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Another new club is opening in London – despite predictions that 57% of clubs will be closed by 2030With The Guardian calling 2024 the year of the “precipitous decline of UK nightclubs”, it’s evident that the clubbing industry has been struggling. A Capital On Tap report even suggests 57% of London’s clubs will close by 2030 – but 2025 could change that.
According to the report, London lost nearly 18% of its clubs and pubs between 2022 and 2025. Based on these figures alone, the UK capital is on chart for a steep decline. However, a string of new London clubs have already opened this month alone.READ MORE: Two dance venues open in East London in quick succession – is the UK’s nightlife scene looking up?
One of the latest clubs to open its doors is Peckham’s 120-capacity HONOR. Nestled underneath a Peckham Rye station archway, the venue is kitted out with a TW AUDiO PA-SYS-ONE soundsystem and has already hosted some events since opening on 4th April.
The venue is being run with the help of DJ Oneman. “HONOR was initially born out of the want to honour DJs and scenes that I appreciate,” he told Resident Advisor . “That’s what built the idea of HONO. It’s thinking about the whole aspect of what clubland and nightlife is all about, and everyone who encompasses it. Sound, light, atmosphere.”View this post on Instagram
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“I like to describe HONOR as being in the end of a lit cigarette. It’s dark, orange and smokey,” he added. “I’m very lucky to be given this opportunity. An opportunity to create a space where the DJ and live culture I love can thrive in the heart of London’s most vibrant community.”
While HONOR is an intimate clubbing haven, other clubs are offering bigger nightlife experiences. No90 Hideout is a newly renovated 450 capacity space in Hackney Wick’s No90, while an abandoned Shoreditch warehouse has been transformed into the 1,500 capacity Unlocked.
According to Unlocked’s launch video, the venue occupies “a once illegal rave venue [that has been] abandoned for a decade” to revive the “fading culture” of East London.View this post on Instagram
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The new venues will hopefully serve as a clubbing renaissance and bring new life to an apparently declining club scene.
Capital On Tap’s findings also hinted at a decline in clubbing across the UK. The report predicts that Leeds, Brighton and Bristol will also lose upwards of 60% of their clubs by 2030. Elsewhere, Sheffield and Liverpool are predicted to see a 50% decline.
However, it could be looking up – the injection of new venues isn’t just exclusive to London. A new club space is set to open in Liverpool on 2 May.
Kapsule will be opening a space within within Invisible Wind Factory’s former wind turbine factory. The club is a collaborative effort from the Invisible Wind Factory and Sun Palace Sound System – the only UK unit who work with a quadraphonic RLA system.
As a result, Kapsule has got its hands on some pretty powerful sonic power, boasting a 4-point high-fidelity soundsystem and substack.View this post on Instagram
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The post Another new club is opening in London – despite predictions that 57% of clubs will be closed by 2030 appeared first on MusicTech.
Caelum Audio DynaBunny is FREE Until May 5
Caelum Audio has released DynaBunny, a quirky but powerful dynamic bitcrusher plugin available for free until May 5th. The plugin drops just in time for Easter and helps mark the release of the developer’s new premium dynamics processor, DynaBit ($59.99). After the free promo ends, DynaBunny will be priced at $12.99. But if you’re quick, [...]
View post: Caelum Audio DynaBunny is FREE Until May 5NAMM CEO warns US musical instruments industry will “lose its global competitive advantage” due to Trump’s tariffsNAMM president and CEO John Mlynczak has once again urged the Trump administration to “exempt musical instruments and accessories, along with materials used to manufacture musical products” from the tariffs announced in President Trump’s recent executive orders.
Earlier this month, Donald Trump rolled out a fresh wave of tariffs aimed at reducing the US trade deficit – a move that sent shockwaves across global industries, including the music products sector. Given how many American brands rely on overseas manufacturing, or on importing key materials not readily available in the US such as certain tonewoods or metals to manufacture their gear, it’s not hard to see why.
Under Trump’s new plan, imports from countries like Vietnam could face tariffs as high as 46% – a move the NAMM executive previously warned will have “devastating consequences” for the music products industry.READ MORE: How will Trump’s tariffs affect the music gear and vinyl pressing industries? A Billboard journalist breaks it down
In response to mounting pushback, Trump has since announced a 90-day pause on what he’s calling “reciprocal” tariffs, essentially delaying enforcement of certain measures until 9 July. Tariffs already aimed at China, however, remain in effect.
