Benn Jordan dives deep into the “bats**t” software Aphex Twin has used throughout his careerIn his latest video, musician and YouTuber Benn Jordan takes a deep dive into the gear used by electronic legend Aphex Twin on some of his most important works.
The video – titled The Batsh*t Software Aphex Twin used – begins with a look at Metasynth, a piece of software that allows users to “paint” to sound: “Metasynth more or less allows you to use sound as your medium and then colour represents panning and once you manage to make a sonic image that you like you can sequence it among others in software called Xx,” Jordan explains.

READ MORE: Spotify CEO Daniel Ek claims cost of making content is “close to zero”, internet outrage ensues

The software, which is still being updated and sold 25 years later, was instrumental in the making of Aphex Twin’s 1999 Windowlicker EP.
Next, Jordan delves into the tools used by Aphex Twin to create the complex, layered sounds characteristic of tracks like Bucephalus Bouncing Ball from his 1997 EP, Come to Daddy.

“The sound that’s making up most of the crazy sounds in the rest of the song [is] a ball being dropped on a hard surface. The audio of this sample is eventually torn apart in ways that nobody had ever heard before and it’s recycled into new, completely batshit insane sequences,” he explains. “The thing is in 1997, there really wasn’t a graphical destructive wave editor that could do this.”
According to Jordan, what we’re hearing on Bucephalus Bouncing Ball is Composers Desktop Project (CDP), a powerful, command-line-based sound design software that “did not have a GUI or front end at the time”.
While the user interface will feel extremely dated by today’s standards, it “still has functionality that I’ve not seen in any other software,” says the musician.
Some of the other softwares discussed in the video include PlayerPro, an early tracker used by Aphex Twin, and Super Collider, a high-level audio programming language created in 1996 by James McCartney.
Watch the full breakdown below.

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Odyssey is Cercle’s new travelling 360-degree immersive concert installationParis-based production company Cercle has launched a travelling, 360-degree immersive concert installation called Cercle Odyssey.
The structure blends live music with a new type of visual storytelling. Cercle will collaborate with artists from various genres and backgrounds, but particularly with those who blend auditory and visual elements together.

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

Odyssey utilises 2300 m² giant projection screens to envelop the audience. These are 10 to 12 metres (up to 40 feet) high, and up to 55 metres (up to 180 feet) long. Inspired by traditional movie screens, they showcase an array of high-quality images shot in 8K, “meticulously synchronised” live with music. Neels Castillon will oversee the direction of these videos.
Cercle Odyssey also has a commitment to sustainability, as all of the equipment (sound, light, and projectors) are sourced and rented locally. By opting for 29 projectors instead of traditional LED screens to illuminate the scenography, Cercle eliminates the need to transport a massive load of LED screens, therefore cutting down on emissions.
Interestingly, those who attend Odyssey shows will be subject to a strict ‘no phones’ policy. This is “to ensure that every audience member can fully immerse themselves in the experience”. Cercles hopes this will also foster “a shared sense of presence and connection”, and as a parting souvenir, each guest will still receive a folder of filmed content to keep.

“My current obsession is to create the shortest connection between the music played by the artist, the video narrative that we will present live on the screens, and the audience’s emotions,” says Cercle founder and creative director, Derek Barbolla.
“I want to connect these three things together at the deepest level and I believe this is still underdeveloped in the entertainment industry. If, by the end of a Cercle Odyssey show, I see people on the dance floor literally moved to tears, then I will consider it a success.”
The dates and locations for Cercle Odyssey 2025 will be announced soon, and you can pre-register now to be among the first to receive notification of these events.
Find out more about Cercle.
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5 great promotion ideas for after the music is releasedUnlock the full potential of a music release with these five expert strategies designed to keep your audience engaged and attract new fans even after the music has been released.....
The post 5 great promotion ideas for after the music is released appeared first on Hypebot.

How to get your music on Spotify playlists: Step-by-Step GuideLearn how to get your music featured on Spotify playlists with this comprehensive guide. Unlock key strategies and tips to boost your streaming numbers and dramatically grow your fanbase.....
The post How to get your music on Spotify playlists: Step-by-Step Guide appeared first on Hypebot.

LoudnessMeterFree Is A New FREE Metering Plugin
SaschArt introduced a user-friendly audio plugin designed for loudness (LUFS) analysis, the LoudnessMeterFree. Meters might not be as exciting as a good reverb or synth, but they’re very useful. I leave them strapped on buses, usually to get a feel for the RMS or momentary LUFS of elements when trying to nail things down just [...]
View post: LoudnessMeterFree Is A New FREE Metering Plugin

Top recommendations from the first queer Music AgencyCelebrate Pride Month with a curated playlist from the trailblazing queer music agency that's changing the industry for the better. Discover a diverse selection of tracks that celebrate and uplift LGBTQ+ voices.....
The post Top recommendations from the first queer Music Agency appeared first on Hypebot.

