QUICK HITS: Secretly adds labels • Feedfm + Cynite • Image-Line buys MSXII • Bella Figura funding • KobaltSecretly Distribution is adding Jazz Is Dead and Linear Labs to its growing independent record label distribution roster.....
The post QUICK HITS: Secretly adds labels • Feedfm + Cynite • Image-Line buys MSXII • Bella Figura funding • Kobalt appeared first on Hypebot.

Chroma Console pedal from Hologram Electronics Hologram Electronics' new pedal is equipped with an intuitive set of controls designed to avoid the pitfalls associated with multi-effects units. 

Yooz Music Updates BL-303 Bassline Synth Plugin To 3.0
The BL-303 by Yooz Music was recently updated to 3.0 and comes with a few enticing features. We talked a bit about the legendary TB-303, and it seems like everyone and their uncle is trying to recreate one of the most well-known synths in history.  If you’re looking for a free acid line generator, this might be [...]
View post: Yooz Music Updates BL-303 Bassline Synth Plugin To 3.0

Behringer releases its first synth plugin, Vintage, for free…or does it?After surprising fans with the launch of the MS-5 last week, Behringer is back at it again — this time, with the release of its first synth plugin, Vintage.
Based on “meticulous modelling of the analogue circuitry of legendary vintage synthesizers”, the Vintage synth engine is said to deliver all the lush, classic synth tones that defined the 70s and 80s.

READ MORE: Best new mixing plugins, effects and VST instruments out this week

Most surprising of all is that the synth is totally free — if you can get your hands on it, that is. At the time of writing, the Behringer Vintage webpage appears to be broken. There is no messaging from the brand about the plugin and only a small number of producers have managed to download it. Some details have been reported, thankfully.
According to Behringer (via GearNews), the plugin features two oscillators with a hard sync function and selectable waveform: sine, square, saw, noise and sub-oscillator. Pulse width modulation of the square wave oscillator is included, in addition to a noise generator with a colour knob to control the low pass cut-off frequency.
There are two versatile filters featuring 12/24 dB switchable low-pass, band-pass, high-pass, notch and formant modes, plus selectable drive curves for lush harmonic saturation. A flexible routing scheme, meanwhile, allows for serial or parallel filtering. The audio signal path ends with two amplifier modules with a built-in ADSR envelope, panning, and levelling controls.
In terms of modulation, the synth has two LFOs to modulate the oscillators, filters and amplifiers. Each LFO features a separate control for rate, attack, delay, retrig and waveform, which encompasses triangle, sine, random and square wave with pulse width control.
The community’s impressions of the plugin are pretty mixed so far, with some saying that it sounds strikingly digital and “boring,” also claiming some aesthetic similarities between Vintage and Tone2 Saurus. Others, however, have their fingers crossed that a fix is on the way. In the meantime, you can check out a demo video of the plugin in action below.

 
The synth is available for both Windows 10+ and macOS 10.13+ and as a VST3 and AU plugin. A standalone version is also included. All you have to do is visit the Behringer website and sign up with your email. Any donations, entirely optional by the way, made for the plugin will be directed to the Playing For Change foundation.
Find more music production news in the MusicTech news section. 
The post Behringer releases its first synth plugin, Vintage, for free…or does it? appeared first on MusicTech.

Behringer Releases FREE Vintage Synthesizer Plugin But There’s A Twist
Behringer launched Vintage, a free analog modeling synth, and the German company’s first synth plugin. However, there’s a twist – the plugin isn’t available for download right now. The Mac and Windows release is a Prophet-inspired synth that Behringer states they modelled on the analogue circuitry of iconic vintage synths.  However there’s been a bit [...]
View post: Behringer Releases FREE Vintage Synthesizer Plugin But There’s A Twist

Does your track sound good even when a DJ plays in the red? G-Sonique’s PA Club Soundsystem Emulator lets you find outEver tried playing your music in the club, only to find that it sounds completely different — or maybe worse — than it did in your studio? The discrepancy between small monitors or home systems and powerful PA setups used in clubs can amplify flaws in your mix, causing frequency collisions to become glaringly apparent.
For producers of electronic dance music especially, making sure your tracks sound great in club environments is crucial, but testing each mix in an actual club setting is often impractical. Here’s where G-Sonique’s new PA Club Soundsystem Emulator comes in.

