Photo Credit: Orange Amplification

Orange Amplification has teamed up with Orianthi to debut a limited-edition Orianthi Crush 20RT portable app.

Orianthi partnered with Orange Amplification to release a travel-friendly amp that’s functional and reliable. The new limited-edition Orianthi Crush 20RT has been played by the respected guitarist, singer-songwriter both in the studio and at live gigs with a glowing response.

The white Tolex-clad, solid-state signature Crush 20RT offers some of the most distinctive tones available in its price range. With the gain turned down, theamp delivers a versatile crystal clean tone. The ‘dirty channel’ can be selected to unleash high levels of detailed creamy distortion to full saturation.

The Crush 20RT offers a wide range of sonic possibilities, courtesy of an 8” custom-designed ‘Voice of the World’ speaker. From modern sonic punch to vintage tones, this portable amplifier also includes a 3-band EQ, built-in ‘spring-inspired’ reverb, and a chromatic tuner.

The amp also features Orange’s innovative CabSim circuit that faithfully emulates the muscle of an Orange 4 x 12” cabinet through the Crush 20RT’s headphone/line output. At just 16 pounds, the Crush 20RT is one of the most portable guitar amps available on the market. You can check out a video of Orianthi playing while using the new Orange Crush 20RT limited-edition portable amp below.

“I wanted a portable amp I could use anywhere,” Orianthi says about the partnership. “There’s a soaring tone you get from this amp despite its small compact size. Plus this amp is really diverse — from the clean channel to the dirty channel—there’s warmth and there’s grit, it really is quite incredible. I think everyone is really going to dig it.”

The Crush 20RT was designed to offer more guitarist British-designed circuitry and authentic British tonality. For amp aficionados the world over, the recently released limited-edition ‘Oriverb’ combo amp is also offered on the Orange Amps website.

Photo Credit: Fuse Audio

The Fuse Audio GLD is a vertical vinyl player that has surpassed $500,000+ funding on Kickstarter from a collection of more than 2,200 backers. The campaign still has 15 days to go, with Fuse Audio announcing an upgraded tone arm.

Fuse Audio says the milestone in support highlights the demand for the unique record player, a mid-century modern vertical record player designed to appeal to vinyl enthusiasts. The company has been working on improvements for the tone arm, which include improved balance and tracking force, ensuring smoother playback. The refined design also introduces a slightly adjusted headshell angle for the Audio Technica AT3600L cartridge, enhancing needle accuracy.

The Fuse Audio GLD record player features an ashtree wood veneer finish, available in black and gold trims. It also features Bluetooth capabilities, enabling vinyl streaming to Bluetooth-compatible devices. The stylish design displays record vertically while they play, offering high-quality audio with two external 36W speakers—each featuring a 1” tweeter, 4” cone, and a Class D amplifier. The GLD also features versatile playback support for 33, 45, and 78 RPM speeds—offering high-quality sound no matter the format.

The main appeal of a vertical vinyl player is the space-saving footprint. The GLD is just six inches deep, meaning it doesn’t take up a lot of counter space while also displaying the vinyl record as a centerpiece of design. Since the record player is designed with vinyl enthusiasts in mind, it also includes a built-in slot at the back to display cover art of the vinyl currently spinning.

There’s a little more than two weeks left on the Kickstarter campaign, with Fuse Audio telling Digital Music News that the GLD has been in development since July 2023. The company began sourcing materials in September of the same year, with their final sample coming to shape in January 2024. Now the audio company is gathering funding with the expectation that manufacture of the device will happen around December 2024. Fuse Audio has a timeline to ship to backers between December 2024/January 2025.

A pledge of $315 offers Kickstarter backers a 12% discount from MSRP when the device eventually makes its way to the enthusiast market for sale. Early backers were able to snag their GLD players for prices between $199 and $229—though those reward tiers are no longer available. It’s important to note, as with all Kickstarter funding projects, that rewards are not guaranteed.

Photo Credit: Sony Pictures Post Production Services

Sony Pictures Post Production Services has acquired more than four dozen licenses for Harrison’s MPC Channel Strip software across 14 mix stages.

The Sony Pictures Post Production Services sound team installed the first of many Harrison MPC film re-recording consoles back in 1992 — the product of a design collaboration between the manufacturer and Jeff Taylor, chief engineer at the studio’s Culver City facility.

Thirty years later, post-production workflows have evolved significantly, but Sony Pictures’ engineers continue to utilize Harrison’s powerful audio processing tools, with more than four dozen licenses for Harrison’s MPC Channel Strip software in place across 14 mix stages.

“We have a lot of mix stages here at Sony Pictures Post Production Services, and cover both feature film and episodic television,” says Mark Onks, Post Production Sound Engineer, who has been a witness to those changing workflows since he arrived at Sony Pictures Post Production 26 years ago.

Back then, mag machines and analog consoles were the standard. But these days, Sony’s stages are largely standardized on a DAW workflow, or hybrid configurations with the MPC consoles.

“We are using the Harrison MPC Channel Strip plug-ins to emulate how mixers in the past have shaped and contoured their sound sources and elements with familiar tools,” Onks continues. “They are rebuilding a Harrison console in the software world.”

“The MPC Channel Strip plug-in primarily is used to do EQ, dynamics, de-noising, de-essing, and other things with a great deal of similarity and feel as the old MPC consoles,” he says. “They work the same way and the response of the filters, the equalizers and the dynamics control is similar in feel and function to the original hardware version. The consoles have been around for eons, and a lot of big movies have been made using that signal flow.”

The MPC Channel Strip plug-in, which combines six components derived from the advanced DSP of Harrison’s MPC 5 ‘motion picture’ digital mixing console, offers a parametric eight-band EQ with RTA, a pair of multi-pole filters, a two-band de-esser, a two-band de-noiser, a compressor and control of routing, trim and polarity.

“It’s convenient that all of those functions are in one window, as opposed to having a de-esser here, a compressor there,” says Onks. “Plus, it’s fast, and the visual feedback shows you what’s happening to the sound. It’s like an extension of the MPC console in many ways.”

One feature of the Harrison MPC Channel Strip is especially useful to mix engineers, Onks explains. “I think one of the things that makes this particular plug-in very powerful is the fact that you can change the order in which the signal flows through the various functions. You could put the compressor before the EQ, or the de-noiser after; you can slide them around and make your own choices. That’s not often offered in software intended for mixing motion-picture sound, so we really appreciate that.” This flexibility was also a feature of the MPC console.

The ongoing relationship between Harrison and Sony Pictures Post Production Facilities resulted in the installation of numerous MPC models over the years. In 2013, Sony Pictures was one of the first studios to install the new MPC5 digital film console on the lot’s recently renovated Stage 17. The following year, the William Holden Theater was upgraded with a new Harrison Xrange processing system.

During the 25-year period following the launch of the MPC, through the introduction of the MPC3-D and MPC4-D consoles, followed by the Xrange DSP platform, Harrison came to dominate the motion picture sound post-production market worldwide.

Sony Pictures may have embraced Harrison software, but there is no shortage of hardware on the lot. “We still have some Harrison MPC consoles active in the music sections of the bigger stages,” says Onks, including the Burt Lancaster Theater, Kim Novak Theater, and William Holden Theater, where 32-fader sections are available.