Addressing the move in a new statement, Mlynczak welcomed the pause but stressed that the broader uncertainty is already taking a toll: “The negative effects of these measures threaten the economic and cultural impact of US-made musical instruments and accessories, as well as cause our US music products industry to lose its global competitive advantage in producing high-quality products, especially at professional and entry levels,” he says.
“The 90-day pause on reciprocal tariffs announced last week via executive order (until July 9) is a welcomed measure, but the continued unpredictability of these tariff actions makes it difficult for companies to react in a meaningful way.”
“The back-and-forth raising of tariffs between the US and Chinese governments that we have witnessed this past week will have serious business implications and create consumer turmoil for the music products industry,” the statement continues. “The effects of these sudden and unpredictable tariff actions will have a long-term effect on musicians worldwide.”
In addition, last week also saw NAMM sending a letter in support of US-based acoustic stringed instrument manufacturers, urging the US Secretary of Commerce not to recommend additional tariffs on imported tonewoods.
“These tonewoods are often impossible to grow in the US, and they are used to create many iconic music products for American brands,” says the NAMM CEO.
Billboard reporter Kristin Robinson previously broke down how the new taxes could impact the music gear and vinyl pressing industries. She pointed out that bands have faced difficulty bringing unsold merchandise back to the US from international tours, as these also face tariffs, unless the artist is selling only American-made merch. Vinyl prices will likely be hit as well, as the materials used to make them are from overseas countries, including PVC and their paper sleeves.
The post NAMM CEO warns US musical instruments industry will “lose its global competitive advantage” due to Trump’s tariffs appeared first on MusicTech.Fyre Festival 2 postponed weeks before launch – “Well that sucks,” says deadmau5The sequel nobody asked for – but somehow still sold tickets – has officially been postponed. That’s right, Fyre Festival 2 is off. For now, at least.
Less than two months out from its proposed 30 May to 2 June run, the notorious festival’s second chapter has been shelved. The news first trickled out in emails sent to ticket holders and newsletter subscribers, before being confirmed by ABC News.READ MORE: “I need to build the room I want to play in”: Floating Points has created his very own sound system that he’ll use at this summer’s festivals – here’s why
“The event has been postponed and a new date will be announced,” reads the message. “We have issued you a refund. Once the new date is announced, at that time, you can repurchase if it works for your schedule.”
Electronic producer and DJ deadmau5 has also responded to the news, sharing a screenshot of the announcement on his Instagram account along with the caption, “Well that sucks”.View this post on Instagram
A post shared by deadmau5 (@deadmau5)
Tickets for Fyre Festival 2 reportedly ran between $1,400 and $25,000, with “premium” packages being priced as high as $1 million. And while no lineup had been announced, nor any real infrastructure confirmed, that didn’t stop founder Billy McFarland from pushing ahead. Or at least trying to.
The festival was set to take place on Isla Mujeres, a tropical island off the coast of Mexico. But as the supposed location for Fyre Fest 2 came into focus, questions quickly followed. Local officials said they were unaware of any such event being planned.
“For us, this is an event that does not exist,” said Edgar Gasca, from the tourism directorate of Isla Mujeres, in an interview with The Guardian.
McFarland quickly disputed that claim in an Instagram post, maintaining that his team had been “in communication with local and state government to ensure full compliance and a successful event.”
Even so, the paperwork paints a different picture. The only permit reportedly granted was for a 12-hour listening party with a cap of 250 guests — no live music, no festival-scale production, and far from the luxe experience ticket buyers were led to expect.
So, where does that leave Fyre Festival 2? In limbo. Again. But with refunds going out and vague promises of a future date, we’re guessing McFarland isn’t done trying to make fetch happen.
The post Fyre Festival 2 postponed weeks before launch – “Well that sucks,” says deadmau5 appeared first on MusicTech.Roland’s V-Stage keyboard puts a studio’s worth of classic instruments and effects at your fingertipsV-Stage 88: £3,459/$3,999/€3,999
V-Stage 76: £3,027/$3,499/€3,499
roland.com
Ask any serious live player what they want from a keyboard and they’ll likely describe a combination of sound, feel and performance controls you can access fast.
