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  • SEC pushes deadlines for ARK 21Shares, VanEck spot Ether ETF applicationsThe commission also designated a longer period to reach a decision on spot Bitcoin ETF applications from ARK 21Shares and GlobalX on Sept. 26.

    The SEC made several filings related to spot crypto exchange-traded funds well ahead of their required deadlines, suggesting a sense of urgency at the commission.

  • Regulators close investigation into Blue Origin’s New Shepard anomalyThe U.S. Federal Aviation Administration has closed the investigation into a mishap that occurred last September during a launch of Blue Origin’s New Shepard vehicle, with the regulator saying that Blue must implement 21 corrective actions before it can fly New Shepard again. New Shepard was grounded after a September 2022 launch ended with an […]

    The U.S. Federal Aviation Administration has closed the investigation into a mishap that occurred last September during a launch of Blue Origin’s New

  • Moog Music shares statement following layoffs and teases new products: “In Asheville, we will continue to design, innovate, and manufacture”American synth designer Moog Music has assured fans and customers in a statement that its “headquarters will remain in Asheville,” despite some manufacturing tasks reportedly being undertaken in Taiwan. The company adds that its “newest innovative products” will be shared in early 2024.
    READ MORE: How Moog’s Minimoog Model D became a massive miniature icon
    Earlier this week, huge news erupted from the Moog Music camp in Asheville, North Carolina: the revered synthesizer company allegedly laid off over 30 Asheville team members. In addition, the InMusic-owned company is said to be using a manufacturing plant in Taiwan to produce its synthesizers. Today (27 Sept), the brand says its HQ will remain in Asheville – with manufacturing support coming from overseas.
    “We want to thank everyone who has reached out over the last several days to check in on us,” the statement reads. “As you probably know, it’s been a very hectic time at Moog. We’re making certain changes to ensure our long-term financial health and continued innovation and would like to share important and accurate information with you.
    “First, our headquarters will remain in Asheville where we will continue to design, innovate, and manufacture instruments of the highest standard, such as [the] Moog One, Minimoog Model D, legacy modular [gear], and our newest innovative products, the first of which you will see early next year.
    “We are also asking some of our overseas partners who we’ve worked with for years to help finish assembly on some products. This hybrid approach will allow us to get on strong financial footing and continue designing, building, and delivering quality musical instruments for years to come.
    “Last week, we made the difficult decision to adjust the size of our assembly team to better match our new approach. While this transition was challenging for everyone, substantial support, benefits, and healthcare was provided to those affected, easing their journey to new opportunities.
    “We are looking forward to getting past this painful phase with renewed energy and enthusiasm. We believe the brightest days for Moog Music lie ahead and are excited about our vision for the future.
    “Thank you for your continued trust and belief in Moog Music.”
    This is a developing story.
    Read more music technology and insutry news.
    The post Moog Music shares statement following layoffs and teases new products: “In Asheville, we will continue to design, innovate, and manufacture” appeared first on MusicTech.

    Moog Music says that its “headquarters will remain in Asheville,” with some manufacturing done in Taiwan, with new products coming in 2024.

  • Latin music generated $627m in US recorded music revenues in H1 2023 – up 14.8% YoYLatin music’s share of overall US recorded music revenues reached 7.5% in the first half of 2023, according to RIAA's Mid-Year 2023 Latin Music Report
    Source

    Latin music’s share of overall US recorded music revenues reached 7.5% in the first half of 2023, according to RIAA's Mid-Year 2023 Latin Music Report…

  • [PIAS] boss Kenny Gates on Deezer x Universal’s ‘artist-centric’ model: ‘For labels who invest every year, relentlessly, in new talent, this has to be good news.’ Thought the debate had died down? Think again...
    Source

  • Matt Ross-Spang Opens Southern Groove Studios in Memphis, TNGrammy Award-winning producer and engineer Matt Ross-Spang has opened Southern Grooves Studio at Crosstown Concourse in Memphis, TN. Reverb recently featured the studio in their "Show Us Your Space" series, praising, "In the middle of the 20th century, the wonderful mix of soul, country, blues, R&B, and rock 'n' roll that shot out of Memphis studios like Sun and Stax electrified the world. Producer, engineer, and studio owner Matt Ross-Spang—who probably knows as much about this Memphis Sound as anyone still living can know—is giving it new life in the 21st century."

    Ross-Spang has worked at the most iconic studios in Memphis, Muscle Shoals, and Nashville — Sun, Sam Phillips, Fame, RCA — producing, engineering, and mixing music by artists like Elvis Presley, Lou Reed, Al Green, John Prine, Jason Isbell, Lori McKenna, Margo Price, S.G. Goodman, Drive-By Truckers, Mountain Goats, Cut Worms, Iron & Wine, and more. He has won two Grammy Awards, for engineering Isbell’s 2015 album Something More Than Free and again for its follow-up, 2017’s The Nashville Sound. Out this year alone, he produced Peter One's Come Back To Me, Lucero's Should've Learned by Now, St. Paul & the Broken Bones' Angels In Science Fiction, Blind Boys of Alabama's Echoes of the South, and Old Crow Medicine Show's Jubilee, in addition to engineering Jason Isbell & the 400 Unit's Weathervanes and mixing Morgan Wade's Psychopath.