“We also rely heavily on the backend of the Harrison Xrange system,” he says. “Xrange is a very powerful backbone for us to use with the more current workflows in the digital audio workstations. It does all the routing and speaker management prior to the processors for the speaker systems in the rooms, now that we are Atmos everywhere. The Novak and the Holden both do Auro3D as well. We cover all the formats: Atmos, Auro, IMAX; you name it.”

The MPC plug-in is also not the only Harrison software in use on the Sony lot, Onks reports. “Some of the other plug-ins, like the AVA De-esser, are used on their own in a few cases in a few of the TV stages. But the MPC Channel Strip is the one that’s used in most of the features stages here.”

Harrison has been designing, manufacturing, and marketing audio mixing consoles in Music City (Nashville, Tennessee) since 1975. Over 1,500 Harrison consoles have been installed worldwide, constituting a significant share of the overall world market for high-end audio consoles.

Photo Credit: William Warby

Do you have old music stored on an ancient hard drive somewhere in your orbit? You might want to check the drive and consider a different storage medium—a new report suggests around 20% of drives from the 90s are now bricks.

A new report from Iron Mountain, an enterprise information management company, reveals why multiple storage mediums are needed for sensitive data. “It’s so sad to see a project come into the studio, a hard drive in a brand-new case with the wrapper and the tags from wherever they bought it still in there,” says Robert Koszela, the Global Director for Strategic Initiatives & Growth for Iron Mountain. “Next to it is a case with the safety drive in it. Everything’s in order. And both of them are bricks.”

In the early 2000s, the migration away from physical tape storage began, with hard drives picking up the slack. As studios began remastering and transferring their data, they discovered the tape was deteriorating. But just like tape, hard drives also deteriorate with most commercial drives only rated for three to five years. Even stored in perfect conditions for archival purposes, these drives will eventually die.

“Unfortunately, the only time that a studio will open its archives is if it needs to look for original masters for commercial use. If it has waited too long, then it might be too late to recover the drive that it needs, resulting in the loss of all information contained within,” Tom’s Hardware reports.

So what’s the solution here? Hard drives were thought to be a more ‘permanent’ form of archival compared to fragile plastic film with a magnetic coating. Microsoft is taking steps to address new archival formats for digital data in its Project Silica—a plan to store multiple layers of data inside slabs of quartz glass.

The aim of Project Silica is to develop a cloud-scale archive media system for reading and writing data from etched glass slabs. The encoding technology is the production of areas with polarization-based patterns at points within a square glass slab, defined by 3D coordinates. The polarization pattern points are called voxels and are produced using femtosecond laser pulses. Voxels are written side by side in 2D layers across the glass platter’s XY plane.

“The unique properties of the glass media and the clean slate, cloud-first co-design of the hardware and software allow Silica to be fundamentally more sustainable and achieve significantly lower costs for archival data than magnetic tape,” Microsoft says.

Until glass platter backups are more widely available—you should be replacing your music hard drives every three to five years to avoid being left with a brick. Let’s just hope the archives for most major record labels are doing the same. There’s nothing worse than losing masters to a preventable mistake.

Photo Credit: Apple

The U.S. Food and Drug Administration (FDA) has authorized the first over-the-counter hearing aid software for the Apple AirPods 2 Pro.

Apple advertised its AirPods Pro 2 as a personalized hearing aid that would be “available in an upcoming software update.” These earbuds are capable of boosting specific sounds in real-time, including parts of speech or elements within a users’ environment. The hearing aid feature will be available this fall for the AirPods Pro 2 model across more than 100 different countries.

“Hearing health is an essential part of our overall wellbeing, yet it can often be overlooked,” says Sumbul Desai, M.D. “According to the Apple Hearing Study, a staggering 75% of people diagnosed with hearing loss go untreated. We’re thrilled to provide breakthrough software features with AirPods Pro that put users’ hearing health forefront and center, bringing new ways to help test for an receive assistance for hearing loss.”

The AirPods Pro 2 can assist people with mild to moderate hearing loss. Using the personalized hearing profile from Hearing Test, this new feature seamlessly transforms AirPods Pro 2 into a clinical-grade hearing aid. After setup, the feature enables personalized dynamic adjustments so users have the sounds around them boosted in real-time.

It helps users better engage in conversation and keeps them connected to the people and environment around them. “This first-of-its-kind software-based Hearing Aid feature brings users the ability to fine-tune their experience at any time, making access to hearing assistance easier than ever at an approachable price point.”

Users can set up the Hearing Aid feature with an audiogram created by a hearing health professional. Both the Hearing Test and Hearing Aid features are grounded in science and were validated through rigorous scientific studies. More than 30 million American adults report some degree of hearing loss—which can be caused by aging, exposure to loud noises, certain medical conditions, and other external factors.

With the FDA authorization of Apple’s Hearing Aid feature, this is the first software-driven hearing aid solution. Users set up their hearing profile using an iPhone, while hearing levels can be accessed from the iOS HealthKit app to customize.

Photo Credit: Kickstarter

Following a conspiracy theory circling online that Vice President Kamala Harris was ‘fed’ debate questions through audio earrings—the company that makes them is leaning into the rumor.

After the debate, the CEO of Icebach, Malte Iversen, shared a link on LinkedIn with the title, ‘She was fed the questions — Internet accuses Kamala Harris of using Nova H1 audio earrings as debate controversy erupts’ with his own commentary, stating: “We can neither confirm nor deny.” Iversen has since deleted the LinkedIn post, but not before Icebach decided to lean into the online rumor to generate hype for these audio earrings. Here’s a (low-res) screenshot of the since-deleted post.

On the Icebach site a new ‘Special Edition for Presidential Debates — Soon Available to Everyone’ has appeared, along with the following paragraph.

“Following the presidential debate we have been contacted by numerous TV shows for interviews. After thorough discussions we have decided that we will grant one live interview to clarify the rumors and myths surrounding our wonderful products. Our chosen interview is Jimmy Fallon, a trusted Bavarian in heart. Please refrain from any interview requests if you are not Jimmy Fallon. Thank you!”

“The Nova H1 audio earrings are the first wireless earphones embedded in earrings. Made from quality freshwater pearls, each pair of Nova H1 audio earrings is truly unique and exquisite.”

It’s worth noting that these audio earrings first appeared online in 2021 as a Kickstarter project. The funding period from February 16, 2021 to March 18, 2021 sought €42,000 and received €103,703 from 323 backers—making the Kickstarter a successful funding raise. Here’s how the company describes them to potential investors.

“Like conventional earrings, the Nova H1 are placed on the earlobes and project the sound from inside the pearl straight into your ear canal. Thanks to our worldwide patented ‘Directional Sound Technology,’ the sound travels from the earlobe to the ear canal avoiding sound leakage and keeping your conversations and music private and secure. Two tiny high-end microphones are integrated into each earring providing the user with crystal clear phone calls and wind-noise cancellation.”

The Kickstarter advertises three hours of play time, with a portable charging case that allows them reach up to 20+ hours of music streaming before the case battery runs out. Each earring is said to weigh around 7g, with a button located on the back of the earring for input controls. Users can answer phone calls, play or skip songs, activate a digital assistant—all wire-free. Each audio earring contains one speaker and two mics for a total of two speakers and four mics in each set.