Roland’s new V-Stage models are aimed at people who prize all three and are willing to pay for an instrument that crams a studio’s worth of keyboard instruments into a single unit and then puts the myriad different controls for those instruments at your fingertips rather than burying them in menus. This is no simple task since controlling a grand piano, a Rhodes or an organ are all completely different techniques.READ MORE: Best free plugins: free synths that you didn’t know you needed
Has Roland succeeded, and is there room for another red stage keyboard on the market?
Comparisons with Nord’s Stage 4 are inevitable. Both instruments are aimed at the same type of user, though the Nord is around £400 more expensive still. Blow-by-blow comparisons can be found online and we won’t re-litigate them but will note differences where they arise. My review model was the larger 88-key which Roland says weighs 22 kg but feels as heavy as other weighted 88-key models and is no picnic to move around – you’ll want a serious flight case for it.
It has an integrated power supply fed by a kettle lead, a welcome addition since it’s one fewer peripheral to lose. Then the rear panel has a serious array of inputs/outputs, reflecting its status as a pro gigging instrument. There’s a headphone out, dual XLR balanced outs, stereo jack outs and sub left/right balanced outs and on the input side, stereo line input jacks plus an XLR mic input.
The V-Stage 88. Image: Press
Full-sized MIDI in, out and thru are present as are four control pedal inputs – hold and three controls, assignable to the various pedal types like organ swells or volume you will want to use. Some users have noted the ports here aren’t built as durable as the Nord’s metal versions, which we’d agree with. Aside from this, build quality is solid throughout.
You get handy extras including two USB-A inputs for connecting compatible MIDI controllers, useful for adding an extra organ layer for example. A USB-C port connects to your computer and turns the keyboard into an audio and MIDI interface, with the multiple parts that make up each sound appearing as separate MIDI and audio channels, great for recording or live mixing. Then another USB-A port supports flash drives, the means by which you manage firmware, backups and transferring patches from Roland Cloud. Though this works, it’s a bit anachronistic in 2025 with other developers – like Nord’s Sound Manager – providing far smoother computer integration.
On the other hand, V-Stage has a larger display than the Nord, making on-device editing more pleasurable. And while it’s arguably a matter of preference, I find the Roland’s layout to be more logical and easier to use, especially at a glance, which is just the ticket in a live scenario. My 88-key model uses a weighted keybed with escapement and ivory feel for a more authentic piano experience, but crucially allows enough fluidity for organ and EP runs without hurting your hands. This balance is difficult to get right but Roland has aced it here, making something that works brilliantly across all the different instruments.
Side of the V-Stage 88. Image: Press
Speaking of which, at the heart of V-Stage are four independent sound engines, each with a corresponding section on the front panel. First is pianos, using Roland’s acclaimed V-Piano technology with unlimited polyphony. Based on modelling rather than samples it allows an incredible level of tweaking of all the aspects of the different pianos. Then there’s the electric piano engine and a Virtual Tone Wheel organ with three independent upper, lower and pedal parts. While the organ engine’s polyphony is also unlimited, the electric piano shares a 256-note polyphony with the remaining, synth engine. Synth parts are powered by the Zen Core engine that support expansions via Roland Cloud – several free extra models are provided too.
There’s extensive layer and split functionality of course as well as a powerful system for storing presets. 512 slots are available for Scenes – complete keyboard setups – as well as 128 Scene Chains for managing complex sets. Then there are eight EX Scenes which auto-save changes you make in real time – perfect for capturing those moments of inspiration when playing. One really nice touch is that thanks to the powerful dedicated processors it’s possible to switch sounds or scenes while sustaining the last sound, without any dropouts. It might sound inconsequential but that’s invaluable in the midst of fast-moving performances.
Roland has done an excellent job of placing the most important controls at your fingertips respective to each of the four instrument sections. Each section has a dedicated level control plus a bunch of specific effects and settings, and drawbars, rotary speed and brake for the organ. There’s a total of 16 multi-effects with 93 types and a Master section with multi-band EQ and compression. You can simply experiment with these when you’re trying to sit your sound in a live mix, mid-song without needing the help of the sound engineer.
