Sir Lucian Grainge remuneration approved by Universal Music Group shareholders at AGMUniversal Music Group has published the results of its 2024 Annual General Meeting
Source

Big Server Fan Becomes Fume Extractor[Anthony Kouttron] wanted a fume extractor for his personal electronics lab, but he didn’t like the look of the cheap off-the-shelf units that he found. Ultimately, he figured it couldn’t be that hard to build own portable fume extractor instead.
The build is based around a mighty 110-watt centrifugal fan from an IBM server that’s rated at approximately 500 CFM. It’s a hefty unit, and it should be, given that it retails at over $200 on DigiKey. [Anthony] paired this fan with off-the-shelf HEPA and activated carbon filters. These are readily available from a variety of retailers. He didn’t want to DIY that part of the build, as the filter selection is critical to ensuring the unit actually captures the bad stuff in the air. He ended up building a custom power supply for the 12-volt fan, allowing it to run from common drill batteries for practicality’s sake.
Few of us have need for such a beefy fume extractor on the regular. Indeed, many hobbyists choose to ignore the risk from soldering or 3D printing fumes. Still, for those that want a beefy fume extractor they can build themselves, it might be worth looking over [Anthony]’s initial work.
We’ve seen some other great DIY fume extractors before, too. Even those that use drill batteries! If you’ve been cooking up your own solution, don’t hesitate to drop us a line!

X pushes more users to CommunitiesX users will now be able to discover posts from new Communities that are trending directly from an Explore tab within the section.
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Pump It Up Gets Homebrew GBA Port That RocksPump It Up is a popular music video game that hails from South Korea. It’s similar in vibe to Dance Dance Revolution and In The Groove, but it has an extra arrow panel to make life harder. [Rodrigo Alfonso] loved it so much, he ported it to the Game Boy Advance.
The port looks fantastic, with all the fast-moving arrows and lovely sprite-based graphics you could dream of. But more than that, [Rodrigo’s] port is very fully featured. It doesn’t rely on tracked or sampled music, instead using actual GSM audio files for the songs.
It can also accept input from a PS/2 keyboard, and you can even do multiplayer over the GBA’s Wireless Adapter. What’s even cooler is that some of the game’s neat features have been broken out into separate libraries so other developers can use them. If you need a Serial Port library for the GBA, or a way to read the SD card on flash carts, [Rodrigo] has put the code on GitHub.
As you might have guessed, this isn’t the first time [Rodrigo] has pushed the limits on what Nintendo’s 32-bit handheld can do.

‘Success With Music’ FREE online conference is this Friday – Monday!This weekend, May 17 - 20, our friends at Modern Musician are hosting the free virtual Success With Music conference, which will feature some of the top music industry experts in the world......
The post ‘Success With Music’ FREE online conference is this Friday – Monday! appeared first on Hypebot.

Spitfire Audio launches AIR Studios Reverb plugin, emulating the acoustics of the historic London studio space for the first timeSpitfire Audio has launched its AIR Studios Reverb plugin, emulating the acoustics of the iconic AIR Studios. The new offering is the first time permission has been granted for the studio space to be sampled for wider use.
AIR Studios has been used by artists and composers from across the globe including Adele, Coldplay, Joni Mitchell, Hans Zimmer, Radiohead, and many more. It was founded in 1970 by legendary Beatles producer, Sir George Martin, and is also the birthplace of scores for films and TV such as Saltburn, Stranger Things, and Interstellar.

