Jocavi’s Soundspace Pro Modular Rooms Jocavi's Soundspace Pro is a prefabricated modular room system that incorporate the company's renowned acoustic treatment solutions and offers a significant amount of isolation.

Live Nation has already sold 140m tickets to its shows this year – 19m more than in the whole of 2022Concert promoter posted revenues of $8.2bn across all of its divisions in Q3, up 32% YoY
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FabFilter’s new Pro-R 2 reverb boasts Dolby Atmos 9.1.6 support and IR import capabilityDutch brand FabFilter has announced the Pro-R 2, a new and improved version of its acclaimed reverb plug-in Pro-R. The latest iteration introduces a host of modern features, including multichannel compatibility, two brand-new reverb algorithms, IR import and replication, ducking and gating functions, analogue-style saturation, and more.

READ MORE: Cubase 13 lets you produce “more naturally, intuitively, and conveniently”

First of many exciting developments is the addition of Dolby Atmos 9.1.6 support. “Pro-R 2 configures itself for multichannel formats automatically whenever it is added to a surround channel, and individual Decay Rate and Post EQ bands can be applied to any combination of channels using the new Speakers panel,” says the brand.
There’s also a new Surround Settings panel that allows you to balance the relative levels of every reverb parameter.
The Pro-R 2 expands on the clean, natural sound of Pro-R with two new reverb algorithms that bring a variety of retro flavours to mixes. ‘Vintage’ is inspired by classic digital reverb units of the ’80s and ’90s, and is the go-to for long, bright hyper-real spatial ambiences, while ‘Plate’ replicates the sound and character of vintage plate reverb.
Fanfilter has also included a Ducking control for users to separate their dry and wet signals. With the Pro-R 2, you can dial in density and saturation with the Thickness knob; get your Phil Collins on with the tempo-syncable Auto Gate; and capture and hold the tail indefinitely with a click of the Freeze button.
Other useful features include the ability to import impulse responses (IR) and have them automatically recreated as algorithmic setups, as well as a new preset browser with tags, favourites, search and filter functions, and a new library.
FabFilter Pro-R 2 is now available at $169/ £144, supporting both Windows and macOS in VST and VST 3, Audio Units, AAX, and AudioSuite plug-in formats.

Learn more at Fabfilter.
The post FabFilter’s new Pro-R 2 reverb boasts Dolby Atmos 9.1.6 support and IR import capability appeared first on MusicTech.

Introducing Beatport Studio, a new cost-effective subscription model for plugins and samplesBeatport has launched Beatport Studio, a brand-new platform which combines Loopcloud, Loopmasters and Plugin Boutique into a singular subscription model.
Structured around a more cost-effective model – as opposed to buying the same number of plugins outright, for example – the new platform gives producers access to thousands of plugins and even more samples in one central hub.

READ MORE: Deadmau5-backed Pixelynx launches BeatKOR AI music collection in partnership with Beatport

Subscribers have access to 10 plugins per month – from the likes of developers like Baby Audio, Excite Audio and more – and can rotate their selection every month. As Beatport explains, if a user finds they’re not using certain plugins, they can deselect them using the Beatport Access app and select a new plugin to try for the following month.
Additionally, Beatport Studio subscribers get access to hundreds of thousands of samples and sounds via the ever-expanding Loopcloud Sounds plugin. Browsing takes place directly within your DAW, and loops are automatically synced to your project’s tempo.
To sweeten the deal, Cubase LE and Bitwig Studio 8-Track are included as part of the subscription price of Beatport Studio.

Robb McDaniels, Beatport CEO, says: “Beatport Studio marks a significant milestone in our commitment to empowering music producers worldwide. We’ve harnessed the collective creative strength of Beatport’s Producer Group to deliver an integrated production marketplace that reflects our dedication to innovation and flexibility to ensure our users are at the forefront of shaping the sonic landscape.”
“It’s an exciting time for music producers,” adds Gareth Halsall, VP of Beatport’s Producer Group. “We’re proud to bring a new dimension to the industry by combining flexibility and choice, ultimately enriching the creative experience for our users. Beatport Studio is more than a membership; it’s a gateway to a vast world of sound, right at your fingertips.”
Price-wise, a Beatport subscription – which includes 10 plugins and 100 sounds per month – costs £11.99/$11.99 monthly, or £119.99/$119.99 annually.
For more info, head to Beatport.
The post Introducing Beatport Studio, a new cost-effective subscription model for plugins and samples appeared first on MusicTech.