    On designing his new studio, Ross-Spang offers, "When I decided to build this studio I wanted to combine the spirit behind some of my favorite historical studios and my love of mid-century modern design. The studio follows the tried and true method of avoiding parallel surfaces, even utilizing an undulated ceiling - a preference of Sam Phillips. Like many of the great early 60s studios, I went with a tile floor for a livelier sound. The acoustic treatment (wood and burlap) is similar to what you’d find in Studios in the 70s, especially in Memphis and Muscle Shoals. We designed the studio around Crosstown's distinctive structural columns. They are 3 feet thick and at 17 feet intervals. The columns add unique acoustic and visual properties to the room.   I live in a time capsule Mid-century Modern home built in 1957. I used some of its wood paneling and ceiling beams as inspiration in my studio for the live room and iso booth. The furniture was hand-picked to match the studio’s aesthetic. I wanted a custom chair rail around the live room and had it sized for microphones, drinks, and even guitar pedals to add stylish shelving and comfort to the room without clutter. Most importantly the studio, although brand new, feels like it’s been around for decades."

    Of the studio's custom equipment, he adds, "As the studio was taking shape I realized that I needed to synchronize the equipment and functionalities seamlessly with the studio's aesthetic. As a student of music history, I’ve always loved how classic studios like Abbey Road and Decca would custom-build their equipment and needs. You can look back at old studio photos and know exactly what studio it was by just pictures of the acoustic treatment or even the gobos. This is somewhat lost in modern studios and I wanted to bring it back. Ken Capton and I designed brand-new gobos from the ground up. They are stackable with removable panels (a lively hard side or a “dead” treated side). The Top half of the gobo is even designed to be the same height as the chair rail in the live room for us with amplifiers. We even designed custom casters for the Hammond B3 to be portable and visually appealing. Greg Pace and I designed my favorite piece: a modern Cue System to fit my studio's needs and looks. The boxes were hand-built and painted pistachio green. They feature our own 2 channel design and are all analog. They are screwed into some sleek space-age end tables. Each table was modified with the connectors and cabling!"

    In celebration of adding the final touches to Southern Grooves, Ross-Spang is hosting a private Grand Opening Shindig for industry and press at the studio tomorrow, September 28, starting at 5:30pm CT. Attending press can RSVP HERE. Can't make it? Find more photos of the space and equipment HERE.

    Grammy Award-winning producer and engineer Matt Ross-Spang has opened Southern Grooves Studio at Crosstown Concourse in Memphis, TN. Reverb recently featured the studio in their R…

  • Rupert Neve Designs MBT: Review now live! Our full review of the Master Bus Transformer is now available for all to see online.

    Our full review of the Master Bus Transformer is now available for all to see online.

  • NIVA calls out Live Nation for its ‘calculated attempt’ to divert artists from independent venues[UPDATED] NIVA (National Association of Independent Venues) is pushing back against Live Nation’s announcement that its clubs will give $1,500 in cash gas and travel stipends to each headliner and support. Continue reading
    The post NIVA calls out Live Nation for its ‘calculated attempt’ to divert artists from independent venues appeared first on Hypebot.

    [UPDATED] NIVA (National Association of Independent Venues) is pushing back against Live Nation’s announcement that its clubs will give $1,500 in cash gas and travel stipends to each headliner and support. Continue reading

  • AIAIAI’s UNIT-4 Wireless+ is the world’s first wireless studio monitorAIAIAI has just revealed the UNIT-4 Wireless+ studio monitor, heralding it as the world’s first wireless professional studio monitor aimed at producers and musicians.

    READ MORE: AIAIAI’s new 168g TMA-2 DJ XE headphones are a DJ’s dream

    The Danish brand, usually known for its headphones, is set to officially launch the speaker in October, but we’ve now been given a sneak peek at this groundbreaking new product.
    The UNIT-4 Wireless+ is extremely portable, with a weight of just 2.5kg, and battery-powered, offering over twenty hours of playback time. The aim of this, say AIAIAI, is to let producers make music from anywhere, offering “complete wireless freedom”.