Analog Obsession Releases FREE Cite High-Frequency Processor
Analog Obsession released Cite, a freeware high-frequency processor for Windows and Mac.  Cite is a fully custom build designed from scratch and is made to be easy to use.  The plugin is available for VST3 and AAX for Windows, as well as VST3, AU and AAX for Mac.  Analog Obsession says that “high-mids and highs [...]
View post: Analog Obsession Releases FREE Cite High-Frequency Processor

Skrillex and Fred again’s huge surprise Civic Center rave looked insane – take a look the highlights hereSkrillex and Fred again.. hosted a rave of epic proportions at San Francisco’s Civic Center Plaza on Saturday with 25,000 people in attendance.
Tickets were announced just a week ago, and they sold out within an hour. Though the event’s last minute nature had some fans sceptical on just how smooth things would run, praise for the colossal rave has been shared widely online. They even managed to finish just on time for their curfew of 10pm.

READ MORE: Skrillex says the next big music-sharing app after TikTok will be whatever’s “accessible to the kids”

As SFGATE reports, a massive stage was erected in front of City Hall, and neighbouring streets were closed. Skrillex, who was raised in the city, spoke of his upbringing with the crowd, and reflected on how he would walk through this very place as a child.
The pair also shared thanks to “Martha at the mayor’s office”, Fred Again’s aunt – who was in attendance – and to the crowd throughout. The event lasted for three hours and included tracks Rumble, Turn On the Lights, RATATA, and a whole lot more.
Anderson .Paak also joined the EDM giants for a performance of his new track with Fred, places to be, which also features CHIKA and landed back on Friday 31st May. Check out his guest performance, and other social media posts on the event below:

 
Skrillex + Fred again at SF Civic Center was lit!! byu/macrobiome inaves

SKRILLEX & FRED AGAIN DROPPING THIS INSANE RUMBLE FLIP AT SF CIVIC CENTER HOLY MOLY @skrillex @fredagainagain1 pic.twitter.com/Woyc2Zc8Vl
— Brownies & Lemonade (@TeamBandL) June 2, 2024

Skrillex and Fred again.. took over San Francisco@Skrillex @fredagainagain1 #shotoniphone pic.twitter.com/Snxqjv3DUF
— Eric Dew (@ericdew) June 2, 2024

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You can view all upcoming tour dates for Skrillex or Fred again.. now.
The post Skrillex and Fred again’s huge surprise Civic Center rave looked insane – take a look the highlights here appeared first on MusicTech.

Airwiggles’ free AirCon audio conference returns Airwiggles have announced that their free-to-all online film and game sound audio conference will be returning for 2024.

Spotify CEO Daniel Ek claims cost of making content is “close to zero”, internet outrage ensuesWhat is the cost of creating content? Well, according to Spotify CEO Daniel Ek, “close to zero”. And his comments have sparked outrage online.
The tech boss took to X to share his thoughts on the value of content creation and Stoicism (among others) last week, writing: “Today, with the cost of creating content being close to zero, people can share an incredible amount of content. This has sparked my curiosity about the concept of long shelf life versus short shelf life.”

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

“While much of what we see and hear quickly becomes obsolete, there are timeless ideas or even pieces of music that can remain relevant for decades or even centuries.”
“For example, we’re witnessing a resurgence of Stoicism, with many of Marcus Aurelius’s insights still resonating thousands of years later. This makes me wonder: what are the most unintuitive, yet enduring ideas that aren’t frequently discussed today but might have a long shelf life? Also, what are we creating now that will still be valued and discussed hundreds or thousands of years from today?”
The backlash to Ek’s post came hard and fast, with artists and fans alike slamming the executive for being “out of touch” with his remarks. One user, composer Tim Prebble, commented: “Music will still be valued in a hundred years. Spotify won’t. It will only be remembered as a bad example of a parasitic tool for extracting value from other peoples music. (or “content” as some grifters like to call it).”

Music will still be valued in a hundred years.Spotify won't. It will only be remembered as a bad example of a parasitic tool for extracting value from other peoples music. (or "content" as some grifters like to call it) AI will seal your fate.
— Tim Prebble – HISSandaROAR (@timprebble) May 30, 2024

Calling Ek a “billionaire off of everyone else’s hard work and time”, Canadian singer-songwriter Shimmer Johnson also blasted: “Creating music is not even close to zero, my out of touch friend. Johnson highlights the cost of buying a “good computer to run all the programs, guitars and drum kits” associated with making music, adding: “So you’re saying if a song takes me six hours to create, that my time is close to zero and the gear I used whether I bought my own or rented it was close to zero. It’s ludicrous!”

Creating Music is not even close to zero my out of touch friend !!! If you can afford great gear to sound like what is on the radio it is close to 80k to just buy a good computer to run all the programs , guitars drum kits and all that !!! Plus the hours of recording a song ,…
— Shimmer Johnson (@shimmer_johnson) June 1, 2024

Today, with the cost of creating content being close to zero, people can share an incredible amount of content. This has sparked my curiosity about the concept of long shelf life versus short shelf life. While much of what we see and hear quickly becomes obsolete, there are…
— Daniel Ek (@eldsjal) May 29, 2024

Ek’s comments are the latest in a string of PR and legal woes for the streaming giant, which is facing a lawsuit for allegedly underpaying tens of millions in royalties to songwriters and publishers after its “bundling” subscription plans. The platform’s new AI Playlist feature has also been accused recently of being homophobic.
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Organic Instruments release Ukulele  Organic Instruments have added another instrument to their growing software collection, this time carefully sampling a ukulele.