Universal Audio’s compact UAFX pedal review Check out our review of the new 1176 Studio Compressor, Orion Tape Echo, Heavenly Plate Reverb and Evermore Studio Reverb UAFX pedals.

“It might have been easier if I used AI, but I didn’t”: How Giles Martin created the backing vocals for The Beatles’ Now and ThenGiles Martin has opened up about the production process behind one of the most highly anticipated songs of the year, Now and Then, by the Beatles.

READ MORE: Rick Rubin: “What’s missing today is what SoundCloud used to be”

Released on Thursday (2 November), the song — touted as the fab four’s “last” – features sonic contributions from all four Beatles: George Harrison, John Lennon, Paul McCartney and Ringo Starr.
Before the song’s release, talks about the alleged involvement of AI in the track’s making had caused a stir among fans. In a new interview with Variety, Martin clarifies that AI software was only used to extract and clean up Lennon’s vocals on the demo track, with the bulk of the song being recorded or spliced together from the Beatles catalogue.
Of the song’s backing vocals in particular, Martin says: “No, it’s not artificial or intelligent. No, it’s the same process that I used, as you say so rightly, in Love.”
“And Paul was nervous about this, actually… My thought was this: that I really thought this needs to sound like the Beatles. And I have Paul, and he’s definitely the producer of this track, and I’m producing it with him.”
He adds, “The band would have probably sang “ahhhhs” in those things, but they’re not around anymore. So I’m not using AI to recreate their voices in any way. I’m literally taking the multitrack tapes of Eleanor Rigby, some stuff from Because and Here, There, and Everywhere, just in the same way the Beatles are splicing that in.”
“So, no AI, no. It might have been easier if I used AI, but I didn’t,” Martin continues. “And it’s funny, because it gives a different quality. I was listening to the song today, and the backing vocals have a sort of tape feel to them, like they’re on tape.”
“They feel like they’re from the Beatles, and they are from the Beatles. I think if they were from some machine learning program, they wouldn’t sound right.”

The post “It might have been easier if I used AI, but I didn’t”: How Giles Martin created the backing vocals for The Beatles’ Now and Then appeared first on MusicTech.