READ MORE: Slate Digital just made its online mastering platform, VIRTU, available to all users

Within the new plugin, users can experiment with configurable hall settings, including Canopy Height, Canopy Material, and Gallery Damping. It also hosts the ability to adjust the virtual source radiation, select and mix between eight different stereo mic signals, and to flip the direction of virtual performers and mic setups to match two key uses of The Hall.
Credit: Spitfire Audio
Typically, microphone setups are usually arranged in one of two ways: Musicians face the control room and galleries with the conductor’s back to the control room, or, musicians will face the organ with the galleries behind them. The latter method is synonymous with the sound of Hans Zimmer.
The plugin is able to recreate either setup and instantly swap between them, and there’s also a large preset library to offer a variety of setups and create a range of different moods.
Spitfire Audio’s co-founder, Paul Thomson, says: “I’ve been recording in AIR Lyndhurst Hall for 17 years. The team are incredibly talented and The Hall is a beautiful acoustic, one of the most musical spaces for recording in the world.
Credit: Spitfire Audio
He later adds, “I feel like I know this room intimately. What our team has created here is astonishing. I can close my eyes and I’m sitting in AIR listening to the sound of the room.”
Technical Director of AIR Studios, Simon Knee, also says: “In the late 1980s Sir George Martin discovered Lyndhurst Hall had one of the world’s most beautiful acoustics. The creation of AIR Studios enabled recording in a space that musicians love to play in and that elevates every performance…
“The AIR Studios Reverb release represents the culmination of Spitfire Audio’s long standing relationship with AIR Studios and their joint dedication to innovation and excellence in music technology.”
Spitfire’s AIR Studios Reverb is available now for £299. Find out more at Spitfire Audio.
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Tiptop Audio announcements at Superbooth 2024 Superbooth 2024 witnessed a raft of new releases from Tiptop Audio, who continue their partnership with Buchla along with four of their own new modules.

Taylor Swift vs. boygenius: Has it gotten too costly to be a music fan?What does it cost to be a fan? How does that cost affect who an artist's fans are and the very nature of fandom? Fintech firm Self Financial studied the cost of being a music fan by looking at the average cost of the most-streamed artists’ concert tickets, merchandise, and albums.....
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My Forever Studio: Sarz’s studio needs a cone of silenceThis week’s guest on MusicTech’s My Forever Studio podcast is Sarz, an award-winning Afrobeats and hip-hop artist and producer with an impressive list of collaborators to date, including WizKid, Skrillex, Gunna, and Skepta and so many more.
During the episode, the Nigerian producer extraordinaire discusses why producer tags on tracks are more important than ever, which Amapiano sound he thinks is “genius”, and how a software mishap early in his career made him the producer he is today.
He also touches on the time he had a big Nigerian artist as a client, but when he revealed he used Fruity Loops – now FL Studio – as his DAW, the artist refused to work with him, claiming he only worked with producers who made their music in Pro Tools.

The My Forever Studio podcast – created in partnership with Audient – sees artists, producers and engineers create their dream fantasy Forever Studio, wherever they want in the universe. However, there are strict rules in the Forever Studio. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles!
Last week, we spoke with quietly-beloved British producer Fraser T Smith, who has worked with the likes of Adele, Stormzy, Raye, Craig David and Kasabian. He spoke about his master-of-all-trades mic, a trusty sampler he describes as “home”, and why he can’t bring himself to hoard studio gear.
Subscribe to My Forever Studio on Apple Podcasts and Spotify and check out all episodes so far via MusicTech.
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8 Effective (and legal) Tips to get More Streams on SpotifyAre you looking to increase your Spotify streams? Here are eight effective techniques and practical tips to boost your play counts and grow your audience without breaking the rules.....
The post 8 Effective (and legal) Tips to get More Streams on Spotify appeared first on Hypebot.

“I don’t think my songs could be in any safer hands”: Tame Impala sells complete catalogue to Sony Music PublishingTame Impala, whose real name is Kevin Parker, has sold his complete song catalogue to Sony Music Publishing (SMP).
Parker feels his songs could not be in any safer hands than with Sony, and says that “passing on ownership” of his music is a move he does not “think about very lightly”.

READ MORE: Justice on their “beautiful rejection letter” to remixing Tame Impala song: “We couldn’t do anything to it”

According to Billboard, the deal expands on his long standing relationship with Sony, which has published his work since 2009. It includes the administration of his full catalogue, as well as future works.
It also includes all of his works released under the Tame Impala name so far, as well as his writing credits for other songs. His writing and production work has seen him collaborate with the likes of Travis Scott, Dua Lipa, Mark Ronson, The Weeknd, Lady Gaga and more so far.