French startup ten ten finds viral success and controversy in reinventing walkie-talkiesLess than one year after its iOS launch, French startup ten ten has gone viral with a walkie talkie app that allows teens to send voice messages to their close friends — even when their phone is locked. 
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US Navy launches ‘PARANOID’ blockchain security tech to private sectorThe government seeks a collaboration to research and develop the technology further.

Songwriter Profile with the Amazing Peter RaffoulPeter Raffoul’s destiny was almost inevitable, but he took his time deciding to pursue music professionally. With father Jody Raffoul and older brother Billy both well-established musicians, Raffoul loved the idea of performing but wanted to be certain it was what he wanted before jumping in. Growing up around great songwriters, with evidence of success watching his dad and brother in the business, Raffoul says he feels very fortunate to have had a great roadmap and solid support.

First dabbling with drums at age 11, Raffoul’s parents split when he was a teenager and he inherited a garden shed (originally an art studio), where he first began playing the keyboard. Creating licks and melody lines, he admits, “I never knew less than I did then. I was just playing little chords and had no idea what I wanted anything to sound like.”

Writing his music at night also started as a teen. “I think it's harder to ignore whatever it is that you're going through at night. I got into this rhythm where it feels better to go on spurts of inspiration.” Starting with basic piano lessons to learn some chords, he added guitar over the last five years (which he plays upside down as a leftie, insisting on playing a right-handed guitar like older brother Billy).

In retrospect, Raffoul recognizes that he had always been paying attention and was intrigued in the evolution of songs and artists. Taking time to study songwriting structure, Raffoul remains mindful of the creative process, sharing that when you hear a great song that you wish you had written, it often comes down to a simple concept or just two chords. “They sang it just like it was, and it's heart,” he says. “Self-expression in a very simple way usually wins the day.”

While he starts with the melody and chord structure, his writing process is constantly changing. “There’s peaks and valleys when things feel like they're being forced, but I've gotten a lot out of just doing it as I feel it,” admits Raffoul. He recommends recording ideas as memos on your phone. Starting with a small melody or lick, Raffoul sings nonsense sounds over chords to see what lands.

“When I’m humming a melody long enough, or wake up the next day and still remember it, that's cool. I don’t get precious about things. If you latch on to every single thing, you'll beat it into the ground and feel less enthusiastic because you put too much value on something too soon.” Great music happens for Raffoul when he finds himself hearing a song as a listener, not a critic or musician, being captivated by the feeling throughout, rather than pulled into the song’s process or structure.

Starting out playing three 40-minute sets of covers a night before adding in originals, Raffoul says that his momentum to date has come down to the very blue-collar ‘you get out of what you put into it’ attitude handed down from his dad. “

Every day, week, and month, rent's due on this stuff,” he says. “You have to be doing the work. If you don't love it at face value, don't still feel like you're enjoying it when playing, you have to get back to that. That's the only real center of it. Everything else is borrowed, not guaranteed.” Even if you get signed to a label, Raffoul says not to expect to be taken care of, or buy into false confidence: “It all comes from you.”

Surprised at the catharsis and intrigue that his more intimate, emotional songs have garnered (“Don’t Hold On” and “For You”), Raffoul says, “I get to be myself at such a raw level and get to share, unfiltered. The worst thing that can happen is people won't listen, but the best is you can make somebody feel like you're with them when you play.”

2022’s Songs From House In Blue has a follow-up in the works, slated for release later this year. Catch Peter Raffoul at his CMW show, June 4 at Rivoli. Tickets at ticketweb.ca.

Contact Valle Music Management, andrew@vallemusicmgmt.com; 

Experience Peter Raffoul at peterraffoul.comThe post Songwriter Profile with the Amazing Peter Raffoul first appeared on Music Connection Magazine.

Make a Super Cute LiDAR Measurement ModuleThis ultra-cute tiny LiDAR rangefinder project by [gokux] can be thought of as a love letter to the incredible resources and components hobbyists and hackers of all types have access to nowadays. In fact, it all stemmed from coming across a miniscule half-inch 64×32 OLED display module that was simply too slick to pass up.
USB connector for charging on the bottom, hole for distance sensor out the top.
To use it, one simply powers it on and the display will read out the distance in millimeters. The VL53L0X time-of-flight sensor inside works by sending out a laser pulse and measuring how long it takes for the pulse to bounce back. We hope you’re curious about what such a sensor looks like on the inside, because here’s a nifty teardown of these fantastic devices. The device can technically measure distances of up to 2 m, but [gokux] says accuracy drops off after 1 m.
The main components besides the OLED display and VL53L0X sensor are an ESP32-C3 board (which handily integrates battery charging circuitry), 3D-printed enclosure, tiny rechargeable battery, and power switch. The whole thing is under one cubic inch. Not bad, and it even makes a passable keychain. Parts list, code, and 3D model files, including STEP format, are all available if you’d like to spend an afternoon making your own.