Max MSP Beginners Guide: Presentation Mode and presets for your synthesizerIf you haven’t caught up on the previous four tutorials where we go through the basic tools needed to use Max MSP, how to build an input/output and oscillator, how to build an envelope system, and a filter system, you can do that ahead of this tutorial.
In this guide, you’ll add the finishing touches to your synth by creating a GUI (Graphic User Interface) and a bank of presets.
First, open up your patch from the last tutorial and ensure that the page is setup correctly before we start patching. Unfortunately, these do not save, and need to be reset each time you open up Max MSP. You can refer back to Part 1 of this tutorial series if you need any guidance.
Presentation Mode
Now you’ve built the synthesizer, you might want it to look like an actual synthesiser rather than just a circuit board.
To do so, you’ll access Max MSP’s Presentation Mode, which can be found at the bottom left of the screen, next to the lock icon.
When you click that, your patch will disappear. But, don’t worry! Your work hasn’t been deleted, it’s just hidden.
Presentation Mode allows you to select what objects you want to see and what objects you want to hide so that you can make your synthesiser look more aesthetically pleasing.
To get elements of the main patcher on to the presentation mode, left-click on all the things you want to put in your final synth; whether that be objects, messages, and/or comments. You then need to select ‘add to presentation’. After they’ve been added to presentation mode, they’ll have a red border.
Once all the elements have been selected, click back into Presentation Mode, and feel free to move everything around until it resembles a synthesiser.
However, rest assured that no matter what you move while in Presentation Mode, it will remain in place in Patching Mode. You will also find more use for the comment boxes that were used throughout the tutorials, as they can turn into labels for your final patch.
Using the inspector sidebar, you can also change the colours of objects, messages and comments to make it look however you like. There are also other customisation options within the inspector, such as the shape of bangs, the length of the Kslider, and many many more.
We recommend using an object named ‘Panel’, which you can use as a background to your synth and create different boxes for different elements to your patch.
At this point you have complete create freedom, so feel free to mess around.
For inspiration, here is our finished synthesiser in Presentation Mode:
Finished synthesizer in Presentation Mode
Presets
The synthesizer has now been complete both in terms of the patching it’s final look. Now, we recommend creating presets of the entire synthesiser, as well as a reset button.
This step is entirely optional, but it gives you the chance to transform the synth at the click of a button, rather that setting it manually.
To do so is fairly straightforward and involves the object ‘Preset’. It’s best to do this step in patching mode.
Once the object has been created, open up the help file, and you can see that it programmes presets through messages, which will instruct the object to ‘store’ data into the different presets.
Therefore, you need to create a message that says, ‘store 1’ and link it to the preset object. After this is done you need to set the synthesiser up to your desired settings, before clicking on the message. You will that the first box on the preset object will turn a light grey. This means that your preset has been set.
You can continue to do this for how many presets you want, changing the store number each time. At this point you can also create separate messages stating ‘1’, ‘2’, etc, which will recall each preset for you. Add these to Presentation Mode.
After you have created all of your presets, you will want to create one more, but setting all of the elements in the patch to zero. This will then act as our reset button. As we have only decided to created three presets, this reset will be stored into 4.
However, instead of adding the ‘4’ message into our Presentation Mode, you can attach a bang to the message, and add that to the presentation mode instead, as it will still trigger the fourth option on the preset object, but will simply look different. Therefore we have three preset options for our synth, and a bang which will reset the patch.
The Final Steps
The final step for to this monophonic software synthesiser is to export it.
Firstly, ensure that when the Max MSP file is opened, it opens in Presentation Mode, rather than the patcher itself. To do so, go to View > Inspector Window, and scroll down to where it says ‘Open in Presentation’. Ensure that box is ticked.
There are multiple ways to export a Max MSP Patch, but we will be exporting it as a standalone application.
Under file, click on ‘Build Collective/Application’. A ‘build’ window should pop up, giving you options of what you want to happen when the application opens. However, as we are not using any additional audio, video, or files, you can just click ‘Build’ at the bottom of the screen and ensure it is saved to the location of your choice.

Congratulations! You have just built a monophonic software synthesiser from scratch using Max MSP. This should hopefully provide you the skills and tools needed to continue on your software synth journey using Max MSP.
Want to share your finished piece? Drop an image on socials and tag us!
If you haven’t yet downloaded Max MSP, Cycling 74 are offering a four week free trial.
The post Max MSP Beginners Guide: Presentation Mode and presets for your synthesizer appeared first on MusicTech.

Joy to the world: How a community inspired Joy Anonymous to fly far from their Southbank beginningsJoy Anonymous are more than just one of the most intriguing and refreshing dance music duos kicking about today – they’re essentially a forward-thinking concept. This concept was not born out of a studio nor on a murky dancefloor. It was formed out of inclusive collective energy created by unified souls outside on the wet and windy streets of London – on the Southbank, to be precise.
More specifically, the Joy Anonymous movement was established after production duo Henry Counsell and Lou Curran broke free from their pandemic-induced cabin fever, taking their sampler, keyboard, drum kit, camping chairs and lamps out into the stark reality of ‘the new normal’ on the river Thames every Friday. Here, runners, dog walkers and socially distanced groups of five got their first taste of live music in a long time, instantly finding joy from the heartfelt vibrations of Joy Anonymous. Soon those passers-by turned into regular crowds.

“When we took our equipment down to the streets of London and started,” starts Curran, the percussionist of the two, “the community built around us, fueled us and kept us going. We learned so much from the community. And it’s super important to keep that going for sure. This group of people, we’re all part of it.”

