Shure, Sony Music, Universal Audio, Vater Percussion, Yamaha, Avedis Zildjian Co, and more in a massive and unprecedented donation relief effort.For musicians, music professionals, or a nonprofit music program based in the Los Angeles area affected by the fires, The Guitar Center Music Foundation and Gibson Gives are donating a special one-time grant to replace instruments and gear. Los Angeles musicians who lost their instruments and gear can reach out and apply HERE now through February 28, 2025. Proof of loss or address may be required.The brands have partnered with the NAMM Foundation L.A. Wildfires Relief Fund as well as the NAMM Show which is providing two dedicated L.A. Wildfire Relief Centers during the upcoming NAMM Show, held at the Anaheim Convention Center (January 23-25). These relief centers inform attendees on how they can support the coordinated efforts of this initiative. They will be in Hall C and in ACC North Level 2. For those who donate $35 or more onsite to the GCMF at the Anaheim Convention Center, they will receive their choice of a special edition GCMF branded t-shirt, tote bag, or hat."We are devastated by the recent fires that have deeply affected our artist communities and the places they call home. In response, we are committed to providing impactful support to help rebuild and heal. We understand the powerful role music plays in the healing process, and we will continue to stand with our community, using the strength of music to bring hope and recovery." -- Erica Krusen, Global Executive Director, Gibson Gives."I am deeply grateful to see such an outpouring of support from everyone coming together to assist musicians who have tragically lost their instruments in the fire. This collective effort is not just about replacing instruments; it’s about restoring the power of music in people’s lives—a vital source of healing, renewal, and strength as they navigate the journey of rebuilding their lives and communities." -- Myka Miller, Executive Director of The Guitar Center Music Foundation.“We are overwhelmed and deeply appreciative of the generosity from our music industry. NAMM and The NAMM Foundation are collaborating closely with NAMM Members to unify all efforts and maximize relief efforts for the those impacted by the LA Wildfires." -- John Mlynczak, NAMM president and CEO.The post Musical Instrument Industry Unites to Support Victims of the Los Angeles Wildfires first appeared on Music Connection Magazine.

ASCAP Experience 2025 Has Been CanceledASCAP Experience 2025 Has Been Canceled"We understand how devastating and challenging these past few weeks have been for the Los Angeles community. Given the evolving and uncertain situation in the wake of the Los Angeles fires, we have decided to cancel our ASCAP Experience that was scheduled for February 27. Our venue for the event is in an area currently still under evacuation. All registrants will be given a full refund. Refunds will be made automatically to the payment method used for your registration.Many ASCAP members have been impacted by the LA fires and need immediate assistance. With a desire to support the recovery efforts, ASCAP has set up an emergency relief fund of $1 million for our songwriter and composer members who have suffered from loss and damage to their homes and studios or been evacuated from their homes.We know how powerful our community can be when we can come together for a common purpose. All of us at ASCAP were looking forward to being with our ASCAP Experience attendees, and we are disappointed not to be able to move forward at this time. Our goal, as always, is to provide you with the best advice, tools, networking opportunities and more that you need to achieve your creative aspirations, and we will keep you apprised of future plans.More info hereThe post ASCAP Experience 2025 Has Been Canceled first appeared on Music Connection Magazine.

Dogecoin to $1? Traders say a 140% DOGE rally could happen before FebruaryAnalysts say Dogecoin has a 60% chance of hitting $1 before Jan. 31.

ChatGPT’s head of product will testify in the US government’s case against GoogleThe U.S. government has picked Nick Turley, ChatGPT's head of product, to testify in its antitrust case against Google.
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Android Head Unit Gets Volume Knob UpgradeTouch screen head units are pretty much the norm these days. Many compromise with annoying on-screen volume controls or tiny buttons. If you find yourself with such a unit, you  might like to hack in a real volume knob. [Daniel Ross] shows us how to do just that.
The build uses an ATMega328 as the heart of the operation, though [Daniel] notes an Arduino Uno or Mini would have done just fine. It’s set up with a 74HC14 hex Schmitt trigger, and a CD4066 quad bilateral switch on a custom PCB. As for the volume knob itself, it’s not a real analog pot, instead it’s using a rotary encoder with a center push button. The way it works is that the Arduino reads the encoder, and figures out whether you’re trying to turn the volume up or down based on the direction you’re turning it. It then sends commands to the CD4066 to switch resistors in and out of circuit with lines going to the stereo to emulate the action of volume buttons on the steering wheel.
[Daniel’s] guide explains how everything works in greater detail, and how you can calibrate your head unit to accept these signals while preserving the function of your actual steering wheel volume buttons. Then you just have to find a neat way to integrate the knob into your existing dashboard.
We don’t see as many car stereo hacks in this era when infotainment systems rule all, but we’ve seen some great stuff from older vehicles over the years. Video after the break.

