Believe, TuneCore decry UMG, Deezer ‘reverse Robin Hood’ artist payoutsGlobal digital music company Believe has taken aim at plans by Deezer and UMG to change how streaming payments are calculated to what they call a “value sharing artist-centric” model.. Continue reading
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Blackstar launch HT Venue MK III Series The Venue MK III Series retains the versatile dual-channel design that made the range popular, but introduces built-in cabinet simulation and some technical improvments. 

No, you can’t make $1200 monthly playing a song on repeat, says Spotify CEOA new analysis by JP Morgan showed that an artist could earn $1,200 a month in royalties if they upload a 30-second or longer track and then play it on. Continue reading
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Native Instruments releases Kontrol S-Series MK3 MIDI controller keyboards, described as the “ultimate studio centrepiece” Native Instruments has today (12 September) launched its new Kontrol S-Series MK3 MIDI controller keyboards – the S49, S61, and S88.
The keyboards are said to offer “seamless hardware and software integration, unique expressive control”, and have an industrial design.

READ MORE: Ozone 11, Nectar 4 and Guitar Rig 7 Pro are unleashed in Native Instruments’ Music Production Suite 6

The S-Series MK3 models connect “intuitively” to instruments, effects, and DAWs, and each has a high-res, glass screen. They are available in three size options – 49 semi-weighted keys, 61 semi-weighted keys, or 88 fully weighted hammer-action keys – and even have light guides that illuminate switches, key zones, scales, and more.
A new polyphonic aftertouch functionality allows users to control cutoff, pitch, vibrato, and more without an extra encoder or dial. The keybeds on each model have been developed in collaboration with Italian manufacturer, Fatar, which was founded back in 1956.
The Kontrol S-Series controllers also come with a range of software included. These are:

Komplete 14 Select – an “essential” production suite, including synths, drums, percussion, effects, and an array of customizable sounds
Komplete Kontrol – this software organises instruments, effects, loops, and samples, mapping everything to the keyboard controller
Other bonus software includes – Stradivari Cello, Hypha, Guitar Rig LE, iZotope Elements Suite, and Ableton Live Lite

Each model also has USB and bus-powered USBC connectivity, plus inputs for a sustain pedal, an expression pedal, and two assignable pedals as well. Currently, pricing for the Kontrol S49 MK3 is listed at £649,00, with the S61 at £749,00, and the S88 at £1129,00.
Last month (August) the brand also launched the third edition of its Traktor X1 DJ controller, with an improved layout for better usability, enhanced effects control, playback manipulation, looping, adjusted mixer mapping, and more.
Pre-orders start today for the S-Series MK3 range, with full availability online and in-stores coming in October (when the pre-orders will also ship).
Find out more at Native Instruments.
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How to prepare your music portfolio: 8 tips for what to include
A music portfolio is an invaluable resource for applying to music-focused programs, networking, and more—here are eight tips for how to prepare yours.

What Photography has taught me about musicAndrew Tasselmyer explains how his new found passion for photography taught him how to change his mindset about making music and overall improving his creative process. by ANDREW TASSELMYER of. Continue reading
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Tongue and cheek: the Rolling Stones and the unpalatable ascendancy of fauxganic marketingThe following op-ed comes from long-time music industry journalist Eamonn Forde
Source

AI deepfake of Drake and The Weeknd not eligible for Grammy as vocals not legally obtainedHeart On My Sleeve, which uses AI-generated deep fake vocals by Drake and The Weeknd will no longer be eligible for a Grammy, as the vocals were not legally obtained.

READ MORE: “Load up a plugin you don’t know what the f**k it does – just try s**t”: Steven Wilson advises producers to experiment with new plugins

In a post to Instagram, Harvey Mason Jr., the CEO of the Recording Academy explains that the AI-generated track had been taken out of the running after it was declared that the vocals had not been legally obtained.
“Let me be extra, extra clear, even though it was written by a human creator, the vocals were not legally obtained, the vocals were not cleared by the label or the artists and the song is not commercially available and because of that, it’s not eligible,” Mason reveals.
He adds, “I take this stuff very seriously. It’s all complicated, and it’s moving, really, really quickly. I’m sure things are going to continue to have to evolve and change. But please, please, do not be confused. The Academy is here to support and advocate and protect and represent human artists, and human creators period.”