READ MORE: A daring move to Germany gave Vagabon “purity” to write her first album in four years

Four years later, on a September South London morning, Joy Anonymous sip tea in Counsell’s cosy flat. It feels like the calm before the storm.
They’ve just finished their second album, Cult Classics, and in the morning are about to step up from Southbank to the global stage, playing Las Vegas and a few shows in New York. That’s not to say this storm’s not been brewing already, however – in March, they released a track co-produced with British producer superstar Fred again.. featuring one of their joint heroes, The Streets. Just days before, they DJed to roughly 10,000 people alongside Fred Again.. and Skrillex in Alexandra Palace.
“It was mad,” Counsell, the Australian-born singer of the two, recalls. “The moment when I was singing, then Mike Skinner came on – at Ally Pally – us in the booth… it couldn’t get more childhood dream than that, to be honest.”

“The way it started was amazing as well,” Curran laughs. “We were playing tunes to an empty Ally Pally, and then all of a sudden the doors opened and it was just people sprinting towards us. In about 10 seconds, it was a full venue. Coming from a DJ background, that was quite literally a dream come true, that night. We’re still recovering.”
While Joy Anonymous’s 2021 album debut Human Again was “introspective” and at times “melancholy”, they say, their new album, Cult Classics is a “celebratory” shout-out to their day-one Southbank squad – hence the ‘Cult’. It’s a refined greatest hits album from projects that started during that special time, when each Friday their community would gather to party in a safe space.
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“This feels more celebratory than our first album, Human Again,” says Curran, “which is an introspective documentation of lockdown and what we were doing on the streets of London during that time. You listen back to it now and it does feel melancholy at times.”
“Even in lyrical content,” Counsell adds, “Cult Classics feels more like the soundtrack of Joy meetings: “make some noise for yourself”, “breathe in those around you”, “this is a place you belong”. These lyrics feel more ‘right now’. We’re a unit going out in the world going into different countries, and trying to make music that feels like it’s bringing people together.”
Joy Anonymous jamming in Henry’s flat. Image: @Sully
In many ways, Joy Anonymous isn’t just two people. It’s all their fans together as one huge collective. Everyone plays a part, and samples of the crowd singing along, clapping and reacting are even weaved into so many of their tracks to the point where you feel like you’re there in the crowd. Breaking the fourth wall in this way is a refreshing approach to making and outputting music, far removed from conventional ways of releasing music and much more inclusive for the listeners.
“The crowd contributes to the music, 100 per cent,” affirms Counsell. Joy Anonymous’s process now actively involves their audience, and they feed the crowd’s live reactions and even their suggestions into their music.

“Now, we go and play these tracks out in meetings [street-based gigs] and in other countries, and we’re tweaking the sound because of their reaction and how they feel about the records. We make that a real part of our music. It’s not like we go away and chisel away by ourselves and hide it and then release it. It’s like, ‘People are moving. People like it. This is a done record now.’”
The making of Cult Classics
The tracks on Cult Classics, like many of Joy Anonymous’ music, start by sampling the world around them. They tell us how they pride themselves by documenting everywhere they go and injecting that into their productions, “wanting them to be present in the record”.
Roland SP-404 MKII sampler used by Joy Anonymous. Image: @Sully
The first track on the album, Beezley’s Poem is an exciting example of this. The recording is a poem told by Beezley, a former security guard, to introduce the band at a club called Elsewhere in New York. We say former because Beezley lost his job after hyping up the crowd during a previous Joy Anonymous show at Terminal V festival in Edinburgh. Since then, he’s become part of their entourage, making regular appearances preaching poetry at their afterparties.
They go on to discuss their music production process, emphasising their use of samples from records but also sampling their own acoustic recordings, later looping them with a Roland SP-404 MKII sampler. Often they’ll use the likes of Soundtoys Decapitator – a “fun to use” saturation plugin – and FabFilter’s Simplon filter to zhuzh things up a bit.
Lou Curran of Joy Anonymous using the Roland SP-404 MKII sampler. Image: @Sully
They spent two weeks at musician and singer-songwriter Imogen Heap’s house in February 2022. Here, various instrumentalists popped in and together they’d all jam out “jazzy, guitar-y” music that sounded nothing like dance. Then, they’d re-sample the tracks they had made, re-contextualising them into their own distinct R&B-tinged dance sound with the help of a five-channel loop station. This was, they say, a whole new process.