READ MORE: Best free plugins and freeware of the month: April 2024

As its name suggests, the plugin lets you test and hear tracks as they would sound in a real club PA. It accounts for not only various sound systems (advanced IR response + modelling technology), but also amplifiers and processors such as the amplifier’s Total Harmonic Distortion (THD).
The interface is pretty straightforward: you get a giant volume knob in the middle, a dropdown menu for selecting club presets (there are 10), and a bypass switch.
But is it actually useful and practical? Peter Kirn at CDM thinks so, saying that “at this price, it’s a no-brainer to recommend as a learning tool to novice producers…It’s convincing enough that you can hear the strain of the amp and mixer (and my stress level as I watch a DJ redline from the booth), as you turn up the knob.”
G-Sonique has also included a variety of venue sizes and sound system conditions ranging from “a spatially divided club” with “many acoustic obstacles” and “a DJ who plays too loudly sometimes into clipping” to the perfectly tuned PA system with the listener standing right where they should be.
The brand also notes that in addition to DSP engineers, they’ve involved live sound engineers, DJs and producers such as Toxic Elements, Synthaix, DJ Byg Byzniss or DJ Adidaso with Slovakian slav squad in the plugin’s development process.
G-Sonique’s PA Club Soundsystem emulator is available as a 32-bit or 64-bit Windows VST, and will cost you €30 The first 70 customers can enjoy an introductory price of €18
Check out the plugin in action below.

Learn more at G-Sonique.
The post Does your track sound good even when a DJ plays in the red? G-Sonique’s PA Club Soundsystem Emulator lets you find out appeared first on MusicTech.

Avenged Sevenfold’s M. Shadows on his “biggest problem with Spotify” and why Web3 is the solutionAvenged Sevenfold frontman M. Shadows has spoken about how Web3 can revolutionise the music industry by offering both artists and fans fairer rewards.
In 2021, A7X launched Deathbats Club — an NFT-based fanclub that rewards members with real-world merch discounts and opportunities for meet and greets.
Three years on, with the launch of Season Pass, a Fortnite-style progression system that lets fans earn points and unlock rewards, the band continues to advocate blockchain technology, arguing that Web3’s decentralised nature affords artists greater control over their music and their revenue.

READ MORE: “VR concerts are here to stay but people will always complain”: Avenged Sevenfold’s M. Shadows

“Not every artist deserves to be rich. You have to have market share,” Shadows tells MusicTech in a new interview. “People have to want to listen to you. It’s not, ‘Oh, I’m an artist, I should get paid more.’ It’s just not how it works.”
He adds that “the reason a lot of people don’t get paid a lot on Spotify is that they have shitty record deals.”
“We had a shitty record deal. And the fact that you signed in 1999 when you were 18 and you had no money, that’s a lot different than all of a sudden the internet coming along, streaming services being born and you still make 24 cents on the dollar, and Spotify is paying what it pays.”
According to Shadows, the “biggest problem with Spotify is that they don’t share the data with the artist” — an issue Web3 takes care of: “You can take your data as an artist and go somewhere else,” the singer explains. “So I don’t hate Spotify, I just wish they’d share with us who our listeners are, and they don’t.”
Beyond financial benefits, he says the technology also has the potential to revolutionise artist-fan relations.
“[Corporations] want to come to the artist and say, ‘We’ve built a business off of you, and now we want to reward the fan, but you can’t reward the fan, we want you to allow us to reward the fan in our own way,’” Shadows says.
“And [A7X is] taking that power away from them, and saying, ‘No, we’re gonna reward the fan – who is the same fan that participates in all of your corporate networks – and we’re gonna reward them in the way that we feel is the most meaningful, which is access to us, things that we want to give them, not through [corporate networks] but through us.’”
Read the full interview on MusicTech. 
The post Avenged Sevenfold’s M. Shadows on his “biggest problem with Spotify” and why Web3 is the solution appeared first on MusicTech.

