“You might sing a take and be like, ‘I feel like an idiot,’ but then you might double the take and poof – it makes total sense”: Jack Antonoff shares tips on vocal productionProducer Jack Antonoff has offered some tips on vocal production in a new video from online recording school Mix with the Masters.
The clip is part of a 30-minute documentary delving into the production process behind The 1975’s Being Funny In A Foreign Language album. In it, Antonoff breaks down his work with the British band, particularly how he double-tracked singer Matty Healy’s vocals on the track Part Of The Band.

READ MORE: Apple’s new iPhones apparently have four “studio-quality” mics and multi-track recording in Voice Memos

According to Antonoff, Healy’s vocals on Part Of The Band were left “completely dry”: “There’s literally no plugins on it,” he says [via MusicRadar].
Instead, the producer opted to double-track the vocals, a technique he says evokes “early Beatles recordings” while still sounding modern: “A doubled vocal cuts out the ‘80s and ‘90s-ness of music and [places it] only before or after.”
“It’s all about the lyrics,” he explains, noting the role Healy’s cheeky lines (I know some Vaccinista tote bag chic baristas / Sitting in east on their communista keisters / Writing about their ejaculations) played in his decision.
“Lines like that, delivered with a single vocal could almost become self-important, but you put the double in, and it almost reads to me like there’s a humour in it,” says the producer.
Antonoff also shares that vocal production and lyrical content are closely intertwined for him: “It’s not like the vocal’s the vocal and the performance is the performance,” he says. “The treatment of the vocal interacts with the lyric in a massive way.”
“So in the most obvious sense like if something is the voice of God maybe it should be Reverb-y. If something’s whispered into your ear maybe it should be dry. Those are like the most basic terms. If something is said from someone screaming on the street maybe it’s coming from over there but it gets even deeper than that.”
He continues: “Any artist who records their own vocal will know this feeling. You might sing a take and be like, ‘I feel like an idiot’, but then you might double the take, or octave the take, and poof — it makes total sense, and the areas in which you felt naked now feel as if you have this army of two. Of yourself.”

The post “You might sing a take and be like, ‘I feel like an idiot,’ but then you might double the take and poof – it makes total sense”: Jack Antonoff shares tips on vocal production appeared first on MusicTech.

Are KIT Plugins’ BB F66 and F67 convincing emulations of classic Fairchild compressors?$99, kitplugins.com
Released way back in 1959, the Fairchild 660 lays claim to being the world’s first intelligent audio compressor. No, it’s not an early example of AI in the studio, but rather an ingeniously designed processor that can adapt its response based upon the dynamic character of the material passing through. This gives remarkably natural and musically-complimentary results, but the 660 (and its stereo counterpart, the 670) are so exquisitely rare that few are lucky enough to ever see one, let alone use one. If you find a 660 for sale, expect to see a price tag of at least $20k, and twice as much for a 670. Ouch!

READ MORE: ‘What does a compressor do in music?’: A beginner’s guide to compression