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Last week it was reported that the AI-generated track was submitted for consideration by The Grammy Awards for two categories: Best Rap Song and Song Of The Year.
The song was created by anonymous producer Ghostwriter. It reached an impressive 13 million views on TikTok when it began circulating earlier this year, and was eventually banned by Universal Music Group.
Back in June The Recording Academy announced that it would consider songs created by AI for a Grammy.
Mason then took to Grammy.com to explain what that means: “At this point, we are going to allow AI music and content to be submitted, but the Grammys will only be allowed to go to human creators who have contributed creatively in the appropriate categories.”
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“I owe more to Intellijel, who made the Metropolis sequencer, than I do to Stevie Wonder on this album”: James Blake on Playing Robots Into HeavenProducer-songwriter James Blake recently revealed just how instrumental the Intellijel Metropolis sequencer was in the making of his new album Playing Robots Into Heaven.

READ MORE: Take your low end to new heights with Mixland’s new Subloom drum mixing plugin

Discussing the record’s inspiration in a chat with Apple Music’s Zane Lowe, Blake said that it all began with him “fucking around with sounds and having fun”.
“I just had this increasingly large folder of modular jams that I’d been making,” explains the producer, who called modular “an amazing outlet for addiction or ADHD”.
“I had like 120 modular jams and they were all like an hour long, and I was just going through them,” he recalls. “I was just doing it for fun and eventually I started turning them into pieces of music that were listenable because you know a lot of that stuff, it can be a bit… some of it’s atonal, some of it’s not necessarily in song format. It’s just like long periods of synth exploration, shall we say.”
Blake says that despite his tendency to overthink, “a lot of the music on this record happened quite quickly and it’s not really that overwrought.”
“Every skill that was required to make this record was already there.”
The musician credits the help of one creative tool in particular, saying, “I owe more to Intellijel, who made the Metropolis sequencer, than I do to Stevie Wonder on this album. The machines definitely spoke for me in a lot of this.”
Also in the interview, Blake says while there’s been a lot of talk about AI recently, “generative music’s been around a long time.”
“AI’s going to open up a lot of possibilities for composition,” he adds. “I think there’s a lot of very exciting things going on with it. For example, there’s this one guy who creates a synth called Synplant, which is this thing where you can put in any sample – say it’s the sound of me going ‘derr’ – and then the synth would recreate that sound on a synth, magically. It just does it — you don’t have to do anything. You can imagine a thing and it just can be there.”
“So there’s going to be a lot of people who can make music who weren’t previously able to in the ways that they want to. I think it’s really interesting.”

The post “I owe more to Intellijel, who made the Metropolis sequencer, than I do to Stevie Wonder on this album”: James Blake on Playing Robots Into Heaven appeared first on MusicTech.

What to expect from Apple Event: iPhone 15, USB-C connectivity & moreYou may still be reeling after Apple’s action-packed WWDC 2023 event in June. Well, the tech giant is now set to unleash yet more juicy product news as part of its iPhone 15 announcement at 10 am PDT/1 pm EDT/6 pm BST.

READ MORE: It’s official: Language app Duolingo to launch music course

New iPhone connectivity could streamline portable music production processes, and there could be potential updates on the Apple Watch, AirPods Pro and other products such as the iPad.
The event, named ‘Wonderlust’ by Apple, will be streamed via YouTube. Tune in below:

MusicTech will be identifying the new features that could help music producers during the event. Until then, here are the key announcements the tech world is expecting:
iPhone 15 & AirPods: Direct USB-C connectivity
The biggest and most relevant expected new feature for music producers on the new iPhone 15 will be the introduction of a USB-C instead of a Lightning connector.
All new iPhone models are expected to be fitted with USB-C, which means you’ll be able to hook your MIDI instruments or audio interface directly to any iPhone 15 model without having to go through a lightning-to-MIDI cable or a USB-to-lightning adapter.
The iPhone 15 Pro and Pro Max are also expected to feature USB 3.2 or Thunderbolt 3 for faster data transfer and 35W charging rates. The Pro models may have a titanium frame, thinner bezels, and a faster A17 chip.
If iPhone 15 is to adopt a new USB-C port, then the same change is to be implemented on Apple’s AirPods wireless headphones. They’ll have a USB-C port for charging. Does that mean AirPods users now have to buy a new charger? Most likely. Is that a good thing? No comment.
Potential software updates for the AirPods Pro could also be announced, including features like Adaptive Audio, Conversation Awareness, and better automatic device switching, which were added at WWDC 2023.
What about Vision Pro?
One of the biggest revelations of Apple’s Worldwide Developers Conference in June was Vision Pro, an augmented reality headset, and we’re excited to see if any useful additions will be made to the high-end, sci-fi-esque product.
In our analysis of the $6,999 Vision Pro, we set about seeing what the new technology means exactly for music makers.
DJ apps like Tribe XR could make it easy for users to learn how to DJ without the needs for physical equipment. Who knows, perhaps Vision Pro will provide a platform for virtual reality DAWs that make for a more hands-on music production experience. We’ve witnessed that already with Korg’s Gadget VR, a virtual reality music studio.
Keep an eye on musictech.com for updates on new Apple products as they come in.
The post What to expect from Apple Event: iPhone 15, USB-C connectivity & more appeared first on MusicTech.