Korg Gadget 3 is a DAW-groovebox hybrid more fun than everMacOS desktop and plugins $299
Mac/Windows plugins only $199
iOS $39.99/£39.99
korg.com
It’s been five years since Korg released the second version of Gadget, which lies somewhere between a groovebox and a DAW but with a unique take on music-making. While version 3 sees some crucial upgrades, there’s still no Windows version of the full desktop app, with Korg focusing heavily on macOS and iOS users.
If you’re a Windows user, it’s possible to buy the Gadget collection — the individual instruments that come with the software — as a plugin bundle to use in your DAW of choice at a discounted price.
macOS users also get the Gadgets as plugins.

READ MORE: Zoom’s H6essential puts clip-free recording in the palm of your hand

Meanwhile, a big new change to the iOS version, which is a standalone purchase, is that most of the Gadgets are now available as AUv3 plugins on iPad or iPhone, making them available for use in any compatible audio app running on it such as Cubasis or Logic Pro. The exceptions to this are the versions of Korg’s bigger apps like Polysix and MS-20, but it seems likely that these will be added in an update.
Gadget is a standalone MIDI sequencer that comes with 45 Korg virtual instruments; all specially designed and rather beautiful-looking synths, drum machines and the like. Some are based on existing instruments and others are originals but it’s all geared towards making electronic music of all styles.
The single main window is divided into four sections which can be freely resized and each one shown or hidden to tailor your workspace. From left to right they are song sequencer, pattern sequencer, mixer and instrument. Selecting different gadgets will cause other parts of the screen to update to show the relevant pattern and controls.
Genre browsing in Korg Gadget 3.
It’s a very friendly and intuitive way to work and part of what makes Gadget so accessible for less experienced producers. It’s also only really possible with an app that has a relatively straightforward feature set and doesn’t have to accommodate the hundreds of tools found in a fully-fledged DAW.
While Gadget doesn’t have conventional audio tracking, the Zurich gadget is available for sample recording and it’s also possible to import samples into it for use in projects. There’s basic editing of start and end points but no time-stretching. Thankfully, the new Sydney sampler, a heavily user-requested looper with rather more advanced sample editing and also automatic time stretching to your project. This really extends Gadget’s usefulness by making it easier to bring in your own loops and fit them to tempo.
It’s MIDI that Gadget is all about though, and the idea is less about deep-dive sonic editing and more about immediacy and creating quickly. One new feature is a genre-based browser, plus improvements to searching in the existing browser to make it faster to get to what you need. The Genre Select browser has a choice of template projects you can use as a jumping-off point, or of course, you can just add Gadgets to a blank project, with unlimited tracks available.
Pattern sequencing is at the forefront of Gadget and, in addition to mouse input, you can connect your MIDI controller, with deeper integration available if you happen to be using one of Korg’s own controllers like the NanoKey or nanoKONTROL Studio.
Sydney Sampler on Korg Gadget 3.
Quantising and editing note velocity and length in a pattern are straightforward and, when you move a control on a Gadget during playback, it records automation data in the clip’s lanes which you can then edit. The same goes for the automation of the main mixer.
In the Song area, you can see the clips that make up your song and copy, delete or mute whole clips or lanes to create variations and build up an arrangement. Pressing the Function toggle button will also reveal a bunch of shortcuts for these actions which can be a quicker way to work. The other all-new Gadget is Santa Ana, a “rhythm guitar machine” loaded with 25 sampled electric guitar riffs and loops that you can tweak. They sound cool and add another dimension to Gadget’s sound palette, though are more suited to electronic music than other styles.
Each Gadget has a solid number of presets and also a fair few controls depending on its type including built-in effects, plus five insert slots per instrument so you can do a lot of processing in addition to the master channel’s limiter and reverb. Five new effects have been added including a stereo imager, eight-band EQ and transient shaper. One of the final new additions is a Play page, available for most Gadgets, that lets you set up and play chords and arpeggios using a single key. It’s easy to use and will be very helpful for less experienced players.
Gadget browsing on Korg Gadget 3.
Although the app is self-contained it does let you export in a few formats: GadgetCloud, Korg’s project sharing service; exporting the whole mix or individual / all tracks as stems and exporting a MIDI file or an Ableton Live project in either audio, MIDI or plugin format depending on how you want to continue working on it. There’s also an iCloud Drive option where you can upload and download projects and then work on them either on your Mac or iOS device.
Gadget is a lot of fun and an easy recommendation both for budding musicians and for more experienced producers who want something that sounds impressive, is inspiring and quick to create with.