From Drake suing Universal Music to TikTok facing a US ban… it’s MBW’s Weekly Round-UpThe biggest stories from the past week – all in one place…
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New Bambu Lab Firmware Update Adds Mandatory Authorization Control SystemAs per a recent Bambu Lab blog post, its FDM printers in the X1 series will soon receive a firmware update that adds mandatory authentication for certain operations, starting with the firmware update on January 23rd for the aforementioned FDM printers. These operations include performing firmware upgrades, initiating a print job (LAN or cloud), remote video access and adjusting parameters on the printer. Using the printer directly and starting prints from an SD card are not affected.
As reasoning for this new feature Bambu Lab points to recent exploits that gave strangers access to people’s printers, though cheekily linking to an article on an Anycubic printer exploit. While admittedly a concern, this mostly affects internet-exposed printers, such as those that are tied into a ‘cloud’ account. Even so, LAN-based printing also falls under this new mandatory authentication system, with Bambu Lab offering a new tool called Bambu Connect for those who insist on using non-Bambu Lab branded software like OrcaSlicer. This allows for exported G-code files to be sent to a (property authenticated) Bambu Lab printer.
For those who do not wish to use this feature, not upgrading the firmware is currently the only recourse. Although this firmware update is only for X1-series printers, Bambu Lab promised that it’ll arrive for their other printers too in due time. While Bambu Lab printer owners consider installing the alternative X1 Plus firmware, the peanut gallery can discuss the potential security issues (or lack thereof) of an open Fluidd or similar UI on their LAN-connected, Klipper-based FDM printers.
Thanks to [mip] for the tip.

The Nord Piano 6 brings advanced layering functionality and new effectsNAMM 2025: Nord has added a new model to its flagship Nord Piano range, the Nord Piano 6.
Chief among its new features is advanced layering functionality, which enables the player to two independent piano or sample-based synth layers at once, with each layer controllable via an LED-equipped fader.

READ MORE: Audient’s new flagship eight-Channel iD Interface features Switchable Analogue Insert technology

As with prior models in the Nord Piano range, sounds in the Nord Piano 6 are sampled using a wide range of real-world instruments. In the piano section, those instruments include a range of grand, upright and electric pianos from Nord’s Piano Library – with new features like Dynamic Compression and Unison – while the synth section emulates sounds from guitars to orchestral elements to classic analogue synths.

In terms of effects, the Piano 6 adds new spring reverb and spin effect types, as well as fresh delay modes and amp tones. Apart from the reverb, which acts as a global effect, the Nord Piano 6’s effects can be applied individually to each layer. Other new features include 120-voice polyphony, advanced string resonance, and options for soft, mid, bright, and Dyno filters.
The Nord Piano 6 comes in 73- and 88-key configurations, priced at £2,999 and £3,299, respectively.
For more information, head to Nord.
The post The Nord Piano 6 brings advanced layering functionality and new effects appeared first on MusicTech.

Supreme upholds ban! How to save TikTok contentOn Friday, the U.S. Supreme Court confirmed the law that will ban TikTok as of this Sunday January 19 and President-elect Trump said he wouldn't decide what to do until after he took office. With at least a temporary shutdown is likely, learn how to save TikTok content and followers.
The post Supreme upholds ban! How to save TikTok content appeared first on Hypebot.

Switch: instrument routing controller from Flock Audio Flock Audio have announced the upcoming launch of a new device that brings their renowned digitally controlled analogue routing technology to the instrument world.

21 Savage, Gunna, Metro Boomin’, and Wiz Khalifa to perform at Balad Beast 2025 in Saudi ArabiaThe MDLBeast-organized event takes place January 30-31 at the UNESCO World Heritage site of Al-Balad
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Discogs to donate sales revenue to MusiCares’ LA Fire Relief todayMusic marketplace Discogs to donate sales revenue to MusicCares' LA Fire Relief efforts this Friday, January 17. Every record purchased on Friday will generate funds that will be shared with LA’s music community.
The post Discogs to donate sales revenue to MusiCares’ LA Fire Relief today appeared first on Hypebot.

10 things I did to make $2000 off my Brooklyn House ConcertLearn how indie rapper Kosha Dillz turned his messy Brooklyn home into a sold-out show, making $2,000 in one night. From exclusive VIP experiences to surprise performances, here are 10 steps to create an unforgettable event.
The post 10 things I did to make $2000 off my Brooklyn House Concert appeared first on Hypebot.

How Spotify built a new business, and what comes nextSince its inception, Spotify has been, and continues to be, the streaming music market’s lightning rod. This is due to its continued ability to maintain leading market share and the fact it is the only leading global DSP that is independent and therefore has to focus place more focus on commercial sustainability than peers owned by global tech superpowers. Working within the constraints of what music rightsholders will permit, Spotify has balanced testing how far it can push boundaries (the aborted Direct Artists; the audiobook bundle controversy) with launching new formats and business models. Given the constraints, Spotify has managed to institute a remarkable amount of change. So much so that the Spotify that stands on the precipice of the second half of the decade is dramatically different to the one that launched in 2008.