Accentize release dxRevive Not only can dxRevive remove noise from dialogue recordings, it is also capable of restoring lost clarity and tone. 

MasterSounds Valve MK 2 is a beautiful rotary mixer for DJs daring to sidestep digitalSetting aside the age-old digital versus vinyl debate, few other topics split the DJ world like a lavish rotary mixer. For the uninitiated, the notion of swapping crossfaders for dials may sound intimidating. But, with a promise of sharper control over your mixes and a smoother, more comforting sound, perhaps analogue cuddles are worth the additional expense.

READ MORE: Mac DeMarco: “I like to respect the way that recordings come to be”

With this in mind, MusicTech handed me – a digital DJ who has never touched a rotary mixer before – the MasterSounds Four Valve MK2 and asked me to get to grips with it. The question being, “can I be convinced that a four-channel rotary mixer with very few effects and connections is worth £2,700?” As it happens, MusicTech’s editor and I were both surprised at my findings.
MasterSounds 4 Valve MK2
Building on the success of its award-winning Radius series, rotary models like the Valve MK 2 evoke a ‘golden age of sound’ dating back to the first disco mixers. This means they tend to court the vinyl crowd, but given they also offer digital DJs a portkey to the analogue kingdom, theoretically my experience should feel more pronounced. Ryan Shaw, head of MasterSounds, said as much in our recent interview.
Unbox the black Valve MK 2 (also available in grey or an alluring midnight blue edition) and the award-winning partnership with fellow boutique brand Union Audio is immediately apparent. Not only in the exceptional build quality but because the components, layout, and VU (volume unit) meters mirror the brand’s Orbit.6 mixer, designed by the legendary Andy Rigby-Jones of Allen & Heath Xone series notability. This is a mixer that’s hand-built in Britain, and it shows.
Image: Simon Vinall for MusicTech
The analogue VU meters for master and cue also have the distinction of doubling as a visual warning to keep your levels in check, glowing red when things get a little too tasty and you clip. They’re not the only thing to catch your eye, however, because nestled neatly in the bottom right corner is a crossfader.
An alien concept on many rotary mixers, the crossfader opens up a variety of blending styles from a basic fade to smooth beat matching and complex scratch manoeuvres. Crossfade contour controls can fine-tune your crossfader slope. Other comforting inclusions are red illuminated cue buttons and LED level meters. The Valve MK 2 is an inclusive rotary mixer, and MasterSounds wants you to know it.
Image: Simon Vinall for MusicTech
Connecting our Valve MK 2 to Pioneer CDJs and KRK V8 monitors might seem like sacrilege, but MasterSounds call this a boutique mixer aimed at clubs and DJs requiring a conventional toolkit. So, testing with a realistic setup feels appropriate.
The first thing we notice when switching on is the distinct lack of noise. It’s as deafening as it is delightful. And if that’s not enough, discerning audiophiles can opt for an optional linear power supply for even finer stability. A welcoming red glow from the input stage valves signal the Valve MK 2 is ready to roll. Although be warned, if you’re playing in a particularly cold environment, MasterSounds recommend you wait 30 minutes to warm up (the mixer, not you).
Clutching the MK 2’s numerous knobs, everything is impressively tactile while the rotary fader dials for each channel move smoother than a waxed salamander. If you’re used to a ‘club standard’ mixer, reaching for the crossfader on the right may become second nature, but breaking free of this security blanket can be liberating. As someone who DJs with two pals that despise crossfaders, whereas I revert to type, perhaps we’ve found our happy place.
Image: Simon Vinall for MusicTech
So how does it sound? Well, you know that stoned grin dogs get when they’re content with life? That. The Valve MK 2’s output and isolators are seriously warm and wonderfully mellow, with beautifully blended frequencies that feel like the antidote to the cold, isolated sound of some digital counterparts. It’s an indulgent openness you’ll experience from a line-in source as well as a phono.
As someone not averse to six-hour sets, I can imagine undertaking marathon sessions with the MasterSounds Valve MK 2. At no stage does the sound seem excruciatingly harsh or crunchy. This is a mixer that takes the edge off, soothing like a hair-of-the-dog hangover cure, making it an agent provocateur for all-day (or all-night) parties.
Image: Simon Vinall for MusicTech
Although my time with the MK 2 is limited, it’s long enough to reveal some pleasant nuances that will make the most of your sessions. For example, don’t immediately take the bottom end off when mixing out – this mixer can handle the full throttle of low frequencies and you will feel like a demigod every time it delivers.
Our top tip, though, would be to manoeuvre yourself into a position where you can use the full range of the rotary fader dials. This might seem a bit like mad scientist behaviour, but it will give you the maximum possible headspace for perfecting your mix, which is a rotary mixer raison d’etre after all. To achieve this, try pushing the master output up and twisting the trims a little higher.
Your other friend here is the master EQ/isolator. You get a three-band EQ and gain controls per channel (inclusive, remember), but the master EQ gives you a massive 12dB swing that will have you leaping like Homer Simpson in the Land of Chocolate. Just don’t get too cocky, the UV meters glow red, remember.
Image: Simon Vinall for MusicTech
And so to the downsides. At £2,695 for the four-channel variant, the Valve MK 2 is by no means affordable. It may be comparable in price Pioneer DJ’s flagship DJM-A9, that’s a bit like comparing a classic car with the latest luxury EV – it’s far lighter on features and far lighter in general at over half the weight.
But what it lacks in USB ports, digital displays, and wifi connectivity, it more than makes up for in infectious character coupled with an innate ability to banish bloatware and just let you DJ. It’s that final point that makes the Four Valve far less intimidating for first timers than rotary mixer detractors would have you think, and MasterSounds will have to rip it from my grasp when they ask for it back.
Learn more at mastersounds.co.uk.
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BPB GIVEAWAY: Dawesome Kult + Oblivium Alpha & Omega Expansion Packs (For 3 Lucky Winners!)
Dawesome, HydraTek, and Spektralisk offer three FREE copies of the Dawesome Kult virtual instrument and a brand-new double expansion pack to one lucky BPB reader! The expansion pack project is called Oblivium, and it’s divided into two individual packs: Oblivium Alpha and Oblivium Omega. It’s a meticulous collection of handcrafted presets that explore dark synth tones. [...]
View post: BPB GIVEAWAY: Dawesome Kult + Oblivium Alpha & Omega Expansion Packs (For 3 Lucky Winners!)

