The Single USB-C Connector is Coming – But It’s Not Bad News

For years, the steady disappearance of ports from our computers has been unquestionably a bad thing for musicians. Things we used have been disappearing: Audio input jacks. Dedicated FireWire connections. Extra USB ports. And I’m not just talking Apple, here, either – slimmer and lighter PCs have often dumped connectors you needed, leaving us with a tangled mess of adapters and incompatibilities. Get a bunch of laptop owners together, and you’re lucky to connect anything without a Santa Claus-style bag of spaghetti. So, music and audio users can be forgiven to being resistant to change, because some of those changes …

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Photo (CC-BY) Gastón Gaiduk.

Behringer Just Bought TC, TC Helicon, Tannoy

The music and sound industry is increasingly about big-league consolidation. InMusic – the company behind Akai and M-Audio – is growing. Long-standing Japanese titan Yamaha has snapped up Line6. Gibson now includes everything from Tascam to the website Harmony Central to consumer gear branded Philips. (And yes, throw out whatever you think you know about Gibson from the 90s – this has nothing to do with that.) Now, count the giant MUSIC Group – the parent of Behringer, with Uli Behringer as its chief – among the big sharks on the acquisition market. MUSIC Group announced today it has acquired …

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vinylize

Can QRATES Make Vinyl Pressing More Accessible?

Talk all you like about the “feeling” of something physical, something tangible, about having a real object, about ownership. There’s a cold reality behind selling physical goods: it’s hard. Before you can sell something, you need money to buy the physical stuff you want to sell. Digital “solves” that by making the good intangible, but in the material world, you need materials. Before “capitalism” came to mean some complex international system of speculative markets, this, of course, was what we meant: you got some capital to start a business selling stuff. Then, once you have that stuff, you better hope …

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(CC-BY) Flavio Ensiki.

Stems for DJs and More: Here’s How A New Format Will Work

The most important thing to know about Stems, a new multitrack specification for audio, is that it’s simple by design. That simplicity means that it could really take off as a way of sharing music with multiple tracks, for DJing or live-remix applications. Stems won’t solve every problem of file exchange and sharing. It’s not a multichannel spatialization format. It’s not a sophisticated project format for storing metadata. I say that, because after we covered Stems at the beginning of this week, I found my inbox flooded with every use case for every file format imaginable, and complaints that Stems …

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The Ghost of Friedrich Nietzsche Reviews Tidal Streaming

After a press event briefly quoted famed philosopher Friedrich Nietzsche, I’m pleased to announce that the Ghost of Friedrich Nietzsche today will make his review of Tidal, the new streaming service. It’s a surprise, of course – the master of perspectivism doesn’t normally take time out of his day for something like this! So I’m honored. Here’s Fred: Art is not merely an imitation of the reality of nature, but in truth a metaphysical supplement to the reality of nature, placed alongside thereof for its conquest. Did you see how they ripped off Spotify’s interface? Here, look at this image …

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Can Stems Finally Make Multi-channel DJ Audio a Standard?

The path forward is clear: there’s no reason in this age of digital producing and DJing that music needs to be stereo. The need is there, but so far, not the solution. A file format announced in a press briefing at Miami’s Winter Music Conference and made public today wants to succeed where others failed. It’s called Stems, and there are a few details that make it different. It’s simple. “Stems” – the format – include four tracks. So that could be bass, drums, melody, vocal, for instance. (Or bagpipe, castrati chorus, tambourines, and banjo. But the point is, dividing …

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No Longer Invisible: Images of Women Working with Music Technology

Coinciding with International Womens’ Day, advocacy group and networking platform Female Pressure yesterday launched themselves on Tumblr. In a stream of photos, they’ve been sharing images of female-identified artists engaged in process with music creation technology. (Some randomly-selected images are here; see the rest via the link below.) The images alone are a humbling and inspiring for me, just because I see so many familiar faces – friends and artists that have been personal role models for my work, including in moments of personal struggle as an artist and writer. The idea, say Female Pressure, was partly a response to …

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Pro Tools Adds Free Edition, Subscriptions, Marketplaces for Plug-ins and Content

Remember Pro Tools Free? Years ago, it was then-Digidesign’s ploy to give you the first hit of Pro Tools without paying, in the hopes you’d get hooked and buy the full version. Well, the idea is back, just with a different name. Pro Tools First is a stripped-down version of Pro Tools. And it’s one of three changes in Pro Tools 12 to how you buy and work with the flagship music production software. Pro Tools 12 is now something you can use for free (with various strings attached). It’s something you can rent, with subscription pricing (in addition to …

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Subscribe, Click, Collaborate: The New Ways to Buy Music Creation Software

It’s been a long time coming, but the month of January has brought more new ways to pay for music creation software than we’ve seen in a few years. When you want to share a playlist with a friend, you can count on giving them full-length tracks with Spotify. (Sorry, Taylor Swift fans, but everyone else.) If you’re on a tight deadline to finish a video edit, you can pay a small monthly fee to use Adobe Premiere – and send it to the film composer knowing they can do the same, rather than having to buy it outright for …

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synergy

This Movie Clip Sums Up the SFX-Beatport Vision of the Future of Dance Music

Synergy. That’s the direction you can expect from Beatport and SFX Entertainment. And the speech above from the film In Good Company more or less fits. (The plot of that 2004 movie even includes an acquisition by a conglomerate.) Basically, SFX may have solved the problem of how to make money in the streaming business – by making its money elsewhere. Or, it seems that’s the plan. Here’s the problem: music streaming has razor-thin margins versus sales. The artists and labels eek out fairly small bits of change, generally. They can blame the streaming services, but with those services having …

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