They used this recording on How We End Up Here, a track that’s a perfect example of them “showing their working” – displaying the raw sample and then flipping it within the track to show transparently how it transforms. They sampled it like they would a “random soul sample”, but with their own “ingredients”. It’s wild. Counsell whips out his MacBook and plays the original recording to us, which sounds, for want of a better example, a Jamie Cullum song. Then he plays what this turned into, and the transformation is awesome.
Henry of Joy Anonymous playing the piano. Image: @Sully
After the foundations were set during those two weeks of sessions at Imogen Heap’s house, the record started to take shape on the road, with their live shows acting as their practice room – “a feedback loop”, as Curran says. This process went on for about a year and at the end, they realised they had an impactful, pretty-much-finished body of work.
“We managed to refine them and finish them by being on the road playing live, especially when we were opening up for Fred [Again..] – a bit less pressure. If you’re the support, you can try loads of these different versions, tweak it that night, and try it again the next night. You can react to how the crowd reacts. That was our feedback loop basically.”
Joy Anonymous jamming in Henry’s flat. Image: @Sully
It’s a testament to how skilled Counsell and Curran are that they were able to identify – with a laser-sharp focus – where tracks needed to be amended. And their output is prolific, too; they’re constantly creating. It’s no wonder, then, that Curran’s top piece of advice for producers and musicians is, drumroll, please: “fall in love with the process, not the destination”.
Counsell adds to this: “And don’t get stagnant in that process. Meeting other artists and other musicians who come from different schools of thought and combining them brings endless possibilities. It always keeps it exciting. I know a lot of great producers who just stay in their own room and make amazing sounds but I think working with a bunch of people is always going to bring great results.”
Sylvania turntable record player in Henry’s flat. Image: @Sully
A modular, unconventional and inclusive approach to their musical output, an incessant, admirable work ethic and an overall appreciation of creating joy through collective energy makes Joy Anonymous one of today’s hotly-tipped acts in dance music. Talking of dance, we highly suggest you put on your classics and have a little one to this, a brilliant second album by two radiant beings. Oh, and be sure to keep an eye on the tides of the Southbank.
Joy Anonymous’s second album, Cult Classics, is out now.
The post Joy to the world: How a community inspired Joy Anonymous to fly far from their Southbank beginnings appeared first on MusicTech.

PC Music’s Pop Crypt at London’s HERE was an unforgettable spectacle – a fantastic farewell from the hyperpop labelHordes of PC Music diehards entered the maze of London’s new venue, HERE at Outernet, for Pop Crypt, a Halloween showcase held to celebrate the 10th anniversary of the widely influential label and collective that has, over a decade, shifted and reshaped the pop and electronic landscape.

READ MORE: How CRSSD Festival is using synths to transform electronic music fans into producers

Following the announcement that 2023 would be the label’s final year for new releases, the sold-out party hosted newcomers, well-known names and several surprise guests.
Experimental producer felicita, who sported ghoulish white and back face paint, set the tone early on with demonic soundcapes that could easily soundtrack an exorcism. From nowhere, rapper YoungQueenz hobbled on stage – with his face concealed by a pair of tights, his ear-splitting screams were paired with obliterating trap snares. “I don’t know what the fuck just violated my ears, but I kind of liked it,” said MusicTech’s friend who was being indoctrinated into the PC Music world for the first time.
felicita performing during PC Music’s POP Crypt at London’s HERE
Moments later, Denzel Himself rattled through his breakbeat-driven ‘aggressive rap music’ while dressed as a cowboy. “This is a song about wanting to blow my fucking head off,” he said, casually.
As is typical of a PC Music show, no two performances were the same. French singer caro

ROLI is back with the Seaboard BLOCK M, a $350 compact MPE keyboard
ROLI, the 2009-founded company known for its pioneering role in MPE (MIDI Polyphonic Expression), has returned with the launch of the Seaboard BLOCK M. It’s a refined and redesigned take on its flagship Seaboard RISE gear line, in a more portable – and notably more affordable, priced at just below $350 – form. ROLI’s reappearance may […]
The post ROLI is back with the Seaboard BLOCK M, a $350 compact MPE keyboard appeared first on DJ TechTools.