Photo Credit: Icebach Sound

All has been quiet from these audio earrings since the successful 2021 Kickstarter, so perhaps no publicity is bad publicity in this case. While the CEO has deleted his LinkedIn post, we’ve preserved it here.

Photo Credit: Astell&Kern

Astell&Kern’s latest audiophile offering comes with a premium price thanks to its 98% copper body. The SP3000T Copper Edition features the same portable audio player that creates a fusion of the best of both worlds for an analog and digital audio experience—now in copper.

Astell&Kern’s SP3000T features the integration of a real vacuum tube to create an authentic analog sound, complemented by cutting-edge audio technology such as Teraton Alpha for an immersive auditory experience. This portable audio player features dual Raytheon JAN6418 Mil-Spec vintage vacuum tubes and a triple amp system to allow listeners to select the right tones for their music. The result is an audio player that features separate digital and analog signal processing.

The Copper Edition takes that one step further with a body made from 98.8% copper. Copper is known for its excellent sound transmission and resonance properties, enhancing the brightness and richness of musical tones. Astell&Kern has created a specialized multilayer coating that enhances durability to help this limited-edition audiophile accessory maintain its beautiful luster without oxidizing or requiring special maintenance.

Due to differences in noise and amplification among original vacuum tubes, Astell&Kern have created a meticulous process to address minute differences in sound quality. Astell&Kern carefully measures and pairs each JAN6418 vacuum tube to minimize deviation between the left and right channels—resulting in a more natural sound reproduction.

The SP3000T features an independent modular, flexible PCB design engineered separately from the main PCB. It has a silicone module case designed to absorb primary shocks from the vacuum tube, with silicone tubing perfectly tailored to the vacuum tube to reduce shock transmission along the leads. Finally, it features silicone dampers around the vacuum tube to suspend the tube in the air from both ends—helping to eliminate microphonic noise.

Achieving these low noise levels withing the compact confines of the SP3000T body was no easy challenge. The device houses two of AKM’s latest flagship AK4499EX DACs and a separate audio circuit design with the AK4191EQ—which is applied independently to the left and right channels responsible for processing digital signals.

With this unique audio circuit configuration, the SP3000T reduces the noise of the input digital signal, while acting as a separate digital delta-sigma modulator. Only analog signals are processed within the DAC AK4499EX, ensuring digital and analog signals are processed separately.

Photo Credit: Oleg Bilyk

The Sonos app situation is a clusterf*ck for long-time users—now a former engineer gives a peek behind the veil of what’s happened to one of the best audio-focused companies in the last few years.

Posting on the Sonos subreddit, the thread was locked before mods could verify the poster’s credentials. But mods confirmed the poster at least worked for Sonos previously based on evidence provided. This engineer says after experiencing the same problems people were complaining about with ‘No Products Found’ message in the new app—he decided to share his experience.

“Last night, my wonderful speakers completely failed me when I needed them most. It was a broken app situation and I was totally bummed. The error included a start with ‘no products found,’ then my Move 2 not being detected even though it was on the dock. It refused to be used until I went through an update, which of course failed. I had to factory reset it.”

“As a prior employee of Sonos, I believe that incompetence has infected top management at the company. Incompetence in management, incompetence in software. This app roll-out, the road map provided—is a joke. Alarm functionality as a highlight feature? I can write bash scripts that handle alarm systems reliably on an Internet of Things (IoT) network—no problem. Queue logic systems are the most basic sh*t I’ve ever seen.”

Speaking about his past with the company, the engineer says he worked for several years at Sonos. “We were a proud bunch, then the Roam came. Executive management and high leadership rushed that thing out the door. Engineer’s warnings were sidelined in favor of the release date, and to make deadlines for mass production. Shame. That button is universally hated. Embarassing for the brand. This is what I believe was the beginning of the company’s poor management downfall (which I hope is only temporary).”

“One thing you must understand is that in the past, Sonos was more than happy to kill a project if it did not meet expectations for the brand. The previous headset was killed deep into the engineering phase. Good. The tech just wasn’t there yet. During my time there, I was told by veteran OGs that the company’s core values were in the process of eroding thanks to greed, short-sightedness, and poor management from the top.”

“I was starting to see it during my time there, especially when Patrick Spence starting introducing the word ‘layoffs’ in his gentle Canadian voice. Then the layoffs came. Again and again. It was relentless. Then they restructured the company, drove all my ex-colleagues into states of overwork and fear of being laid off. The restructuring caused teams to be silo’d by Maxime’s vision of how to organize people.”

“I wasn’t even discouraged about being laid off. They treated us well, everybody was supportive, I appreciated the break and depression. I was sad to see [reddit] descend into darkness after the app release—understandably so. I still am hopeful that the brand will recover. But the app has started to fail to do what at its core it should do—play music.”

When someone else asked what it’s like to work at the company that is working to reverse a terrible app update, someone else chimed in.

“Things are moving quick. Definitely an ‘all hands on deck’ vibe particularly with the teams that are closest to the Sonos app and Sonos Ace. We have a lot of other things happening this year (new products) so it definitely depends on what team you are on and where you sit,” the commenter continues.

“I don’t want to speak for others so personally—but in customer experience—it’s a bit hectic. We see the long wait times. The seemingly endless queues of calls from understandably upset customers. Folks can get burnt out easily doing this kinda stuff day in and day out, so the lucky ones are trying to take some self-care time off. We are seeing the number of contacts decrease over time as these updates go out. We are making progress. It may not look like it at surface value on reddit or the Sonos Community, but the data we have shows otherwise.”

“We still have work to do, don’t get it twisted. But we are definitely on the path to parity and can see the light at the end of the tunnel.”

Photo Credit: Toa Heftiba

Sonos rushed out an app update ahead of its headphones product launch in May—severely breaking functionality for older devices. Sonos die-hards are up in arms about the changes, citing the borked app as a reason not to trust Sonos’ products ever again. Now the company says it’s putting the roadmap in Trello for all to see.

In April 2024, Sonos released what it called the “most extensive app redesign ever” for iOS and Android. The app reorganized everything into a single Home screen that is supposed to be faster and more customizable. But long-time users quickly noticed connection troubles and removed features were at the heart of the update. Perhaps the most egregious is the lack of accessibility features in the new version—limiting how visually impaired users can interact with the new app.

Podcast host Jonathan Mosen posted about his trouble with the new Sonos app on his blog and in an episode of “Living Blindfully”—his podcast about life with a visual impairment. “For starters, [the new update] is really, really clunky and inefficient. There are three or four swipes to get between each individual speaker, five depending on if it has a battery or not.”

“There’s a button in the main nav bar that says system, but that button goes nowhere from what I can determine. Swiping through lists is basically impossible. They don’t properly scroll, and will randomly just jump you to the top of the screen. You can’t explore the screen by dragging your finger around it—at all. This simply does not work. It acts as if the screen is blank. There’s no way to navigate to different subsections of the main screen, because of this and just because it’s just all in one huge linear sweep.”

Sonos’ response to user-feedback has been to say it “takes courage” to redesign an app, “knowing it may require taking a few steps back to ultimately leap into the future,” Sonos spokesperson Chris Welch told The Verge about the app update. But taking steps backward in usability is the last thing long-time customers want to hear. Sonos CEO Patrick Spence acknowledged that in an email sent to customers in July 2024.