Thankfully, through the magic of digital modelling, producers today can add any number of Fairchilds (or close approximations thereof) to a track as a plugin for a fraction of the price. It is surprising, given its revered status, that there have only been a couple of 660 models to choose from, namely Universal Audio’s Fairchild Tube Limiter Collection (UAD only) and Waves’ PuigChild 660/670. But KIT Plugins has now joined the party with its BB F66/67 plugin, priced at a reasonable $99.
What is the F66 plugin?
The F66 is modelled on an original Fairchild 660 unit owned and hand-tuned by John McBride, CEO and head engineer at Nashville’s Blackbird Studios. This explains the “BB” in the plugin’s name and the “Blackbird” branding in place of the Fairchild logo on the plugin window. McBride is also husband to singer-songwriter Martina McBride, and the specific 660 unit modelled for the plugin is an ever-present part of her standard vocal chain, hence the “Martina’s F66” labelling on the plugin.
But the F66 isn’t geared only towards mixing vocals. The tube-based compression of the original hardware is famed for its smooth harmonic richness that sweetens practically anything you throw at it; solo instruments, drum kits, stems, and even full mixes. F66 shares this flexibility and ubiquity.
The F66 plugin
KIT has also done a first class job of recreating the 660’s distinctive timing response options. These are selected via the six-stage rotary Time Constant switch and, like the original, each option gives a different blend of attack and release timings. The first two positions are fast, with 0.2ms attack and 0.3ms or 0.8ms release. The next two positions have a slower 0.4ms attack coupled with longer release times of 2s and 5s respectively.
The final two positions are the most interesting. These give a choice of 0.4ms or 0.2ms attack, along with program-dependent release times that vary based on the dynamics of the incoming audio. Occasional forays above the threshold will keep release times low, but regular peaks will lead to longer release times, thereby preventing the ‘pumping’ sound that compressors can sometimes create.
With positions labelled merely as “1” to “6”, it does take a bit of time to familiarise oneself with the options, and to develop a sense of which works best in different circumstances. The sonic variations between each are usually plain to hear, though. It’s just a case of using your ears.
An optional high-pass filter can be applied to the sidechain signal, which is useful for reducing the plugin’s sensitivity to energetic low frequencies. However, the cutoff frequency of this filter only goes as high as 500Hz, which is a bit restrictive. Enabling the external sidechain option, coupled with appropriate signal routing and filtering, can provide a workaround. But all sidechain work – internal or external – would be made simpler by the inclusion of a sidechain listen.
F66’s simple output stage rounds things off with a Mix control for balancing the source and compressed signals, and a Make Up Gain pot with a -20dB to +20dB range.
The F67 plugin
What’s different about the F67 plugin?
The original Fairchild 660 is a single-channel processor, and whilst the F66 plugin will operate in stereo if added to a stereo track, the better option is to load up the dual-channel F67 variant. Sadly, this isn’t directly modelled on a Fairchild 670 but is instead a doubled-up version of the F66 model. We do think this is fair enough, considering the original 670 consisted of a pair of 660s built into a larger enclosure.
F67 can operate in three modes. In Linked mode, the left channel’s settings are duplicated to the right channel. In stereo mode, each channel operates fully independently. Finally, Mid/Side mode enables mid/side encoding and decoding, allowing each of these components to be controlled independently.
Our only complaint here is that setting up mid/side compression is often made easier by the ability to solo each component but the F67 plugin has no ability to do this. Mid and Sides each have an independent Make Up Gain control which can help a bit in this regard, and you can add an M/S encoder/decoder to your channel or monitor stack for soloing, but having the option built into F67 would be far preferable.

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How do the F66 and F67 sound?
As with the original hardware, the plugins’ compression is progressive, increasing in ratio the further the signal exceeds the threshold, from a gentle 2:1 at-or-around the threshold up to an intense 30:1. Adding extra drive with the Input Gain control results in a wonderfully crushed, gnarly sound that is convincingly analogue-like in character. Running cool or hot, the compression sounds incredibly smooth at all times, yet does not choke-off performance nuances and details.
The plugin also adds a subtle sheen of analogue-like saturation that is uncannily complementary to any sound fed through it. Vocals sound crisp and airy. Drums sound energetic and exciting. Mixes sound classy and coherent. And then there’s the space and life F67’s mid/side mode can infuse into pianos and synths.
Does all of this add up to hyper-accurate Fairchild 660 and 670 emulation? It’s difficult to judge given the rarity of the hardware and the uniqueness of the specific unit modelled by KIT. But it really doesn’t matter one way or the other — when a compressor sounds this great, you’re going to want to use it anyway.
Key features

AAX, AU and VST plugin
Modelled on Fairchild 660 used in Martina McBride’s vocal chain
Includes single-channel F66 and dual-channel F67 variants
Sidechain filter and support for external sidechaining
Undo/redo

The post Are KIT Plugins’ BB F66 and F67 convincing emulations of classic Fairchild compressors? appeared first on MusicTech.

Kitik launches FREE no frills sampler Chop Chop!
Kitik just launched Chop Chop!, which is a free sampler for macOS and Windows in AU and VST3 formats. The plugin is available via a ‘name a fair price’ model, and you can grab it for zero dollars or more.  Kitik describes Chop Chop as a creative sampler. The guide for using it is quite [...]
View post: Kitik launches FREE no frills sampler Chop Chop!