This theremin-inspired synthesiser by Soma Labs is the trippiest thing everSoma Labs has unveiled Flux, a new algorithmic touchless synthesizer inspired by one of society’s most fascinating instruments — the theremin.

READ MORE: Knobcon 2023: 1010Music’s Bluebox mixer goes Eurorack

For the uninitiated, a theremin is a no-contact electronic instrument that works via the power of electromagnetic interference. Quite possibly the only instrument that’s played without anyone touching it, theremins create a sound when you move your hands and fingers around its antenna to interfere with the electromagnetic fields.
Like the Theremin, Flux can be played without touching it. The synth features a continual touchless keyboard that offers seamless control over a number of sound parameters — all based on the principles of magnetism.
To interact with the device, the player uses two magnetic ‘bows’ pressed between their fingers. The interface then registers the bows’ movements and positions, thanks to an integrated multipolar magnetic sensor. The X coordinate of the artist’s right-hand bow controls the note’s pitch, while the Z coordinate controls volume. The left-hand bow’s X, Y and Z coordinates control the various synthesis parameters.
Since a magnet has two poles, Flux is able to detect the bows’ angle in addition to their spatial coordinates. This means that flipping the right-hand bow on the Y-axis changes the octave, which allows a range of six continuous octaves without transposing the keyboard. The left-hand bow meanwhile controls the timbres.
In total, users have access to a total of sixteen parameters, which should allow for some pretty dynamic timbre compositions. The synth also sports an even and clearly marked note scale, which makes it much easier to learn and intone than a Theremin.
Image: Soma Labs
According to Soma Labs, Flux will feature a DSP-based engine with different synthesis algorithms covering distortions, complex FX and physical modelling models of non-existent, surrealistic musical instruments. It works in monophonic, duophonic, and polyphonic modes; Staccato-enabling and quantisation modes are also available.
Users can also save and recall presets with the entire states of the synth, including the engine, and all the tunings.
“Flux brings forth the musicality and expression of classical instruments, such as violin or vocals, enriched by new timbres and the flexibility of postmodern instruments, harnessing the power of current technology,” says the brand.
“Flux is a new Soma instrument under development. We hope to start selling Flux at the end of 2024.”
In the meantime, check out this impressive demo of the synth below.

Learn more at somalabs.
The post This theremin-inspired synthesiser by Soma Labs is the trippiest thing ever appeared first on MusicTech.

Join Loopcloud And Get UJAM Usynth CORE For FREE
You can grab a free copy of Usynth CORE ($79 value) by UJAM for a limited time when you sign up for a Loopcloud subscription. Loopcloud is an all-in-one hub for samples that functions as a standalone app or a plugin with industry-leading DAW integration. It offers over four million samples, a built-in 8-track editor [...]
View post: Join Loopcloud And Get UJAM Usynth CORE For FREE