“We developed the new app to create a better experience, with the ability to drive more innovation in the future, and with the knowledge that it would get better over time,” Spence begins the email. “However, since launch we have found a number of issues. Fixing these issues has delayed our prior plan to quickly incorporate missing features and functionality.”

Spence shared a brief timeline with users for when they can expect the old features to return to the ‘new’ Sonos app.

July & August

• Improving the app stability when adding new products
• Implementing ‘Music Library’ configuration, browse, search, and play

August & September

• Improving Volume responsiveness
• User interface improvements “based on customer feedback”
• Improving overall system stability and error handling

September

• Improving the reliability of Alarm consistency

September & October

• Restoring edit mode for Playlists & Queue
• Improving functionality in ‘Settings’

Sonos has now released a public Trello board to collect that customer feedback for its user interface improvements. You can see what the company considers a priority for its fixes, things that are coming soon, new additions, resolved problems, and a general feedback section. But despite this dedicated commitment to making it right, the botched app rollout has left some people feeling disgusted.

“I’ll never understand how they approved the new app,” reads one comment. “Did a human being actually use it and say ‘oh yeah it’s great lets roll it out’? I actually sat down and tracked every single Sonos purchase I have made over the years. It’s $11,000. It’s insane. No more. Plenty of competitors elsewhere. They can take their roadmap and shove it where the WiFi don’t shine.”

Photo Credit: Stefany Andrade

Music tech company MakeMusic has announced it is sun setting its music notation software Finale, Finale PrintMusic, and Finale Notepad.

First released under its Coda Music Technologies brand more than 35 years ago, Finale offered a groundbreaking and user-centered approach to creating music notation. For over four decades, MakeMusic’s engineers and product teams have crafted the software that quickly became the gold standard for music notation.

“Four decades is a very long time in the software industry,” says Greg Dell’Era, President of MakeMusic & Alfred Music. “Technology stacks change, Mac and Windows operating systems evolve, and Finale’s millions of lines of code add up. This has made the delivery of incremental value for our customers exponentially harder over time.”

“Today, Finale is no longer the future of the notation industry—a reality after 35 years, and I want to be candid about this. Instead of releasing new versions of Finale that would offer only marginal value to our users, we’ve made the decision to end its development. I am convinced Steinberg’s Dorico is the best home for our loyal Finale users, and is the bright future of the music notation industry.”

Starting today, there will be no further updates to Finale or any of its associated tools (PrintMusic, Songwriter, Notepad). It is no longer possible to purchase or upgrade Finale in the MakeMusic eStore. Finale will continue to work on devices where it is currently installed, barring any OS changes that render it broken.

After one year on August 2025, MakeMusic says the following changes will go into effect:

• It will be impossible to authorize Finale on any new devices
• You cannot reauthorize Finale on a new installation
• Support for Finale v27 or other versions will no longer be available

MakeMusic is encouraging its loyal Finale users to consider upgrading to Dorico Pro with a limited-time crossgrade discount on the software. The discount will enable Finale users to purchase Dorico Pro for $149 instead of the retail price of $579. The offer is available immediately and for a limited time, though the MakeMusic Store.

“We look forward to welcoming many Finale users into the Dorico user community,” adds Clyde Sendke, Managing Director, Steinberg. “Although we know it is difficult to leave behind a trusted tool, we are confident that they will soon come to reply on the powerful, efficient workflows provided by Dorico Pro. Our team will be by their side every step to provide help and support.”

A new round of Sonos layoffs has been confirmed by CEO Patrick Spence. Photo Credit: Tim Foster

On the heels of a poorly received app redesign that prompted an apology from CEO Patrick Spence, Sonos has confirmed a new round of layoffs affecting about 100 employees.

Spence himself acknowledged the personnel reduction in a statement, following various reports on the layoffs and related LinkedIn posts from impacted individuals.

“We made the difficult decision to say goodbye to approximately 100 team members representing 6% of the company,” communicated the Sonos head of nearly eight years. “This action was a difficult, but necessary, measure to ensure continued, meaningful investment in Sonos’ product roadmap while setting Sonos up for long term success.

“Our continued commitment to the app recovery and delighting our customers remains our priority and we are confident that today’s actions will not impact our ability to deliver on that promise. Today, we are focused on our departing employees and ensuring they have the support they need,” concluded the former BlackBerry exec.

As things stand, Sonos doesn’t appear to have publicly identified the exact positions that are part of the layoffs. However, some of these roles came to light in the aforementioned LinkedIn posts pertaining to the unfortunate news.

Said posts were penned by Sonos’ now-former software development engineer, senior technical program manager, global procurement analyst, and global head of music and entertainment, to name a few.

Predictably, customer and observer responses to the less-than-ideal development are hardly positive, with many taking the opportunity to voice their ongoing qualms with the initially mentioned app changes. Of course, time will reveal exactly how Sonos addresses the matter throughout the “app recovery” process.

In the bigger picture, the layoff round marks the latest in a line of cutbacks at Sonos, which in June of 2023 trimmed about 7% of its workforce. And though it perhaps goes without saying, the $20 million to $30 million in expenses Spence is anticipating from the app debacle certainly aren’t helping the situation.

Furthermore, Sonos isn’t alone in opting to reduce the size of its team during 2024.

Solely in and around the music space, the long list of companies that have laid off personnel during or just before the year includes Universal Music, Spotify, TikTok, Proper Group (previously Utopia Music), Amazon Prime Video, Warner Music, and Google/YouTube.

When trading concluded today, Sonos stock (NASDAQ: SONO) was worth $11.61 per share, reflecting a roughly 1% slip from opening. All told, the company, which reported $397.1 million in revenue for the three months ended June 29th and flipped to profitable during the same period, has seen its stock price slip by north of 30% since 2024’s beginning.

Photo Credit: Sonos

Sonos updated its app in May, much to the chagrin of long-time customers who complained of missing features. Part of the negative feedback is the app redesign took away several longstanding features—leaving Sonos users with broken routines.

After the update, a megathread on reddit highlighted many of the issues people were having with the new Sonos app. Users complain of the removal of ‘shuffle all’ from the combined library, the removal of timers and alarms, no more volume numbers, lack of EQ control, and everything taking more steps to accomplish in-app than previously.

“I have been a Sonos user for at least a decade; I have 32 Sonos devices in my home, using Sonos Net. I dealt with the S1 to S2 transition, accepted the end of life products I had, moved on and bought new gear. But I am floored at how bad this is. My assumption is that there isn’t a single dev on the Sonos team that said, ‘yep this product is ready for launch,’” reads one comment about the update.

“It is clear that this was a misguided executive decision to meet some deadline tied to either the headphone launch or to calm down shareholders after some poor quarterly numbers. Clearly the opposite of the desired outcome has occurred. Sonnos looks like a joke and has alienated those of us that matter the most—whether they realize it or not.”

Three months after shipping that disastrous update, Sonos CEO Patrick Spence is apologizing to those long-time customers. A blog post titled, “Update on the Sonos app from Patrick” starts with a personal apology and a note that “there isn’t an employee at Sonos who isn’t pained by having let you down.” Spence says the company’s number one priority is getting the app fixed for its users, with new updates arriving every two weeks since the big change in May 2024.