Ford shutters company building an app for plumbers, electricians and other tradesFord has shut down VIIZR, a software-as-a-service company that along with Salesforce built an app to help tradespeople like plumbers, locksmiths and electricians to schedule field appointments, send invoices and manage customers, TechCrunch has learned. About 40 people who worked at VIIZR were laid off. VIIZR, which was announced in December 2021, was a separate […]
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Marathon Digital will use landfill methane to mine Bitcoin in Utah pilot projectThe BTC miner has partnered with startup Nodal Power for a green, off-grid project that is a small start for a potentially big advancement.

Talking ‘garbage’: How can Spotify and co sort the dregs of the music business from the hidden treasures?On Sir Lucian Grainge's bluntness, Believe's rebellion, and why a careful balance is required to find a true 'artist-centric' formula
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Metalliance book is finalist for NAMM Technical & Creativity (TEC) AwardsThe METalliance book "Recording and Mixing Drums" is a finalist for the 39th Annual NAMM(r) Technical Excellence & Creativity (TEC) Awards in the category of Audio Education Technology. The book is authored by award-winning audio engineers/producers Al Schmitt, Chuck Ainlay, Ed Cherney, Elliot Scheiner, Frank Filipetti, George Massenburg, and Niko Bolas. 

Presented at The NAMM Show, The NAMM TEC Awards are bestowed annually in celebration of the pro audio community by recognizing the individuals, companies and technical innovations behind today's sound recordings, live performances, films, television, video games and other media.

Click here to vote: https://www.tecawards.org/2024/voting 

Don Was, in the foreword, says, "METalliance Drums is the holy grail of a century's worth of drum recording knowledge."

"Recording and Mixing Drums" features specific in-depth sections with photos and diagrams from each of the METalliance members and their detailed takes on the art of recording drummers. For more information and where to buy the Recording And Mixing Drums eBook & Paperback click: 

http://www.metalliance.com/academy-resources/recording-and-mixing-drums

All finalists will be celebrated at The 2024 NAMM Show at the TEC Awards, a special, communal reception designed to gather the crossroads of the industry to applaud the achievements of the researchers and developers, product designers, marketers, and innovators behind the innovations. The event will be held on the campus of the Anaheim Convention Center on the evening of Saturday, January 27. Learn more about the TEC Awards at www.tecawards.org. 

ABOUT THE METALLIANCE

Established in 2005, The METalliance (Music Engineering and Technology Alliance) is composed of top award-winning audio engineers/producers Chuck Ainlay, Niko Bolas, Jimmy Douglass, Frank Filipetti, George Massenburg , Sylvia Massy and Elliot Scheiner. The METalliance works with producers, engineers, educators and manufacturers to further the best practices and technology developed in modern recording and to help insure the skills and techniques that have developed through the history of recording are carried forward. 

METalliance

METalliance: strategic union of music producers and engineers dedicated to the highest standards of audio and delivery of music, securing the art through recording technology in all its evolving modern forms.

ABOUT THE TEC AWARDS 

Presented annually by NAMM during The NAMM Show, The NAMM TEC Awards recognize the individuals, companies, and technical innovations behind the sound of recordings, live performances, films, television, video games, and other media in Technical and Creative Achievement Categories. The Innovation Award is given at the event in tribute to musical artists and others whose work has exemplified the creative application of audio technology. Through its Hall of Fame, The TEC Awards also honors the pioneers of audio technology and the music industry's most accomplished producers and audio technicians. The NAMM Foundation's TECnology Hall of Fame celebrates innovations and groundbreaking technical achievements of the past. For more information, visit www.tecawards.org or follow TEC on Instagram and YouTube. For photos from last year's event, visit https://namm.pixieset.com/ns23_texc/

About NAMM

The National Association of Music Merchants (NAMM) is a not-for-profit association with a mission to strengthen the $17 billion music products industry. NAMM is comprised of approximately 15,000 member companies and professional members located in 104 countries and regions. NAMM events and members fund The NAMM Foundation's efforts to promote the pleasures and benefits of music and advance active participation in music-making across the lifespan. For more information about NAMM, please visit www.namm.org or follow the organization on Facebook, Instagram, TikTok, YouTube and LinkedIn.

Concord acquires Round Hill’s UK fund, after $469m sale was approved by latter firm’s shareholders last monthDeal includes over 150,000 songs and 51 catalogs
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