Scenes. Image: Press
The sounds are excellent, perhaps not surprising given Roland’s vast experience and though the synths are nice to have it’s the acoustic and electromechanical instruments that really sell the V-Stage. The extent to which they have listened to pro players when designing the layout is clear – it’s a live tweaker’s paradise. There are loads of stage-ready presets as starting points but the reality of live performance is that it’s often necessary to change things on the fly. This is so simple to do here. Splits and layers let you build complexity into layouts, taking advantage of the impressive processing power of the keyboard.
If you’re spending north of £3k you’re not likely to be a beginner and this keyboard – and others like it – are really for more accomplished players, ranging up to working professionals. It feels and sounds beautiful and puts the emphasis on supercharging your live performances with hands-on, dynamic effect and sound editing like you’d get from the real instruments.
In truth, the V-Stage is an investment in the same way that a high-performance tool is to any professional. It makes playing a joyous experience, sounds amazing and puts a plethora of sounds and controls right in front of you without ever getting in your way.
If your business is music, the V-Stage just might be the last performance keyboard you ever need.Key features
88-key and 76-key models
4 dedicated sound engines
512 scenes; 128 scene chains
V-Piano modelling technology
SuperNatural models, virtual organs
Add synth models via Roland Cloud
Comprehensive inputs/outputs including XLR mic in
Multi and master effects
USB data and audio/MIDI interface capability
Multiple assignable control inputsThe post Roland’s V-Stage keyboard puts a studio’s worth of classic instruments and effects at your fingertips appeared first on MusicTech.
Rippling wants UK fintech Revolut to reveal who paid off Deel’s alleged “spy”Another highly-valued startup has just been added to the mix in the ongoing legal drama between Rippling and Deel: U.K. fintech giant Revolut. In his blockbuster affidavit that reads like it’s straight out of a movie, Irish Rippling employee Keith O’Brien claimed that he was paid about $6,000 a month to spy on Rippling. He […]
Solana price is up 36% from its crypto market crash lows — Is $180 SOL the next stop?Solana’s native token SOL (SOL) failed to maintain its bullish momentum after reaching the $134 level on April 14, but an assortment of data points suggest that the altcoin’s rally is not over. SOL price is currently 57% down from its all-time high, partially due to a sharp decline in its DApps activity, but some analysts cite the growth in deposits on the Solana network as a catalyst for sustained price upside in the short term.Blockchains ranked by total value locked, USD. Source: DefiLlamaSolana has established itself as the second-largest blockchain by total value locked (TVL), with $6.9 billion. After gaining 12% over the seven days ending April 16, Solana has pulled ahead of competitors such as Tron, Base, and Berachain. Positive signs include a 30% increase in deposits on Sanctum, a liquid staking application, and 20% growth on Jito and Jupiter.Solana's DEX volume surpasses Ethereum layer-2sOne could argue that Solana’s TVL roughly matches the Ethereum layer-2 ecosystem in deposits. However, this comparison overlooks Solana’s strong position in decentralized exchange (DEX) volumes. For example, in the seven days ending April 16, trading activity on Solana DApps totaled $15.8 billion, exceeding the combined volume of Ethereum scaling solutions by more than 50% during the same period.Blockchains ranked by 7-day DEX volumes, USD. Source: DefiLlamaSolana reclaimed the top spot in DEX activity, surpassing Ethereum after a 16% gain over seven days. This was supported by a 44% increase in volume on Pump-fun and a 28% rise on Raydium. In contrast, volumes declined on the three largest Ethereum DApps—Uniswap, Fluid, and Curve Finance. A similar trend occurred on BNB Chain, where PancakeSwap, Four-Meme, and DODO saw reduced volumes compared to the previous week.It would be unfair to measure Solana’s growth only by DEX performance, as other DApps handle much smaller volumes. For example, Ondo Finance tokenized a total of $250 million worth of assets on the Solana network. Meanwhile, Exponent, a yield farm protocol, doubled its TVL over the past 30 days. Similarly, the yield aggregator platform Synatra experienced a 43% jump in TVL during the past week.Synatra DApp screenshot. Source: CointelegraphAnalysts are confident that a Solana spot exchange-traded fund (ETF) will be approved in the United States in 2025. However, expectations for significant inflows are limited due to a general lack of interest from institutional investors and the recent poor performance of similar Ethereum ETF instruments. If the spot ETF is approved, it could strengthen Solana’s presence—especially if the US government’s Digital Asset Stockpile plans come to fruition.Related: Real estate fintech Janover doubles Solana holdings with $10.5M buyInvestors are eagerly awaiting the full audit of US federal agencies’ crypto holdings, initially expected by April 7. However, after missing this deadline, some journalists suggest that the executive order signed on March 7 did not require the findings to be made public. Regardless of whether SOL appears on that list, there are currently no plans from the government to acquire cryptocurrencies other than Bitcoin (BTC).Currently, there are few catalysts to justify a rally to $180, a level last seen 45 days ago on March 2. Without external factors causing a large influx of new participants into the crypto ecosystem, the increase in TVL and DEX market share alone is unlikely to push SOL’s price to outperform the broader market.This article is for general information purposes and is not intended to be and should not be taken as legal or investment advice. The views, thoughts, and opinions expressed here are the author’s alone and do not necessarily reflect or represent the views and opinions of Cointelegraph.