This is the first public acknowledgement from Sonos that the app redesign hasn’t gone as planned, with fresh promises to bring the app to parity. It comes after Sonos jumped into the headphone ring to compete with Apple’s AirPods Max with its own take on premium headphones, the Sonos Ace.

Photo Credit: Astell&Kern

Was the iPod killed too soon? The allure of a music player without the phone attached remains a compelling mirage even in 2024 for many people. Astell&Kern is building an oasis with its P1 Digital Audio Player.

The South Korean audio brand is launching a new sub-brand called ACTIVO, which is focused on promoting an active lifestyle with music as a companion. At the core of that marketing is the P1 Digital Audio Player, so people can take their music with them and leave their phone behind.

The tiny music player boasts a custom-built interface for navigating music and offers up to 20 hours of continuous, seamless entertainment. The device is pre-loaded with Google Play Store, so any music streaming apps can be loaded onto the device.

That’s handy, considering other hardware devices like the Mighty player (which shamelessly borrows the iPod Shuffle design) only supports Spotify and Amazon Music offline playback. The P1 features 64 GB of internal memory and a microSD card slot for an additional 1.5TB of space if that’s not enough for your personal library.

The ACTIVO P1 features two ESS ES9219Q SABRE DACs in a dual-mono configuration, providing a dedicated DAC chip to right and left outout channels. The dual-DAC structure creates a perfectly balanced circuit to deliver vivid sounds truer to the original source than ever. The device also features a dedicated AMP circuit based on Astell&Kern’s TERATON ALPHA sound solution—allowing the device to deliver sound clarity and broad spatial resonance.

It also features an advanced EQ and seven DAC filter options, with a wide range of personalization and sound profile options for audiophiles. The parametric equalizer options separate frequency ranges into 20 bands, and Gain is adjustable by 0.01dB increments for precise and accurate control. Other features include a 4.1” HD touch screen, Bluetooth 5.3 support for 24-bit wireless playback using LDAC or aptX HD, PD 3.0 fast charging, full MQA decoding and Crossfeed, with Roon Ready support coming soon.

The device itself has been designed with sightless operation in mind despite the touchscreen. The buttons on either side of the player are shaped so that users can tell the difference by touch alone, allowing easy control in a pocket or bag—or while running. Three keys (play/pause, next, and previous) are combined to allow users to control the device while focusing on the display. The dedicated music hardware launched today at a price point of £399 ($514).

Photo Credit: Beats

Beats by Dr. Dre announces the return of its Beats Pill speaker, tapping LeBron James and Lil Wayne for its latest ad campaign.

Apple and Beats by Dr. Dre have announced the long-awaited return of its iconic Beats Pill speaker, which is available to order now through Amazon, Apple, and the Beats website for $149.99 — about $50 cheaper than its predecessor. To celebrate the relaunch on June 27, Beats has tapped global icons LeBron James and Lil Wayne to star in its latest ad campaign.

In addition to the cheaper price tag, the new Beats Pill is about 10% lighter than the older model, with a 20-degree tilt for better “on-axis sound projection.” The Beats Pill promises up to 24 hours of battery life and a “Fast Fuel” charging option that provides two hours of playback following a 10-minute charge. The speaker will be available in Matte Black, Champagne Gold, and Statement Red.

“The Beats Pill is back and better than ever — now packed with outstanding sound, all-day battery life, and convenient features,” says Oliver Schusser, Apple’s vice president of Apple Music and Beats. “From the beloved Pill characters to cameos in the world’s most watched music videos, the original Beats Pill was a pop culture phenom and we’re thrilled to bring back a fan favorite updated with the latest features in an iconic design.”

“We’re excited to bring Beats Pill back to our portfolio,” says Chris Thorne, CMO at Beats. “There’s no better way to relaunch an iconic product than to team up with two icons that have been part of our family since Pill’s inception.”

“The Beats Pill has been a staple in the James household from day one,” said LeBron James. “It’s an iconic product, so it’s exciting to be part of its relaunch for a new generation.”

With new acoustic upgrades like a redesigned tweeter and re-engineered racetrack woofer, the new Pill promises to deliver “better sound than ever before.” The speaker features USB-C charging, native iOS and Android compatibility, a removable carry lanyard, soft-grip silicone backing, and an IP67 dust and waterproof rating.

Photo Credit: Jaime Marrero

Apple has announced it is expanding SharePlay to include HomePods, Apple TV, and any generic Bluetooth speaker. SharePlay allows family and friends to control music playing on the speakers in your home. The feature was announced at Apple’s Worldwide Developers Conference this week and is expected to arrive this fall.

The new feature will extend the familiar CarPlay experience into the home, allowing other people access to what’s playing. The feature is similar to Spotify Jams, which allows people to contribute to a Spotify playlist, meaning no one person has to be in charge of the music anymore.

The person launching a new SharePlay session will need to have an Apple Music subscription, but those joining in to share music will not. All they’ll need to do is bring their iPhone next to the subscriber’s iPhone, or scan a QR code in the Apple Music SharePlay window. The host can approve the guest and then they’re allowed to share tracks to the playlist through their own Apple Music app.

The feature briefly appeared in the iOS 17.4 beta, but the feature was removed before that version of the OS was released. SharePlay debuted with iOS 15, allowing friends to stream music, online videos, and movies over FaceTime. The CarPlay implementation of SharePlay was released in iOS 17 and has arguably become the most important feature of SharePlay. With the release of iOS 18 means friends and family can finally share their tunes while at home just as easy as in the car.

Another interesting new feature Apple debuted is a new music haptics feature for people with hearing difficulties. The new feature uses the iPhone’s Taptic Engine to play taps, textures, and refined vibrations to the audio in the music—giving those with hearing difficulties a brand-new way to experience the music. The feature will work across millions of songs in the Apple Music catalog and for developers, will feature an API so it can be added to their apps.

Photo Credit: AkosinCreations

Spotify killed off Car Thing and initially said it would not offer refunds for the $90 electronic brick. Now the music streaming service has backpedaled on refunds—with one condition.

Several Spotify Premium users were disappointed to discover that Spotify is officially killing off its hardware experiment on December 9, 2024. The company will issue a firmware update to the Car Thing on that date that renders the device unusable—ending a three-year experiment. Car Thing was officially discontinued in July 2022 when Spotify stopped producing them, but the company said it would continue to support the device for those who purchased them.

Following news that the device would be bricked by a firmware update later this year, a group of people who bought Car Thing launched a class action lawsuit against Spotify. In that complaint, buyers said had they known the device would last ‘less than a year’ they would not have forked over $90 to own one.

Now on the official FAQ for the Spotify Car Thing that explains the shut down, there’s a question, “How can I request a refund?” with the answer, “Individuals seeking a refund can contact customer support with proof of purchase to discuss their options.” That proof of purchase is the important part here—to receive a refund you need to have purchased directly from Spotify.

Users who picked up a Spotify Car Thing via eBay or other third-party option are out of luck. You will need that proof of purchase email receipt too—if you didn’t keep it you’re out of luck. Users of the r/CarThing subreddit have reported they’ve received refunds over the last few days, though Spotify appears to be delivering them in $12 tranches, with one refund of $30 delivered over three deposits.

How to Get a Refund for Spotify Car Thing

1. Contact Spotify’s customer support service and ask politely for a refund of the Car Thing you purchased.
2. Spotify’s customer service will ask to see your email receipt.
3. Provide a screenshot of the email receipt you received.
4. Spotify will process your original payment method refund in 1-3 days. If you no longer have access to the original payment method, Spotify may ask for bank account information to process the refund.