In a statement on the deal, Parker says, “The idea of passing on ownership of my songs is one that I don’t think about very lightly, at all. They are the fruit of my blood, sweat and creativity over all the years I’ve been a recording artist and songwriter so far.
“I have a lot of love and trust for the Sony publishing family and have only had great experiences with Damian Trotter and the rest of the gang worldwide. I don’t think my songs could be in any safer hands than Sony’s, and I’m excited for the future and happy I can keep working with them on whatever the future brings.”
Jon Platt, chairman and CEO of SMP adds, “I have always admired Kevin Parker and I believe he is one of the most versatile songwriters of our time.
“Kevin has built a catalogue of songs with incredible range and enduring power, and he has always stayed true to his vision. It is a privilege to represent his music, and we are committed to broadening his legacy of success.”
The post “I don’t think my songs could be in any safer hands”: Tame Impala sells complete catalogue to Sony Music Publishing appeared first on MusicTech.

Oberheim TEO-5 polysynth released at Superbooth Bearing the initials of company founder Thomas Elroy Oberheim, this compact synthesizer has been designed to offer a perfect blend of classic analogue warmth and modern versatility.

Oberheim TEO-5 is the most affordable Oberheim synth ever: “The culmination of a synth pioneer’s vision”Oberheim has announced the TEO-5 polysynth, a compact analogue-digital synth with a lower price tag than any other Oberheim instrument in history.
In our interview with Tom Oberheim — which goes online this week (sign up for updates) —the legendary synth maker says that TEO-5 is the synth he’s dreamed of making for five decades. Oberheim adds in a press release that he’s “so proud to be able to make a synth like this… compact and affordable, the Oberheim sound for 2024.”
Tom Oberheim and the TEO-5. Image: Oberheim
The five-voice synthesizer takes its name from the initials of Thomas Elroy Oberheim but also takes cues from one of the maker’s colleagues. Keen synth fans may liken the TEO-5 to Sequential’s Take-5, one of the final synths created by the legendary Dave Smith, a friend of Oberheim. Like the Take-5, TEO-5 was produced under an alliance with UK brand, Focusrite.
So what’s it packin’? The TEO-5 boasts analogue VCOs and VCFs that are distinctly Oberheim. “But,” assures the brand, “TEO-5 isn’t just a tribute to the past.” More modern features include through-zero FM, which is a new take on the oscillator X-Mod feature found on other OB synths. Plus, a host of digital effects will help you create inspiring patches, with chorus, delay, reverb and recreations of classic Oberheim Ring Mod and Phasor effects.
Elsewhere, a 64-step polyphonic sequencer and multimode arpeggiator let you swiftly build patterns for a track. If you prefer to play the notes yourself, the Fatar keybed ensures “a responsive and inspiring playing experience,” says the brand.
Oberheim TEO-5, image: Oberheim
Crucially, the TEO-5 is the most affordable entry to Oberheim hardware. At $1,499/£1,499/€1,699, the brand says it’s a synth primed for “the creative enthusiast who wnats pro sound quality on a budget.”
We’ll have a review of the product up next week, too, to let you know how the synth really plays.

But why is the TEO-5 making an appearance now — apart from it being Superbooth week?
“There was a huge surge of interest when Oberheim returned in 2022 with the historically
inspired OB-X8,” says David Gibbons, CEO of Oberheim. We can attest to that — the triumphant synth was crowned MusicTech’s Best Product Of The Year when it was released.
“But Tom and the design team were keen to show that the magic of Oberheim can be within reach for everyone and can bring a distinctive modern flavour. TEO-5 is an exciting addition to the Oberheim legacy.”
Learn more at oberheim.com.
The post Oberheim TEO-5 is the most affordable Oberheim synth ever: “The culmination of a synth pioneer’s vision” appeared first on MusicTech.