Judy Collins at the GRAMMY MuseumMusic legend and GRAMMY-Winner Judy Collins discussed her poetry book Sometimes It’s Heaven: Poems of Love, Loss, and Redemption with three-time Emmy-winner, On-Air Reporter, and Senior Producer for Extra TV Adam Weissler in the Clive Davis Theater at the Grammy Museum on April 5th. Collins, just a month away from her 86th birthday, has had quite an extraordinary career—the following night she performed at the Fred Kavli Theater in Thousand Oaks, CA. Since her first album release in 1961, Collins has released over 30 albums and her music has spanned the genres of Pop, Folk, Country, and Show Tunes. During the discussion, she spoke of her friendship with Leonard Cohen (they did a duet album together in 2004, Democracy). Of the poems read from her book, Collins read one that she had written quite some time ago about Gene Hackman, who recently passed. Although the event was a book discussion and not a performance, Collins did sing quite a bit throughout the conversation. Afterwards, she signed copies of her book and talked with fans. Collins continues to tour across the U.S.—most recently, in 2023, she toured across England and in 2024, she toured in Australia. Collins first appeared at the GRAMMY Museum for "An Evening With" event in 2011, which was just two years after the museum opened.Photos by Alex KluftThe post Judy Collins at the GRAMMY Museum first appeared on Music Connection Magazine.
The Edward and Joyce Linde Music Building opens with Sonic JubilanceJohann Wolfgang von Goethe (1749-1832), the German polymath whose life and work embodied the connections between the arts and sciences, is said to have described architecture as “frozen music.” When the new Edward and Joyce Linde Music Building at MIT had its public opening earlier this year, the temperature outside may have been below freezing but the performances inside were a warm-up for the inaugural concert that took place in the evening. During the afternoon, visitors were invited to workshops in Balinese gamelan and Senegalese drumming, alongside performances by the MIT Chamber Music Society, MIT Festival Jazz Ensemble, and the MIT Laptop Ensemble (FaMLE), demonstrating the synergy between global music traditions and contemporary innovation in music technology. The building was filled with visitors from the MIT community and the Boston area, keen to be among the first to enter the new building and discover what MIT Music had planned for the opening occasion.The evening’s landmark concert, Sonic Jubilance, celebrated the building’s completion and the pivotal role of MIT Music and Theater Arts (MTA) at the center of life on campus. The program was distinguished by five world premieres by MIT composers: “Summit and Mates,” by assistant professor in jazz Miguel Zenón; “Grace,” by senior lecturer in music Charles Shadle; “Two Noble Kinsmen,” by professor emeritus in music John Harbison; and “Madrigal,” by Keeril Makan, the Michael (1949) and Sonja Koerner Music Composition Professor. The premieres were interwoven through the program with performances by MIT ensembles demonstrating the breadth and depth of the conservatory-level music program — from the European classical tradition to Brazilian beats to Boston jazz (the full list of participating ensembles can be found below). Each performance demonstrated the different ways the space could be used to create new relationships between musicians and audiences. Designed in the round by the architecture firm SANAA, the Thomas Tull Concert Hall allows sound to resonate from the circular stage or from the aisles above the tiered seating; performers might be positioned below, above, or even in the midst of the audience.“Music has been a part of MIT's curriculum and culture from the beginning,” said Chancellor Melissa Nobles in her opening address. “Arriving at this magnificent space has taken the collective efforts of past presidents, provosts, deans, faculty, alumni, and students, all working to get us here this evening.” Jay Scheib, the Class of 1949 Professor and MIT MTA section head, emphasized the vital role of Music at MIT as a source of cohesion and creativity for students, faculty, and the wider MIT community. “The new building is an extraordinary home for us. As a destination to convene communities around world musics and cultures, to engage in emerging music technologies, and to experience concerts and premieres