Photo Credit: Sonos

Sonos announces its highly anticipated foray into headphones with the launch of the Sonos Ace on June 5, with a $449 price tag. Here are the details.

Sound aficionados have long been asking for audio brand Sonos to make its debut into the world of headphones, and that day has finally come: beginning June 5, Sonos Ace over-the-ear headphones will be available in either black or white with a price tag of $449.

Though a tad pricey, as a leading innovator in sound, Sonos boasts its headphones will transform the personal listening landscape, competing with the likes of the Apple AirPod Max — and so far, the response among the tech crowd has been very positive.

Select press outlets in New York were treated to a demo of the Sonos Ace Bluetooth 5.4 headphones this week. The over-the-ear headphones are similar in design to Apple’s AirPods Max, though the Sonos Ace weighs notably less. Each ear cup features a 40mm driver, with a total of eight microphones for noise control. Much like the AirPods Max and Sony’s WH-1000XM5, the Ace touts Active Noise Cancelling and Aware modes, head tracking, and Dolby Atmos spatial audio.

“They’re here! Fans have asked us for years to bring the Sonos experience to headphones — and we knew our first foray into the category needed to champion the type of innovation and sound experience Sonos has become synonymous with,” said Sonos CEO Patrick Spence in the company’s announcement. “Sonos Ace leverages everything we’ve learned over two decades as an audio leader to bring stunning sound, sleek design, and long-standing comfort to one of the largest and most popular audio categories worldwide.”

Just like Apple’s AirPods Max integrate seamlessly with Apple TV boxes, Sonos Ace will offer integration with the Sonos Arc soundbar, with support for older Sonos soundbars and speakers coming later this year. Also coming later this year, Sonos Ace will feature “TrueCinema,” using your Sonos’ speakers or soundbar to “3D map” your room to simulate the acoustics of that space while wearing the headphones and using spatial audio.

Sonos touts its headphones as responsibly made, featuring replaceable ear cushions made from circular materials that allow the company to use “17% less virgin plastic, and a 75% recycled felt travel case made from plastic bottles.”

Whether the timing of the launch is ideal for Sonos is questionable. Despite the warm response to the headphones’ upcoming debut, the company is currently under fire from its customers after an update to its mobile app omitted several previously available features, including accessibility options.

Audiotonix has sold to PAI Partners. Photo Credit: Natalie Parham

French investment house Ardian has officially unveiled a deal to sell a majority interest in U.K.-based audio mixing company Audiotonix.

Ardian representatives reached out today with word of the sale agreement, which the investment house and Paris-headquartered private equity firm PAI Partners just recently finalized. For reference, Audiotonix has north of 750 employees and describes itself specifically as “a global market leader in the design, engineering and manufacture of professional audio mixing consoles and ancillary products.”

Behind that billing, the business’s brands include but aren’t limited to Allen & Heath, Calrec, and DiGiCo. And in the interest of brevity, Ardian officially purchased a majority stake in Audiotonix from Astorg in December of 2019, leaving the latter entity aboard as a minority owner.

During the past four years and change, Ardian-owned Audiotonix has closed five acquisition deals “to further diversify and strengthen its portfolio,” per the involved parties, besides leaning into product and software development.

Moving beyond these pertinent background details, Ardian itself is now expected to hold a minority stake in Audiotonix as part of the pact with PAI Partners.  

Looking ahead to its future as a division of PAI, Audiotonix, which says its products have been used on tours from Coldplay and U2, is poised to pursue strategic acquisitions and zero in on “secular trends towards the experience economy.”

Building on these points in a statement, Audiotonix CEO (and former longtime DiGiCo exec) James Gordon emphasized PAI’s perceived ability to help take his company “to the next level.”

“I would like to thank Ardian for the confidence and solid support of Audiotonix, the management team and our staff,” Gordon said in part. “The team invested alongside us just as the Covid lockdown began, and from our first meeting were aligned with us, making sure Audiotonix emerged in a stronger position than before. … With PAI, it is clear this is a team and partner we can take Audiotonix to the next level with, while preserving the passion and energy that have made the group the success it has become in our industry.”

And in joint remarks of their own, PAI partners Colm O’Sullivan and Neil McIlroy communicated in part: “Audiotonix is well placed to benefit from positive structural tailwinds in the experience economy and diverse professional audio environments – whether in live entertainment, installed professional audio, music or sports. We look forward to working with the team as the group continues to deliver market-leading, professional products, defining audio experiences worldwide.”

Worth mentioning in conclusion is that Samsung subsidiary Harman’s professional solutions unit in December of 2023 formally closed its acquisition of FLUX Software Engineering.

Alex Solano of AlexProMix recaps the incredible evolution in Dolby Atmos and spatial audio mixing, how the current shift and technology upgrades underscore the industry’s commitment to innovation and enhanced listening experiences.

The following was developed in collaboration with AlexProMix, a company DMN is proud to be partnering with.

In 2021 when spatial audio came into the picture, the landscape was packed with technical limitations and challenges.

Music mixing engineer and early adopter of Dolby Atmos, Alex Solano, sat down with DMN to reveal his take on the monumental evolution of Dolby Atmos, the opportunities and challenges the shift now offers professionals, and how his mixing template allows professionals to create immersive mixes and stereo mixes simultaneously, within one session.

Today, the immersive audio landscape looks extremely promising for audio professionals, and opens up a multitude of creative and monetary opportunities. But the transition was a painstaking process, involving significant technical upgrades — including a minimum requirement of a 12-speaker setup and an investment in high-end equipment — alongside mastering the complexities of immersive audio mixing.

To fully appreciate Dolby Atmos music mixing advancements, it’s essential to understand the early obstacles and creative hurdles faced by audio mixers.

During the early days of immersive mixes, collaborative innovations between Avid Pro Tools and Dolby were designed to optimize the music-mixing process. But Dolby Atmos mixing in Pro Tools involved complex setups, with separate applications for Pro Tools and the Dolby Atmos Renderer.

The configuration also limited the use of outboard gear due to the integrated closed-system linking Pro Tools with the Dolby Renderer.

Typically, audio experts also needed a separate computer to operate the Dolby Renderer for speaker routing. This setup was expensive, and required the coordination of multiple systems to function effectively within a music production environment.

“No longer could you create a mix on headphones and check the mix in your car,” explains Solano, adding, “With Atmos, a minimum requirement of a 7.1.4 speaker setup is necessary to ensure your immersive mixes translate to multi-channel playback systems.”

The initial setup also enforced a two-stage creation and approval process, stifling creativity and workflow.

After creating an artist’s stereo mix, mixing engineers would have to seek approval before they exported the pre-mastering processed stems into a new session that was designed for immersive audio. After making a Dolby Atmos mix, the engineers would then be required to seek out artist approval once again.

Apart from this constant back and forth for creation and approval, the process of matching the tonality of the stems to the stereo master was also incredibly complex.

Mixing engineers needed a solution that would allow them to implement multiple sound cards simultaneously. According to Solano, that turning point came with the launch of AUX I/O in Pro Tools.