The workflow encourages you to experiment and go with the flow and the instruments and patches (over 6,000 sounds) are geared towards a range of electronic genres from techno and house through hip-hop and trip-hop.
The new browsing features and looper module are very welcome as is AU compatibility on iOS, though your desktop purchase doesn’t include the iOS version, unfortunately. LE editions of both are available for free though with restricted feature sets should you wish to try them out. Gadget 2 users can – for now – get a free upgrade with a coupon obtained via their Korg account.
Korg Gadget 3 key features

MacOS and iOS, and Windows (plugins only)
45 Gadgets, also available as DAW plugins
Unlimited songs and tracks
Multiple insert and master effects
Genre-based browsing
MIDI sequencing and basic audio recording
Ableton project export
MIDI over Bluetooth
Automation of instruments and mixer
Projects interoperable between mobile and desktop

The post Korg Gadget 3 is a DAW-groovebox hybrid more fun than ever appeared first on MusicTech.

11 sad chord progressions you need to know (free MIDI files included)
We analyze 11 sad chord progressions and some songs they're used in to identify what makes them so effective at tugging at our heartstrings.

YACHT's Claire L. Evans on Crafting “Chain Tripping” and Capturing “The Computer Accent”AllMusic spoke with YACHT vocalist Claire L. Evans about the motivations, challenges, and revelations of integrating AI into their music-making process and a look at the possible future of collaboration.

‘Don’t sign things you don’t fully believe in. Otherwise you’ll have to fake it.’Jamie Oborne talks success, ambition, adding Jack Antonoff to his management stable, and the “unflinching” artistry of The 1975…
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Meta’s X competitor Threads invites developers to sign up for API access, publishes docsAfter opening its developer API to select companies for testing in March, Meta’s Twitter/X competitor Threads is now introducing developer documentation and a sign-up sheet for interested parties ahead of the API’s public launch, planned for June. The new documentation details the API’s current limitations and its endpoints, among other things, which could help developers […]
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Killer Mike and Fantastic Negrito Engineer Sets Up Shop in Los Angeles with the Lauten Audio EdenAlexandro ‘Migui’ Maloles has had a meteoric rise over the past decade. The four-time Grammy-winning engineer has brought his considerable live and studio engineering chops to bear with artists like Fantastic Negrito, Killer Mike, Daniel Caesar, Lil Dicky, Tate McRae, Doja Cat, E-40, and P-Lo. Having recently relocated to LA to be closer to his clients, Migui has assembled a new studio to accommodate the steady work he keeps getting offered. Looking for versatility in a streamlined setup, he has made the Lauten Audio Eden Large Diaphragm Tube Condenser his studio microphone of choice. 

Being a conduit for artistsLike many engineers, a key element of Migui’s success has been his ability to tap into the artistic worlds of the artists and performers that he works with. His easy-going manner and ability to authentically channel many different styles of music are a natural outgrowth of his innate curiosity. “What makes an artist choose an engineer is based on their ability to curate a creatively comfortable atmosphere,” he said. “Having that openness to create and low-key, positive attitude makes them feel like they can be themselves in the studio.”

“My whole goal is to be as transparent as possible, and I think of myself as being somewhat of an artistic chameleon. I just want to translate for these artists as clearly as possible and bring their interior worlds to life.”