featuring our extraordinary students and our internationally renowned faculty — the Edward and Joyce Linde Music Building is truly a transformational thing." The concert was also the launch event of Artfinity, MIT’s largest public festival of the arts since 2011, featuring more than 80 free performing and visual arts events. The concert hall will host performances throughout the spring, ranging from classical to jazz to rap, and more.Institute Professor Marcus Thompson — the faculty co-lead for Artfinity alongside Azra Akšamija, director and associate professor of the Art, Culture, and Technology Program (ACT) at MIT — shared thoughts on the Edward and Joyce Linde Music Building as a point of orientation for the festival. “Our building offers the opportunity to point to the presence and importance of other art forms, media, practices, and experiences that can bring us together as practitioners and audiences, lifting our spirits and our sights,” Thompson reflected. “An ensemble of any kind is a community as well as a metaphor for what connects us, applying different talents to create more than we can do alone.”The new compositions by the four faculty members were a case in point. The program opened with “Summit,” a brass fanfare projected from the top of the hall with ceremonial zeal. “The piece was specifically written as an opener for the concert,” Zenón explained. “My aim was to compose something that would make a statement straight away, while also using the idea of the ‘groove’ as a driving force. The title has two meanings. The first is a mountaintop, or the top of a structure — which is where the ensemble will be placed for the performance. The second is a gathering of great minds and great leaders, which is what MIT feels like for me.” Later in the program, Zenón premiered a jazz contrafact, “Mates,” playing on Benny Golson’s Stablemates, a tribute to Herb Pomeroy, founder of MIT’s jazz program. “The idea here is to use something connected to the jazz tradition — and to Boston’s history — and approach it from a more personal perspective,” said Zenón.“Two Noble Kinsmen,” by Harbison, was composed as a benediction for the new home of MIT Music. “In choosing to set Shakespeare’s final words in this new piece for choir and strings, I wanted to convey the sense of an invocation, an introduction, an address to unseen forces,” said Harbison. “In this case, I wanted to leave the musical structure as plain as possible so that we understand why these words are chosen. I hoped to capture the stoic balance of these lines — they are in themselves a kind of verbal music.”In setting the words of the poem “Grace,” by the Chickasaw poet Linda Hogan, Shadle — a composer of Choctaw heritage — envisioned a “sonic extension” of the MIT Land Acknowledgement. “‘Grace’ intended to speak to the Indigenous presence at the Institute and to open the new building with a reminder of the balm music that can bring to a troubled world,” said Shadle. “I hope that I have composed music that links Indigenous and Western traditions in ways that are compelling and thoughtful and that, while recognizing the ‘pieces of hurt,’ still makes a place for grace.”Before the concert’s euphoric finale — a performance by Rambax Senegalese Drum Ensemble directed by Lamine Touré — “Madrigal” (the evening’s fourth world premiere) served to demonstrate the spatial dimensions of sound made possible by the design of the concert hall. Makan’s composition was performed by four student violinists positioned at the top of each aisle and a fifth, Professor Natalie Lin Douglas, at the center of the stage, simultaneously showcasing the geometry of the hall and referencing the ever-shifting perspectives of the sculpture that stands at the north entrance of the building — “Madrigal (2024),” by Sanford Biggers.