The feature laid the groundwork for more integrated solutions, and more flexible audio routing — including the Dolby Atmos Renderer to different destinations. Although the solutions improved the workflow, Solano says mixers and engineers still faced stability and latency management challenges with AUX I/O.

“Expanding track widths in Pro Tools to accommodate up to 9.1.6 configurations opened new possibilities for mixing, enabling more seamless integration of stereo and immersive formats,” Solano explains. But despite the initial challenges, Solano says these developments opened up possibilities in mixing technology, and hinted at the development of a unified mixing template — ‘one that could cater to stereo and immersive outputs.’

AUX I/O in ProTools marked a significant turning point in allowing the implementation of multiple sound cards. (Photo: AlexProMix)

However, ‘the game changer in the spatial audio space’ came at the end of 2023, when Pro Tools introduced the integrated Dolby Renderer.

The integration facilitated the simultaneous processing of immersive and stereo mixes, and directly routed stems to the Renderer. Furthermore, the capability to monitor binaural and stereo mixes through dedicated AUX tracks further enhanced the mixing process, ensuring consistency across different listening formats.

“Multi-channel plugins offer tailored processing for immersive formats, and multi-mono plugins apply uniform effects across all channels.”

Solano also points out that the distinction between multi-channel vs multi-mono plugins, and understanding their unique application is vital for achieving the desired tonal balance and dynamic range — in both immersive and stereo mixes. “Multi-channel plugins offer tailored processing for immersive formats, and multi-mono plugins apply uniform effects across all channels.”

Parallel to these advancements, early adopter Solano was investing his expertise in creating a mix template that streamlines the mixing process, while ensuring the quality and emotional impact of music is elevated. “The template brings the artist’s vision to life in an immersive sonic environment, while creating an Atmos and Stereo master that are consistent in the emotional impact of the mix,” he says.

Solano’s immersive music template shares insights and practices that can enrich the mixing workflow, opening the gateways for more creators to explore immersive audio’s incredible possibilities.

“Everyone is on the same starting line in Dolby Atmos,” says Alex Solano. (Photo: Apple Music)

Back in October, Digital Music News first reported that Apple Music was introducing higher royalty payouts for Dolby Atmos mixes. That has sparked some pushback, particularly from indie and unsigned artists who feel Atmos upgrades come with a hefty price tag. AlexProMix is hoping to dispel that notion.

An early adopter of Dolby Atmos immersive formats, AlexProMix founder Alex Solano recently shared his thoughts on  how the rapid evolution in the Dolby Atmos ecosystem paves the way for musicians to gain ‘creative and monetary benefit.’

According to Solano, labels already understand the need and value of the format, with high-priority playlisting and better revenues. However, artists are still unaware that spatial audio doesn’t just make music ‘sound expansive and immersive’ but offers an incredible monetary benefit.

But can they afford it?

Absolutely yes, according to Solano. AlexProMix is currently offering fully-upgraded Atmos mixes for ‘as little as $350 per song,’ a more workable price range. Suddenly, the math could make sense for artists hoping to score a bumped-up royalty rate on Apple Music.

Solano, a music mixing engineer and educator for artists, labels, and music studios, also sees a big opportunity for producers and mixers as well. He predicts that gaining expertise in the heavily invested space of immersive audio could be ‘the biggest opportunity for audio professionals today.’ Just recently, AlexProMix partnered with DMN to further expand awareness around spatial audio possibilities.

Diving into his take on the importance of spatial audio in the current music industry terrain, Solano clarified that despite popular belief, spatial audio is ’not just an exclusive service available to the majors.’

Solano points out that many of the largest distribution platforms for indie artists — such as Avidplay, CD Baby, The Orchard, Audio Salad, Distrokid, Golden Dynamic, Rebeat, and Rock Mobile (to name a few) — currently support Dolby Atmos as a deliverable format. “Any indie artist who’s self-publishing and self-distributing can hire an independent immersive mixer and upgrade their audio to Dolby Atmos,” he added.

Backed by almost two decades of experience in music mixing and his unique position as an early adopter of immersive audio processing, Solano believes the evolving technology will be ‘creating a whole new set of job opportunities for audio professionals who want to have a sustainable career in the music industry.’

“There’s going to be a huge need for Dolby Atmos mixers like myself and thousands of others who have become early adopters.”

Before Dolby Atmos, anyone could have the tools and gear to mix and master — all from a home studio using headphones. But Spatial Audio, Solano says, is ‘different.’

Immersive mixes require expensive gear, specifically equipped studios, and distinct professional knowledge. These extensive requirements for Dolby Atmos have reset the terrain for mixers and offer a blank slate for experimentation, Solano explains. “Mix engineers at all levels are exploring new ways to expand the sonic possibilities with Dolby Atmos,” Solano noted. “Everyone is now at the same starting line with Dolby Atmos, with lots of new possibilities ahead.”

Speaking about AlexProMix, the spatial audio professional told DMN that his background has allowed him to ‘build a complex type of service’ for artists, labels, and studios.

His journey to becoming a spatial audio professional started in 2005, when Solano says he began ‘working behind the scenes for companies ahead of the curve,’ such as Avid Technology, the makers of Pro Tools. From there, Solano went on to gain early certifications from Universal and Warner. 

Speaking about the advent of his role as educator, Solano says he had to go through the whole process of educating his clients on spatial audio, why it’s needed, and the required equipment details.

“So I took that format and basically started creating videos on YouTube on what immersive audio is and how it benefits music producers and artists,” says Solano.

Solano admits he’s in a ‘unique position’ as an early adopter of immersive audio because he’s a music mixer, an online educator, and is ‘flying out to studios to teach immersive mixing.’

“All of that centers around something that I enjoy doing — my passion for music technology and music services and my early adoption of immersive audio.”

Solano also recounts his recent stint in Dubai, where he was called by LPME to assist with three recently built studios with two Dolby Atmos rooms. “They made the investment but needed a seasoned professional to train their in-house staff of producers and mixers in the new format.”

“That’s significant because you can have a multi-million dollar studio. You can have a lot of capital and resources, but there’s a very steep learning curve on knowing what to do when you sit in a room with speakers.”

The technology has been quickly growing and evolving, but audio professionals still need guidance and education when setting up a studio. “A Dolby Atmos music studio is a dedicated room for immersive mixing,” Solano explains, adding, “It’s not like a traditional recording or mixing room — it’s not a multi-purpose room.”

“It’s much easier to get into it now than two years ago, but it’s still quite a bit of an investment. You’re talking about 12 speakers plus all the rigging gear and acoustic treatment everywhere. And everything needs to be treated because sounds are coming at you from different directions, so there’s more possibility that audio reflections will bounce around the room,” explains Solano.

Solano believes his work impacts the music ecosystem beyond artist and label knowledge, adding, “As an early adopter, I’m supporting both Dolby and all the companies who are creating software compatible with Dolby.”

Looking at the bigger picture, what does the future of spatial audio look like in terms of traction on major streaming platforms like Amazon Music, Apple Music, and the 20+ other DSPs supporting Dolby? Moreover, in the spatial audio realm, what’s happening at Spotify?

Recalling a panel discussion he attended at MUSEXPO 2023, Solano pointed out the possibility that by the end of 2024, Apple Music and Amazon will require Dolby Atmos to be a deliverable format. Similarly, he mentioned that in March of 2022, major labels had set a mandate to go through the archives and convert everything into Dolby Atmos.