Slate Digital just made its online mastering platform, VIRTU, available to all usersSlate Digital has announced VIRTU 2.0, a new version of its VIRTU Online Mastering platform. It’s now available to all Slate users, not just those with an All Access Pass of Complete Access subscription.
With a simple user-friendly interface and workflow, VIRTU 2.0 allows users to upload a WAV file of their mix and select a Style profile that best fits the track, choosing between Universal, Pop, Rock, Hip-Hop, EDM or Instrumental.

READ MORE: Apple says sorry for not crushing it with its controversial iPad Pro ad

Next, users select a loudness target, before being given the option to play with more advanced controls, including frequency balance, compression and stereo width of the master.
It’s even an option to upload a reference track, which VIRTU will use to shape the EQ curve and loudness of a track.
“With the help of curated Style profiles, a user-friendly interface and a newly added Reference Track feature, VIRTU makes it easy for users of all experience levels to achieve a professional, polished sound,” says Slate Digital.
You can watch the new VIRTU platform in action below:

VIRTU 2.0 is a browser-based mastering platform, and accepts WAV files only, with sample rates of either 44.1 kHz or 48 kHz recommended.
In terms of availability, free users who aren’t signed up to Slate Digital’s All Access Pass of Complete Access subscription get two free masters upon signing up, with subsequent masters priced at $4.99 each.
Those with All Access Pass or Complete Access subscription get three free mastering credits per month, with additional masters priced at $2.99 each.
For more information, head to Slate Digital.
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Why Hayla is ready to be more than the ‘featured vocalist’ on your favourite DJ’s biggest songsHayla’s voice has been heard by millions. Her soaring, operatic vocals are essential to some of the biggest songs in modern dance music.
Over the past few weeks alone, the Liverpool-born, London-based artist has dominated the stage at world-famous festivals and venues. She sang Shiver with John Summit to close out the Sahara tent during the second weekend of Coachella. Then, across the following two weekends, she performed deadmau5 and Kaskade’s charting single Escape at the Hollywood Bowl and the Brooklyn Mirage as a part of deadmau5’s 25-year celebration, restro5pective.

READ MORE: Meet Porij, the Coldplay-supporting new-rave band who are all about “dance music live”

In the years prior Hayla, real name Hayley Williams, performed these songs at other major venues such as BMO Stadium in Los Angeles, the electronic mega fest EDC Las Vegas, and Kx5’s set at the LA Coliseum. The latter was crowned “the largest single-day concert headlined by an electronic music artist in North America,” according to Pollstar.
But Hayla is so much more than a headline DJ’s accompanying singer. On top of the extreme power of her voice, she is a songwriter who co-writes all of her major vocal collaborations. She is also adding “producer” to her resume, as she continues to experiment with making music from scratch.
Now, with her debut (currently untitled) album dropping this year, she is standing firm in her identity as a solo artist.
Hayla
“It’s my time to try something for me. I’ve found the confidence,” Hayla says in a strong and expressive Northern English accent. “It’s so nice to have complete creative control over something.”
I’m sitting with Hayla in the dimly lit and effortlessly chic lobby of the Moxy Hotel in Downtown Los Angeles. We’re chatting in the days leading up to her debut performance at Coachella. She was in Southern California for a couple of weeks before the show, working in studio sessions all around town.
When Hayla works on a track, she’s in the room building the music from the ground up, whether she’s the featured vocalist or the primary artist.
“The nice thing about this album is I’ve been in the room exactly when we’ve been creating it from nothing,” Hayla explains. “It’s great to be in the room and have that electric feeling.”
Hayla
One artist with whom Hayla has shared that spark is the UK dance DJ and producer, Will Clarke. Hayla and Clarke first connected when they wrote Escape, which was originally going to be Clarke’s song but, through the nature of the industry, ended up in the hands of Kx5. Since then, they’ve had multiple sessions and written 20 songs together.
“The thing I love about Hayla is every session is like a therapy session. I have a really good relationship with her. We can both open up and talk about life, which for me, in a studio session in music is super important,” Clarke says from his studio in London. “That means even if you come out of the session and the record’s not that great, you’ve had the best day. There’s no pressure — that’s important for when I want to write for people.”
“[Will is] so great at what he does. Working with him is great because we can bounce ideas. I feel very confident and comfortable with him. That creative energy and flow—It’s very easy to work with him,” Hayla says.
As Clarke describes, he and Hayla work rapidly during their sessions. He comes in with some foundations – “like four or five ideas, and I mean ideas like very bare-bone chord progressions.” She creates the vocal melody and they hit record. From there, they write lyrics and form up the song. The whole process can be as fast as 30 minutes.

