ChatGPT is the most-used AI tool among musicians, study findsA new study has revealed which musicians are using available AI tools and how, revealing that ChatGPT is currently the most-used tool among musicians.

READ MORE: YouTube’s Dream Track could be the tipping point for AI-generated music

The study, which was carried out by Pirate and involved 1,000 musicians, unveiled the top 10 AI tools utilised for music production. Topping this list is ChatGPT, which can help in songwriting and composition by generating ideas and providing valuable feedback on lyrics.
The OpenAI tool is closely followed by iZotope’s Ozone 11 plugin, which simplifies the mastering process with its one-click solution, enhancing workflow for artists.
Stem separation tool LALAL.AI secured the third spot while BandLab SongStarter, which aids in combating writer’s block and generates tracks based on user input, was fourth. GOYO, which specialises in audio segmentation, de-noising, and de-voicing for improved audio quality, was fifth.
AIVA, AWS DeepComposer, Moises.ai, Google’s Magenta Studio and StemRoller also made the cut.
In terms of how musicians are using these AI tools to create music, the study reveals that 30 percent of musicians use AI use it to help with songwriting and composition, while 21 percent use it for research and inspiration.
Credit: Pirate
Breaking it down even further, the study shows that twelve percent use it for beat and rhythm creation, according to Pirate, 10 percent for mastering, eight for arrangement, eight for mixing, and five percent for vocal processing, with the remaining six percent using AI for reasons categorised as ‘Other’.
This study also found that over 50 percent of musicians would conceal their use of AI to others.
The inclusion of AI technology in music creation has been a hot topic in 2023. Just recently, Disclosure launched a project in partnership with beatport.io and Bronze AI that lets fans remix their track Simply Won’t Do using AI.
Gorillaz and Blur frontman Damon Albarn recently praised the use of AI to help make the ‘new’ Beatles track, //Now And Then//, happen. He said he sees it as a “good opportunity for everyone”, saying “there could be hundreds of my songs released after my death”.
LimeWire also got in on the AI action recently, as it launched its new LimeWire AI Music Studio that lets you create a whole track using AI. Co-CEO Julian Zehetmayr said in a press release: “Our platform is designed to break down barriers, allowing aspiring musicians and creators to unleash their potential with the power of AI.”
Read more at Pirate.
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Top Social App for Teens is not what we expectedAs a tuned-in music industry pro, you may think you know the top social media platforms, but think again. This report is bound to surprise… by Bobby Owsinski of Music. Continue reading
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Watch Vulfpeck’s Jack Stratton recreate Stevie Wonder’s I WishVulfpeck‘s Jack Stratton is a Stevie Wonder fan – particularly when it comes to his 1970s work on the Rhodes piano. And more specifically the one he played on his 1976 track I Wish, from his album Songs in the Key of Life.
He’s created an instrument patch to allow him to recreate it, and he’s shared his experience in a YouTube video.

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He begins with some famous footage of Wonder in the studio trying to recreate I Wish, as seen in the Classic Albums TV show that looks at the making of Songs in the Key of Life, and he says, “This is the straight-up funkiest footage on Earth.”
Stratton brings up the original I Wish electric piano stem in Logic Pro as a reference, and then gets up his personal favourite Rhodes plugin, the Scarbee Classic EP-88s. He records the part himself, and describes the resulting sound as “super-close” to Wonder’s.
However, it’s not quite there yet, with Stratton explaining that he hears “Huge EQ difference, and I hear way more attack in Stevie’s”. So, he uses FabFilter Pro-Q.3’s Match EQ feature to analyse and emulate the original sound, adding “a ton of high-end and a low-end boost,” coming from the Lots Of Attack preset in the Vulf Compressor.
But as Stratton thinks there’s still too much l0w-end, he uses GoodHertz Tiltshift EQ, and then adds some crunch from GoodHertz’s Tupe tape/tube simulator plugin, some Softube EQ for more brightness, and then a final Logic Pro Match EQ.
Stratton then has a patch he can use, something he describes as “so exciting for all involved,” before he shouts out Malcolm Cecil and Robert Margouleff for the part they played in developing Wonder’s famous 1970s-era sound.
His video is an excerpt from the Jack Stratton Mixing Masterclass course. And you can watch it below:

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Andrew Huang names his top 10 plugins of 2023Andrew Huang has rounded out 2023 by ranking his favourite 10 plugins of the year.
Topping the list is the “mind-blowing” Sonic Charge’s Synplant 2, which is the recently released upgrade to the 15-year-old two-oscillator and FM synth.