The venture capital mantra, which in turn is the start-up mantra, is “do one thing well”. Spotify did exactly that and stuck at it for many years. But a truism for the evolution of business change is that what got you here won’t get you there. Indeed, as Spotify moved towards IPO and then navigated life as a public company, it needed to change. Investors wanted a path towards profitability and away from what they saw as excessive rightsholder control.

To achieve this, it had to move away from the one thing mindset and adopt a much more maximalist worldview. The first Spotify is still at the core of the new Spotify, but similar to a caterpillar’s metamorphosis, Spotify is spreading its wings as something dramatically different. As these changes have been progressively iterated, the change has sneaked up on the music business and it is only by comparing what Spotify is now versus what it was that we can truly understand what Spotify 2.0 is and what it will become:

Spotify 1.0: Version one was very clearly a music service, operating for rightsholders, with a tightly defined licensing model and a minimalist approach to personalisation and curation. It was a tool for people to find the music they knew and for rightsholders to get paid. But the fixed costs model (i.e., Spotify was always going to pay ~70% of its revenue to rightsholders and would always be beholden to their will and wishes) did not leave much room to manoeuvre and investors did not like that. The strategic irony is that if rightsholders had let Spotify do more with music, then it would may have had to look beyond music to grow.

Spotify 2.0: Spotify has essentially spent the last few years lessening music rightsholder control. It has fostered a surrounding ecosystem that resulted in: an accelerating proliferation of new music (even if the volume was slightly down in 2024); new music formats (production music / ‘fake artists’; Gen AI); non-music formats (podcasts, audiobooks, video); and a creator economy (especially podcasts). With algorithmic curation and hyper-personalisation, it has shifted the emphasis of the user relationship from being with artists to the platform. The result is a transformation of user proposition, from a place to find the music you like; to a platform that fills your eyes and ears with multi-format content the algorithm chooses for its users. On top of this, different license fees for production music, bundle tiers, direct deals with audio providers, first-party audio content and Discovery Mode mean that Spotify now operates with a blended, variable, and higher margin costs framework. One in which it exercises more control. And, crucially, Discovery Mode reverses the money-flow polarity, turning the rightsholders Spotify was a customer of, into its customers.

This is where Spotify sits now. But do not think of this as ‘job done’. As with all strategic analysis, we need to look at the where the ball is going to be passed to, not where it is now. To do that, we need to look at what paths Spotify’s new assets open up.

If we work under the assumption of continued evolution rather than dramatic change, Spotify 3.0 is likely to be one in which Spotify further increases autonomy via user experience, content strategy, and commercial model:

Further emphasis on non-music content through programming and curation

Greater emphasis on non-traditional rightsholder music (production music ‘artists’ and generative AI – including in-house AI similar to what Tencent has been doing for years)

Increased flattening of the value proposition to one in which ultimately the user relies on the algorithm to determine not just what music a user listens to, but whether the right content at the right time of day is even music at all

Spotify started off as an elegantly simple music service that helped music rightsholders navigate their way out of piracy and into sustained industry growth. Both Spotify and the music industry won. To return to the metamorphosis analogy, if Spotify 1.0 was the caterpillar, and 2.0 was the chrysalis, then 3.0 will be the butterfly. However, this will be a butterfly that no longer flaps its wings to the music industry’s tune.

Tycho: “The most basic DAWs have enough tools in them to be able to make, like, 90 percent of all music ever created”With countless new software and plugins getting released each day, it’s easy for musicians to fall into the trap of constantly chasing the next shiny tool when making music.
Though according to 47-year-old producer Scott Hansen – aka Tycho – this obsession with gear is often misplaced—for most music, he argues, can be created with even “the most basic DAWs”.

READ MORE: NAMM 2025 Live: Latest rumours, news and products from the biggest music technology show in the world

Speaking in an interview with MusicTech, Tycho shares his thoughts on the gear-focused culture that dominates today’s music-making landscape.
He states that contrary to popular belief, producers and beatmakers “don’t need every sound to be magical and have all that character”.
What’s more crucial, instead, is mastering the tools already at your disposal.
“The most basic DAWs have enough tools in them to be able to make, like, 90 percent of all music ever created,” says Tycho, “So now it’s just down to you learning how to use it, not the lack of access, which I think is so powerful.”
His thoughts on gear and creativity aside, Tycho also opens up about the challenges of being an artist in the digital age, particularly when it comes to navigating the often-toxic online environment.
“Being an artist and putting yourself out there these days…That’s been an interesting thing to watch shift,” he says. “Just to see the dialogue change over time on those platforms. I feel like [the Tycho] fan base is so cool and accepting and understanding, and they’re just along for the ride. But on other people’s pages and on YouTube, I see people paring things down, and being so opinionated and so negative.”
“It makes you start to believe that the rest of the world has this negative tone. But then you go into the real world and talk to people, and people are really cool, kind and caring. So [the online world has become] this ugly, funhouse mirror of what people are really like.”
In the same interview, the producer also reveals what he considers “one of the best soft synths ever made”.
The post Tycho: “The most basic DAWs have enough tools in them to be able to make, like, 90 percent of all music ever created” appeared first on MusicTech.