Clarke calls it standard songwriting, but he acknowledges that Hayla brings something to the sessions that no one else can:
“Her voice is just fucking amazing,” Clarke says. “It’s dangerous because her voice is so good that you can rely on the voice too much. It can make everybody lazy in the room on making the actual best song because her voice is so good.”
Hayla records her voice completely dry with no reverb. Once they have the recording down, Clarke adds what he calls “fairy dust” on the back end. He does slight tweaks with a few plugins such as the Waves JJP Vocals and TAL Reverb 2. But for the most part, he lets her sound exist as he heard it in the room.
“I want to hear the rawness of vocalists singing. I want to hear the dips in their voice. I want to hear when they go out of tune. I want to hear all the imperfections of the human voice is beautiful for,” Clarke says. “She’s not demanding as a vocalist. She just gets in and gets it done.”
Hayla was getting it done as a singer years before she was working with Clarke, deadmau5, Kaskade, or John Summit. But she never led her own project either.

For a long time, she sang in different cover bands in bars around the UK. She was a backup singer. She sang at weddings. She also spent many years as a ghostwriter for other artists and taught vocal lessons (she still teaches a 65-year-old man as she has for the past four years).
All of these experiences allowed her to express her love of different genres, but she also struggled to find her own voice.
“It took me a long time to figure out who I am and what I really wanted to say —if there was anything that I could put down on paper that people would be interested to hear,” Hayla says.
Now after writing songs that hundreds of thousands of people sing back to her, she knows beyond a reasonable doubt that people are interested in what she has to say on her album.
The two singles she’s released so far — Embers and Fall Again — live within the same melodic four-on-the-floor realm as her big collaborations like Escape, Shiver, and Where You Are, the last of which is another co-write with John Summit (that former President Barack Obama listed as one his favourite songs of 2023).

But overall, the album reflects Hayla’s comprehensive love of music.
“It’s a little bit eclectic, this album. It fits into the mould of who I am. Being able to show different levels of what kind of music I’m personally into. Also my journey in emotions throughout different things in my life. It’s gonna hopefully make people feel a bit closer to me as an artist on my own rather than me as a featured artist.”
Another reason listeners will feel closer to her on this album is because she is sharing original productions. She made the bulk of the tracks on the album with other producers, but she produced one of the tracks entirely on her own.
She describes the song as “ethereal,” “keys-and-synth-based,” and “very vocal harmony-led.” In the song, she layered 15 vocal tracks, recording them in her bedroom with an NT1A RØDE mic into Logic Pro X.
“It’s not a song. It’s more of a feeling, I suppose. It’s a nice breather.” Currently, she says she can produce well enough to get an idea across, but she wants to improve her production skills; she is holding herself accountable through the album. “I wasn’t sure if I was actually confident enough to put it on there, but I’ve just decided that I’m going to do it.”
Hayla performing
Hayla gives a lot of credit to her collaborators (whom she describes as “kindred spirits”) for helping her build her confidence. She thanks Summit and Kx5 for their support in welcoming her to the stage. But more than just her personal benefits, singing in these massive venues has allowed her to connect with an audience in a way she never had before.
“Being on those stages and being in front of that many people — you get addicted to that feeling,” Hayla says. “Something that I wrote and sang in a room far, far, far away from here is being played out and resonates with so many people. If I can share that emotion with people and that collective energy, it’s amazing.”
It might have taken years, but now Hayla is ready to share her most authentic emotions. She made her upcoming album with other people, but these songs represent who she is as an artist in her own right.
This interview has been edited for clarity and brevity.
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