READ MORE: Andrew Huang shows off his (music) junk in new video

“Synplant 2 just levels things up in a totally ridiculous way because you’ve got a lot more control over the original synth perimeters than you did in the previous version,” Huang says in the video. “But [the Genopatch] screen is absolutely mind-blowing. You can load a sound into it and then using machine learning, it tries to recreate it with its synth perimeters.”
Huang then goes on to demonstrate how the Genopatch feature works.”Now I have a synth that’s closer to a sample that I dropped in and I can use it as a synth. I can play it on different keys without the thing that happens when you’re playing samples on different keys, changing the tone of it, changing the length of it. I can manipulate it in so many more ways.”

He does joke, however, before revealing his top plugin of the year that the real winner is Transit, the multi-effects plugin he worked on himself with Baby Audio.
Also appearing in Huang’s top 10 countdown are Minimal Audio‘s Current synth, which claims the joint 2nd and 3rd place spot alongside RANDOM by Beatsurfing. Rounding out the top 5 are Reason Rack’s Objekt, which Huang says is one of the best physical modelling synths he’s ever used, and mastering plugin Master Plan, created by MusikHack.
Elsewhere in 2023, Huang was also involved in launching the new Ableton Push 3, posting a video showcasing the power of the pad’s MPE (MIDI Polyphonic Expression) capabilities, live recording workflows via the built-in interface, and he also demonstrates how to integrate external synths.
He also recently took EarthQuaker Devices inside his studio in Toronto in the latest instalment of their acclaimed YouTube series Show Us Your Junk!
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Steinberg update Cubasis and Dorico apps With the arrival of their latest updates, Cubasis and Dorico for iPad now benefit from new built-in instruments powered by the company’s HALion sampling and virtual instrument engine.

MIDiA’s 2024 predictions: The algorithm is not listeningNovember is one of my favourite times of year, as an analyst anyways. Why? Because it is when the MIDiA team pool their collective brainpower to formulate our end-of-year predictions. What gives our predictions their unique angle is that they are constructed within an inter-connected framework, factoring in the cross-industry trends that will shape the coming years. A music industry trend does not happen in isolation of social media trends, nor vice versa, and so forth. We boast a solid track record, with an 88% success rate in both our 2023 and 2022 predictions, following 84% and 79% in the previous two years. The report is available to clients here. Meanwhile, here is a quick look at some of the meta (not the company) themes:

·   The algorithm is not listening anymore: This is our headline prediction and one that we think will have far reaching impact across all forms of entertainment. Algorithms on large scale platforms once super-served users, encouraging them ever closer to their respective niches. Now algorithms are increasingly pushing users to the content that supports platform monetisation priorities over user priorities. Users end up feeling that the algorithm is not listening to them anymore. This trend will accentuate in 2024 among the world’s biggest consumer platforms, resulting in user dissatisfaction and creating a window of opportunity for new, user-need-focused platforms, starting the cycle all over again.

·   Creation as consumption: If the late 2010s and early 2020s were the era of the creator, the remainder of the coming decade will become the era of the consumer creator. The proliferation of consumer-focused creator tools on major social platforms and beyond, will herald the next phase of the consumerization of creation. Not only will this see more content be user created (thus competing for consumption time), creation itself will become entertainment, thus adding to the competition for time.

·   Rise of the threataverse:  The metaverse may feel like a bus that never quite arrives, but something much more tangible is already gaining scale – the threataverse. This is the growing trend of social platforms becoming toxic environments in which diversity of opinion is transforming into intolerance, divisiveness and hate speech. Accentuated by bot farms and clandestine actors, enabled by failing platform moderation policies, social platforms are shifting from places to share opinions, to platforms where more moderate voices no longer feel safe to speak up. Threats, bullying, fake ‘facts’ and aggressive counter-commentary have created the new defining framework of the online social world – the threataverse.

·   The future will be gated communities: Change is wrought as much by reaction as it is by action. The rise of the threataverse creates the foundations for what will come next: the shift from open-social worlds into gated communities, where groups of like-minded individuals can converse safe in the knowledge that they will not be subject to abuse and attack. The early promise of ‘everywhere, everyone social’ has proven toxic and unworkable. Expect more social platforms, to ramp up gated community features. These will also prove to be a boon for fandom. Artists and other creators will be able to converse with fans without having to worry about torrents of negative discourse from users who can currently occupy and even co-opt, their open fan spaces.