“My piece aims to capture the multifaceted quality of Sanford Biggers’ sculpture. From whichever vantage point we might look at it, we see the same patterns in new relationships with one another. In other words, there is no one point of view that is privileged over another.”As faculty lead for the building project, Makan developed a friendship with Joyce Linde, who provided the principal gift that led to the building. “Joyce and I were on the selection committee to choose an artist to create a site-specific sculpture outside the building. She was very excited about the process, and very engaged with Sanford,” said Makan. “Joyce passed away before she was able to see the building’s completion, and I wanted to honor her legacy by writing an original piece of music in her memory.”That sense of relationship, pattern-making, and new beginnings was articulated by Frederick Harris, director and senior lecturer in music and the co-producer of the concert, alongside Andy Wilds, program manager in music. “The hall is an instrument; we’re communing with this incredible space and getting to know it,” said Harris. “It’s a relationship. The circular form of the hall is very welcoming, not only to immersive experiences but also to shared experiences.”The role of music in cultivating community will ensure that the building will become an integral part of MIT life. The work taking place in rehearsal rooms matches the innovation of the Institute’s labs — proving that the arts are a necessary counterpart to science and technology, continuous with the human instinct to express and invent. Sonic Jubilance sets the tone of what’s to come. MIT Music ensembles (in order of concert appearance):MIT Concert ChoirMIT Chamber ChorusMIT Chamber Music SocietyMIT Vocal Jazz EnsembleMIT Jazz Advanced Music Performance EnsembleMIT Axiom EnsembleMIT Wind EnsembleMIT Gamelan Galak TikaRambax MIT
Making a Variable Speed Disc Sander from an Old Hard DriveThis short video from [ProShorts 101] shows us how to build a variable speed disc sander from not much more than an old hard drive.
We feel that as far as hacks go this one ticks all the boxes. It is clever, useful, and minimal yet comprehensive; it even has a speed control! Certainly this hack uses something in a way other than it was intended to be used.
Take this ingenuity and add an old hard drive from your junkbox, sandpaper, some glue, some wire, a battery pack, a motor driver, a power socket and a potentiometer, drill a few holes, glue a few pieces, and voilà! A disc sander! Of course the coat of paint was simply icing on the cake.
The little brother of this hack was done by the same hacker on a smaller hard drive and without the speed control, so check that out too.
One thing that took our interest while watching these videos is what tool the hacker used to cut sandpaper. Here we witnessed the use of both wire cutters and a craft knife. Perhaps when you’re cutting sandpaper you just have to accept that the process will wear out the sharp edge on your tool, regardless of which tool you use. If you have a hot tip for the best tool for the job when it comes to cutting sandpaper please let us know in the comments! (Also, did anyone catch what type of glue was used?)
If you’re interested in a sander but need something with a smaller form factor check out how to make a sander from a toothbrush!Ex-Google CEO Eric Schmidt: AI that is ‘as smart as the smartest artist’ will be here in 3 to 5 yearsSchmidt predicts AI that is 'as smart as the smartest mathematician, physicist, artist, writer, thinker, politician...'
SourceBehind the sample in Pokémon’s “Pikkaan!”: A conversation with Petal Supply
Petal Supply breaks down how her sample heard in Pokémon's ending theme "Pikkaan!" was made and shares her top tips for budding producers.Triple Spiral Audio OriginsOrigins is a new soundset for Pigments 6 with 110 presets created from new custom samples and wavetables, the new modal engine and all features that Pigments has to offer. Inspired by composers such as Ludwig Göransson, Theodore Shapiro, Ólafur Arnalds and more, the Origins soundset brings you a collection of modern, dark and light presets that can be used for a large variety of music productions. Included are a a great collection of arp's, sequences, pulses, keys, pads, textures, atmospheres, basses and otherworldly presets. Requirements: Pigments 6.0.2 or higher and 790mb free HD space. Read More
Support for a 10% cap on ticket resales grows in UK and USOnce almost unthinkable, a 10% cap on ticket resales is inching closer to reality in the UK and the US.
The post Support for a 10% cap on ticket resales grows in UK and US appeared first on Hypebot.How to Find Copyright Owners For Covers and SamplesWant to use a someone else's audio legally but don’t know who owns it? This expert guide shows you how to find copyright holders fast - and get the permissions you need without the legal headaches.
The post How to Find Copyright Owners For Covers and Samples appeared first on Hypebot.