Paying To Get on Spotify Playlists Legally?This week, Ari speaks with Dorian Perron, co-founder of Groover, who shares how artists can get their work in front of industry curators.

Producer Fabio Aguilar Signs Publishing Deal With Position MusicPresident and CEO Tyler Bacon announced that Fabio Aguilar has signed a worldwide publishing deal with Position Music in collaboration with Grammy Award-winning producer Keanu Beats. On September 5, Aguilar won a BMI Hip-Hop Award for his songwriting on “HOTEL LOBBY (Unc & Phew)” by Quavo and Takeoff, which he also co-produced.

Aguilar is a 22-year-old producer, loop specialist, beatmaker, and multi-instrumentalist. In late 2018, Aguilar sent his beats and loops to Keanu Beats through Instagram and the two quickly began collaborating. Since then, Aguilar has had cuts with Lil Baby, Jack Harlow, NLE Choppa, Roddy Ricch, Denzel Curry, Logic, and more - collectively garnering over 1.3 billion streams.

“Working with Position Music felt natural because they truly get the vision. I’m confident that with their support, I’ll continue to grow and explore new creative avenues,” says Aguilar.

"Position Music’s vision and approach align perfectly with what I see in Fabio,” says Keanu Beats. “He’s an exceptional producer with a unique ability to cross genres effortlessly. I’m confident that with Mike [Torres], Delmar [Powell], and Mark [Chipello]’s support, we’ll elevate his career to new heights and continue to create groundbreaking music together."

Aguilar joins a Position music publishing roster that includes Tinashe, Cannons, Audien, Jack LaFrantz, ¿Téo?, Austin Powerz, Brandyn Burnette, Dru “Falconry” DeCaro, Evalyn, John “Feldy” Feldman, Judah & the Lion, Alex “A-Bomb” Fernandez, KANNER, No Love For The Middle Child, Erik Ron, Yonatan Watts, and more.

"Fabio Aguilar is an exceptionally talented producer who has so much maturity and skill at such a young age. At just 22, he’s already had songs with a range of artists like Quavo, Jack Harlow, Kid LAROI, X Ambassadors, and many more. This is just the beginning for Fabio and he’s off to a nuclear start!” says Mike Torres, A&R at Position Music.

positionmusic.com

The post Producer Fabio Aguilar Signs Publishing Deal With Position Music first appeared on Music Connection Magazine.

Digital Chamber calls for Congress to address SEC actions against NFTsThe CEO of OpenSea reported receiving a Wells notice from the SEC in August, suggesting that the commission could be taking a new regulatory approach to NFTs.

Neurode wants to treat and track ADHD symptoms through a wearable headbandSydney-based Neurode has come up with a novel way to offer some relief to people with ADHD: a wearable headband that can track and treat ADHD symptoms. And you only have to wear it for 20 minutes a day.
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Why have Seven Segments When You Can Have 21?IO user [monte] was pointed towards an 1898 display patent issued to a [George Mason] and liked the look of the ‘creepy’ font it defined. The layout used no less than 21 discrete segments to display the complete roman alphabet and numerals, which is definitely not possible with the mere seven segments we are all familiar with. [monte] then did the decent thing and created a demonstration digit using modern parts.
For the implementation, [monte] created a simple PCB by hand (with an obvious mistake) and 3D-printed an enclosure and diffuser to match. After a little debugging, a better PCB was ordered from one of the usual overseas factories. There isn’t a schematic yet, but they mention using a CH32V003 Risc-V micro, which can be seen sitting on the rear of the PCB.
Maximum flexibility is ensured by storing every glyph as a 32-bit integer, with each LED corresponding to a single bit. It’s interesting to note the display incorporates serifs, which are definitely optional, although you could display sans-serif style glyphs if you wanted to. There is now a bit of a job to work out how to map character codes to glyph codes, but you can have a go at that yourself here. It’s still early doors on this project, but it has some real potential for a unique-looking display.
We love displays—every kind. Here’s a layout reminiscent of a VFD digit but done purely mechanically. And if you must limit yourself to seven digits, what about this unique thing?