·   AI will continue to reshape entertainment: While the rights framework will continue to be disputed and defined in 2024, AI technology will continue to accelerate, both in sophistication and adoption. It will find its loudest voice in the consumerization of creation but its subtler and more pervasive impact will be a steady assimilation into creative workflows, becoming an ever more utilised set of tools for creation across all forms of entertainment, from Chat GPT creating lines of code for games, through Eleven Labs generating podcast narration, to Beatoven creating soundtracks for influencer videos.

Like what you have seen so far? Then come and engage with MIDiA’s stellar analysts as they walk through their industry-specific predictions in our free-to-attend webinar, the algorithm is not listening, on the 11th of January, 2024.You can find the full report here with 32 predictions across music, games, video, social, audio, and media and marketing.

Orchestral Tools announce Benjamin Wallfisch Strings Collections The latest offerings from Orchestral Tools promise to redefine contemporary sampled strings and set a new standard for expression and realism.

IT budgets should increase in 2024, but it still could be tough going for startupsWhat does it all mean for startups entering 2024? It means they have to prove their worth more than ever.
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Getting It Done: The Week in D.I.Y. & Indie MusicThis week, our tips and advice for independent artists and do-it-yourselfers covered how to prepare for next year’s trends, what the life of a pro sound engineer might look like,. Continue reading
The post Getting It Done: The Week in D.I.Y. & Indie Music appeared first on Hypebot.

REWIND: The new music industry’s last week in reviewLast week was a busy week, by any definition. The music industry was no exception, with the year’s top tor report, vinyl sales tracking issues, Spotify testing AI, DistroKid adding. Continue reading
The post REWIND: The new music industry’s last week in review appeared first on Hypebot.

IsoAcoustics expand Product Selector Wizard The latest update to IsoAcoustics' Product Selector Wizard makes both the browser-based and mobile app versions of the tool available in a total of seven languages.

Google’s Gemini comes to more apps, Cruise slashes its workforce and Tesla issues a recallHey, folks, welcome to Week in Review (WiR), TechCrunch’s regular newsletter covering the major happenings in the tech-o-sphere — or most of them, anyway. As the world’s largest AI conference, NeurIPS, got underway in sunny New Orleans, Google shared more on Gemini, its flagship AI model family — and lots happened elsewhere. In this edition […]
© 2023 TechCrunch. All rights reserved. For personal use only.

Spitfire Audio launch MG Soft Acoustic Guitar Spitfire's new guitar library promises to deliver a remarkably authentic sound whilst helping to demystify the workings of the instrument for non-guitarists.

Two Feet Launches Indie Label 477 RecordsGold-certified rock artist Two Feet has announced the opening of the independent record label, 477 Records. 

477 Records was created with the goal of discovering, signing and nourishing independent recording artists by harnessing the unique authenticity that appeals to audiences longing for connection and creativity under the guidance only a fellow artist can provide.

477 Records offices and studio are located in Tribeca, New York City. 

As one of the few artists of today who still writes, plays, sings and produces all his music in his own studio, Two Feet paired his label announcement with the release of new single, “Kill Anyone” ft Ari Abdul produced by Two Feet via 477 Records. 

In addition to releasing Two Feet’s upcoming music, which fuses rock, blues, and jazz-tinged licks to create an original, atmospheric sound, 477 Records will release music from its powerhouse roster of up and coming talent including Toby Mai, Elvis Drew, and Bec Lauder.

“It’s important to nurture artist’s creativity” shares Two Feet. “I started 477 Records with the goal of helping independent artists hone in on their unique voices to create something true they can share with the world. Here at 477, we can help them make their voices heard all over the world by offering the reach and services they would find at a major label.”  

477records.com

Boston Underground Film FestivalJan. 5 is the extended deadline to submit your work to the Boston Underground Film Festival, which includes the categories of “dark comedy, genre, bleak sci-fi, cerebral and/or psychedelic horror, strange documentary, fantastic music video, mature animation, and/or films that defy description (preferably with a WTF) from all over the world.” More information can be found at bostonunderground.org/submit/.