    Aside from portability, the 2-way active monitors provide a precise soundstage and neutral frequency response, ensuring tonal accuracy with a flat +/-2dB frequency response from 50Hz to 20kHz.
    They also provide clean bass extension down to 40Hz through a bespoke acoustic design, featuring a 4-inch woofer and 1-inch silk-dome tweeter with a crossover at 3kHz. These are housed in a bass reflex enclosure made from recycled plastic to minimise sound resonance and colouration. It looks to be sturdy too, alongside portable, with a magnetic steel grille guarding the woofer and tweeter.
    You can use the AIAIAI app to adjust the EQ levels of the speaker via a five-band EQ feature.
    The UNIT-4 supports ultra-low latency wireless connections via the X02 transmitter or Bluetooth 5.2, and it also offers cabled connections with 3.5mm mini-jack and 6.3mm balanced TRS inputs.
    As with many of AIAIAI’s products, it’s good for the environment, boasting a design that caters for disassembly. It also is made from 100 per cent recycled plastics, and is future-proof, allowing users to upgrade and replace components.
    AIAIAI’s UNIT-4 Wireless+ monitor speakers will be available to buy in October. They will cost $700. You can pre-order and read more via aiaiai.audio.
    The post AIAIAI’s UNIT-4 Wireless+ is the world’s first wireless studio monitor appeared first on MusicTech.

    AIAIAI has just revealed the UNIT-4 Wireless+ studio monitor, the world’s first wireless professional studio monitor.

  • DJ and producer Commix accused of “defrauding dozens of people” who signed up to his music production workshopsDJ and producer Commix has been accused of “defrauding” multiple people who signed up to his music production workshops via his tuition company Bear Music.
    25 people out of a Bear Music WhatsApp group consisting of 110 members have come forward claiming that Levings owes a total of £9,299. Some of the people within this group of 25 have allegedly been “let down for as long as three years.”
    A post shared on drum and bass forum Dogs On Acid on 25 June provides a chart which breaks down how much is reportedly owed to each individual, which totals at £9,299 for 237 hours. “There may be more people that are also owed money and lessons who have simply given up any hope of receiving the lessons or a refund,” the post reads.
    Conrad Whittle and Guy Brewer (also known as Shifted) left Commix in 2004 and 2011 respectively, meaning Levings has represented the Commix name solo since then. Students of Levings say, “We have been told multiple times how the booking system is being improved, how his sister is now helping, and how he will be clearing the lessons owed. Yet he continues to not show up to lessons and the same issues persist.”
    RA has now spoken to Spencer Lievens, the person who started the Dogs On Acid post, and a number of other students from the Bear Music workshops following the allegations. One of the students, who has remained anonymous, told the publication that Levings became “abusive” towards them when they requested a refund for unfulfilled classes. They said that this negatively impacted their mental health.
    In an email that RA says it has seen between Levings and the student, Levings suggested that the student was “suffering from debilitating paranoia,” had “lost his grip on reality” and should seek professional help.
    MusicTech has reached out to George Levings for comment and is awaiting reply.
    The post DJ and producer Commix accused of “defrauding dozens of people” who signed up to his music production workshops appeared first on MusicTech.

    Commix has been accused of “defrauding” multiple people who signed up to his music production workshop via his tuition company Bear Music. 

  • Vaporizer2 Wavetable Synth By Vast Dynamics Is Now Open Source
    Vaporizer2 is the flagship hybrid wavetable additive/subtractive synth/sampler workstation from Vast Dynamics, and it’s now open-source. The move to open-source came with the release of version 3.3.0 (latest info available via the Vast Dynamics GitHub page). Vast Dynamics calls Vaporizer2 “Probably the most versatile wavetable synthesizer,” when you read the feature list, that might just [...]
    View post: Vaporizer2 Wavetable Synth By Vast Dynamics Is Now Open Source

    Vaporizer2 is the flagship hybrid wavetable additive/subtractive synth/sampler workstation from Vast Dynamics, and it’s now open-source. The move to open-source came with the release of version 3.3.0 (latest info available via the Vast Dynamics GitHub page). Vast Dynamics calls Vaporizer2 “Probably the most versatile wavetable synthesizer,” when you read the feature list, that might justRead More

  • Softube announce Console 1 Channel Mk III The upcoming Console 1 Channel Mk III is a new and updated version of Softube's popular hardware control surface and software package.

    The upcoming Console 1 Channel Mk III is a new and updated version of Softube's popular hardware control surface and software package.

  • Vicious Antelope Hyperview - Obsession Hyperview is a cinematic soundbank for Synapse Audio Obsession synth and it contains 96 synth presets with analog flavor, 55 polysynths and 41 pads. The main sonic identity... Read More

  • OM INFINITE SOUND Immovable - Impressive Orchestral Ensembles Extraordinaria biblioteca de muestras, con un minucioso diseño sonoro centrado en sonidos orquestales emocionales, profundos y siderales. Gran colección con cuatro inspiradores conjuntos... Read More

  • The truth behind why you aren’t getting more streams [Randall Foster]Just because your music isn’t getting attention does not mean it doesn’t deserve it. This post from Symphonic’s Chief Creative Officer covers what needs to improve your music streams. By.. Continue reading
    The post The truth behind why you aren’t getting more streams [Randall Foster] appeared first on Hypebot.

    Just because your music isn’t getting attention does not mean it doesn’t deserve it. This post from Symphonic’s Chief Creative Officer covers what needs to improve your music streams. By.. Continue reading