Who owns K-pop giant HYBE?HYBE founder Bang Si-hyuk remains the largest shareholder, but Scooter Braun and BTS own a significant chunk as well
Source

4 ways to find inspiration with sampling
From recording yourself to adding motion with chops, here are four powerful ways to find inspiration with sampling.

Concord Label Group merges Fantasy Records with Concord Records; combined brand led by Co-Presidents Margi Cheske and Mark WilliamsCheske and Williams are based in Los Angeles and report to Concord Label Group Chief Executive Tom Becci
Source

Mobile Coffee Table Uses Legs to Get AroundFor getting around on most surfaces, it’s hard to beat the utility of the wheel. Versatile, inexpensive, and able to be made from a wide array of materials has led to this being a cornerstone technology for the past ten thousand years or so. But with that much history it can seem a little bit played out. To change up the locomotion game, you might want to consider using robotic legs instead. That’s what [Giliam] designed into this mobile coffee table which uses custom linkages to move its legs and get itself from place to place around the living room.

The process to build this mobile coffee table started years ago, when [Giliam] was designing walking mechanisms in software. A genetic algorithm was used to develop improved versions of various mechanisms, with the best ones going on to develop successive generations of the designs. Originally this just started out as a software project, but [Giliam] also developed some woodworking skills in the meantime which led to the actual construction of this coffee table.

From there the design was moved to Fusion 360, where it could then be sent to a CNC machine to create all of the parts for the 12-legged table. An Arduino Nano controls the leg movements, with power to the legs’ crankshafts provided by 24 V brushless motors. Finally, a Bluetooth module is included to allow the table to receive commands from a modified Nintendo Wii “Nunchuk” — itself an impressive project that we covered back in 2020.
This project took an incredible amount of work not just to design the leg mechanisms but CNC machine them out of bamboo, glue everything together, and finish it into what would be an excellent example of woodworking even without the capability of moving the table from the wall to the middle of the room and back as needed. We can’t really say we’ve seen a mobile coffee table before either, wheeled or otherwise, but if you need the tabletop instead to rotate and position itself at arbitrary angles we have seen one which was designed to be used for metalworking.

ENGL introduce E658 Steve Morse Signature 20 ENGL's latest collaboration with Steve Morse is said to be ideal for players seeking out the precise and clear tone that the guitarist is renowned for. 

Man drives car into Berlin nightclub after being denied entryA man denied entry into the Berlin nightclub Sisyphos appears to have taken rather drastic revenge by driving a car into the venue.
Not all the details are known yet, but Berliner Zeitung is reporting that the suspect is thought to have been rejected entry into the club at around 5:50am on Sunday morning (8 September). Two security guards, aged 26 and 41, are said to have turned him away, and he left peacefully thereafter.

READ MORE: Amsterdam venue The Other Side becomes world’s first nightclub to adopt L-ISA Spatial Audio

However, he’s then thought to have returned to the techno club in a rented Audi car before “deliberately” driving into the club’s gated entry. According to the newspaper, he attempted this twice.
It’s thought that both security guards were targeted as the suspect drove in the direction of both, but neither were injured as both were able to move out of the way. The man is then thought to have driven into the nightclub’s wall, reversed into the gate, and then driven off towards Ostkreuz, one of the city’s busiest train stations.
While no action has been taken at the time of writing, police have launched an investigation and are searching for the suspect.

Sisyphos is one of the most important clubs in Berlin, and is hosted inside a former dog biscuit factory near the River Spree in the borough of Treptow. It opens non-stop from Friday night to Monday morning for weekend-long parties, and like many clubs in the city, it can be difficult to get into.
Meanwhile, techno in Berlin was officially added to the UNESCO cultural heritage list in March. Clubcommission, a network of techno clubs and musicians in the city, called it “another milestone for Berlin techno producers, artists, club operators and event organisers”. And last year, Berlin announced a €947 million culture fund to support new clubs and cultural spaces.
The post Man drives car into Berlin nightclub after being denied entry appeared first on MusicTech.

NIVA and Bandsintown partner to support ‘Live Independent’ venuesThe National Independent Venue Association (NIVA) and leading live music discovery platform Bandsintown have partnered to launch Live Independent.
The post NIVA and Bandsintown partner to support ‘Live Independent’ venues appeared first on Hypebot.