Migui favors streamlined gear setups in his studio. In practice, he often chooses deliberately minimalist signal chains to minimize both the technical and conceptual distance between his artists and their performances.  “The gear is obviously a huge part of the process, and you want to know every inch of what you have,” he said. “When it comes down to the base of it, though, it’s about getting the idea out and if you can get that atmosphere and energy the gear is really just the icing on the cake of that.” 

“Given that, I take what I have really seriously and that’s one of the reasons why I started using the Lauten Eden for vocal performances — it was the perfect platform for that kind of setup.”

Simplicity and versatility Although he now works in major studios around the world, Migui still likes returning to his roots and working in small, minimalist rooms. His studio in LA, which he describes as ‘more of an overdub and finishing room’, has been streamlined for a quick and rewarding recording process. “One thing that I go for when buying gear is versatility,” he said. “What are the things that sound amazing, and I can get a lot out of, quickly? I want the stuff that sounds like butter and is easy to manipulate after the fact.”

“When I needed to pick my main studio mic I knew the Eden would be really good for that and also wouldn’t break the bank, so it was an obvious choice.”

Migui regularly utilizes Eden’s Multi-Voicing switch to give his artists a quick ‘vibe check’, empowering the artist to help find the sound that they want before delivering a performance. The ability to change things up while still maintaining a high-quality baseline sound is ideal for his workflow. “The Eden is always up and ready to go because it’s three different microphones in one with that Multi-Voicing switch,” he said. “There’s a simplicity to using it where I can just get straight to the point, get a few inspiring sounds without any trouble, and process it however we need after the fact. 

“Being able to change the sound up just enough is sometimes the x-factor that makes the artist go for it in the moment, and that’s what we want!”

Despite his success, Migui remains humble and continues to hone his skills and workflow to suit each project. Driven by his own curiosity, he’s always on the lookout for ways to keep his process simple, and inspiring. “At the end of the day I’m relying on my experience and taste to work with these artists and keeping that simplicity and transparency at the forefront of what I do,” he said. “Riding the vibe is so important, and if you do that, you can make some incredible art.” 

About Lauten Audio Lauten Audio is a family-owned maker of original, inspiring microphones. Currently available products include the flagship “Eden” tube microphone, the award-winning “Atlantis” FET condenser microphone, the groundbreaking “Synergy Series” of noise-rejecting condenser microphones, and the new Series Black family of condenser microphones. Lauten Audio and its diverse family of users can be found in studios, on stages, and in homes worldwide.  

 For more information, visit http://www.lautenaudio.com or call 1-877-721-7018. 

Royal Typewriter Gets a Second (or Third) LifeUsually when we are restoring something with a keyboard, it is some kind of old computer or terminal. But [Make it Kozi] wanted an old-fashioned typewriter. The problem is, as he notes, they are nostalgically popular these days, so picking up a working model can be pricey. The answer? Buy a junker and restore it. You can watch the whole process in the video below, too, but nearly the only sound you’ll hear is the clacking of the keys. He doesn’t say a word until around the 14-minute mark. Just warning you if you have it playing in the background!
Of course, even if you can find a $10 typewriter, it probably won’t be the same kind, nor will it have the same problems. However, it is a good bet that any old mechanical typewriter will need many of the same steps.

The first order of business was to clean everything up. He was afraid of breaking springs with a brush, so much of the cleaning was done with an air gun. Even then, some of the linkages were prone to sticking. The keys also needed some very deep cleaning. Soaking the whole thing in a bath looks scary, but with enough air drying, it shouldn’t cause problems.
There were a few stubborn areas where a brush and mineral spirits were a must. Apparently, WD40 leaves a residue that can cause problems later. Once everything was reassembled, there was a problem. The cleaning had bent out the space bar support! Easily fixed, but it shows how hard it is to clean these things no matter how careful you are.
At least a $10 typewriter isn’t much to risk. We lose sleep every time we have to work on our old Selectric. They are pricey and, even for an electric typewriter, complicated. Of course, an electric has a lot more hacking opportunities.

German collection society GEMA’s revenues rose 8.4% YoY to $1.38bn in 2023GEMA to distribute $1.17bn to its members and rightsholders worldwide
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