And leading from that progression, Spotify can’t possibly be so far behind. Solano relays that even though Spotify isn’t currently in a financial position to make that jump or investment into spatial audio, the streaming giant built a Dolby Atmos studio at its facilities in late 2022.

However, Solano predicts that when the streaming giant finally steps into the field and adopts Dolby Atmos as a format, ‘every music mixer who’s working in immersive audio will see their rates going up. Because there will be such a high demand for their skill.’

Photo Credit: RipX

A new way to produce music is arriving for the Apple Vision Pro—the first immersive digital audio workstation (DAW) with a 3D display.

RipX DAW for Apple Vision Pro presents all audio, no matter if it’s live or recorded, MIDI or stem separated, as fully editible notes, with instruments distinguished by distance. Instead of waveforms, the sound is presented in a fully 3D space, allowing you walk around and interact with the music.

Audio is stored in RipX DAW in the Rip format, which Hit’n’Mix calls a “giant step up from waveforms, enabling full control over all aspects of sound.” Users can mix their favorite parts of an audio piece together, experimenting with different tempos, effects, pitches, and keys/scales. Users can time-stretch, adjust the stereo panning (including on mono tracks), volume, and EQ. They can even create loops and edit them during playback to create new music in real-time.

RipX DAW also includes powerful built-in live effects that range from Reverse to Delay to Vibrato. Add Harmony thickens out vocals, while Shift Formant changes the characteristics of the audio. Meanwhile, Low/High Pass filters offer a completely different atmosphere. The DAW can set a musical scale or key to the track on its own with the Detect feature—notes will snap tot he pitches that are part of the scale as you pitch up or down.

Hit’n’Mix says RipX DAW is the ‘Photoshop’ of the audio world, offering the ability to quickly adjust pitch, time-stretch, copy and paste individual or groups of notes, sibilants and unpitched sounds.

It displays all unpitched sound spread over the entire rip from its top to bottom. A simple click and drag interface to select region means you can edit unpitched sound as you want. Something missing? Draw notes, drums, and samples into the rip with the Draw Sound tool.

The DAW offers a new 3D augmented reality interface for live audio repair and clean-up for removing background noise, limiting foreground artifacts, reducing tones & hum, and purifying pitched and unpitched sounds. Users can adjust overtone levels in notes and even regenerate fundamental harmonics to bring back bass presence in vocals and instruments that can be lost during mixing and mastering.

Apple’s AirPods Max are a cornerstone of Apple’s premium content+hardware ecosystem, which includes Apple Music’s Spatial Audio with Dolby Atmos (photo: MaxWdhs)

After years of investing in lossless and spatial audio, Apple Music and Amazon Music have cemented premium audio as a key part of their offerings. But the market leader, Spotify, is still plotting its entry into high-definition and spatial audio, raising questions about the streaming landscape’s trajectory in 2024 and beyond.

Nearly three years have passed since Apple Music and Amazon Music announced (on the same day) far-reaching premium audio expansions, extending both to spatial audio and lossless formats. Almost simultaneously, Spotify users uncovered a HiFi icon on select versions of the app. And with the Stockholm-based platform having revealed plans earlier in 2021 to adopt high-fidelity audio, a launch seemed imminent. 

As frustrated users frequently lament on social media, though, Spotify has yet to move forward with these plans. Inversely, Apple Music and Amazon Music are framing premium audio as a major reason to choose their services. “Hear sound all around,” reads central text on Apple Music’s subscription landing page, with the Amazon Music Unlimited counterpart encouraging listeners to “experience spatial audio” and enjoy “the HD difference.”

But a distinction in the approaches to premium audio – an all-in strategy on the one hand versus, at least to date, no strategy whatsoever on the other – suggests a significant competitive differentiator between the services. Following uncertainty about the interest in and reach of lossless and spatial audio, it’s become abundantly clear that higher-quality listening options are here to stay.

Report Table of Contents

I. The Premium Audio Imbalance: Apple & Amazon vs. Spotify

II. Graph: Premium Audio Today: A Quick Look At Who Offers What (and for How Much)

III. Spotify’s ‘Supremium’ Tier: The Long-Rumored Package At a Glance

IV. Spotify Playing Catch-Up With Premium and Spatial Audio – Will Premium Audio Be a Gamechanger for Apple Music and Amazon Music in 2024?

V. By the Dates: A Timeline of Premium Audio’s Streaming Integration

VI. Source Documentation

If you’d like to download this report, simply send an email to support@digitalmusicnews.com.

left – FG9R | Right – Revstar

Yamaha has new models of acoustic and electric guitars that are Made in Japan. Is it time to buy one? Let’s explore.

Yamaha is known as a leader in affordable quality instruments. But they sometimes release guitars that are made in Japan with a higher level of quality assurance and higher-end components. Yamaha’s team offered me two of these high-end ‘Made In Japan’ guitar models to review: the FG9R (‘R’ for rosewood, also available in mahogany), and the Revstar RSP02T (the P90 model). Both guitars provided for this review had to be sent back to Yamaha. 

TLDR version:

• • The acoustic guitar is selling for $4,100, which puts it in the higher-end price range of acoustic guitars. Does it hold up to competitors in that class? The answer is yes. 
  • The Revstar is currently available for a little  over $2,000 on Sweetwater. While that is still in a premium pricing category, it’s more affordable than most Gibson models in its class. Should you buy this guitar? I don’t think it would be a bad purchase, but I’m less enthusiastic about suggesting it. 

Both models come with premium hard cases. They are brown leather (or faux leather), similar in style to the cases that Gibson sells with their premium guitars (electric and acoustic).  

The FG9R is a surprisingly loud guitar with a deep, punchy, and bassy sound. The powerful and booming low-end reminded me of a Martin D-28, but it has noticeably more punch and note clarity than the softer tones of the D28. Another punchy guitar tonally to compare the FG9R would be a Taylor acoustic but in a reverse way. The FG9R has clarity and power like a Taylor. The high notes are also pronounced, but the mid-range is underwhelming whereas that is where a Taylor can often thrive. The mahogany model may be more pronounced in the midrange if it’s anything like the Gibson Hummingbird (which is also mahogany). But, I overall like the FG9R and I think that anyone who buys it will be happy with it.

The only big downside of the FG9R is that the tones clash with one another. Your mileage may vary. I can be heavy-handed when I play certain chord progressions. But if you’re not strumming hard, I don’t think you will ever experience this. 

Some people may be reluctant to spend this amount on a Yamaha, and they have a reason to feel this way. For a long time, Yamaha has been seen as an affordable option with lower quality. This provides a hidden advantage: touring artists can bring a nice guitar on the road without it being a big target for thieves. 

Both models feel worth their price tag, but it is easier to recommend the acoustic. The FG9R’s tone seems more unique to me compared to the Revstar. The Revstar, while sounding and feeling great, is still just a well-made electric guitar with P90s and could be more easily replicated by a more affordable model.  

Photo Credit: Rafael Leão

Is noise-cancelling technology actually bad for your ears? New research suggests that more Gen Z and Millennials are at risk of hearing loss due to their excessive headphone use — so what’s the best way to prevent hearing damage, with or without noise-cancelling technology?

Noise-cancellation is fast becoming a staple feature for those shopping for new headphones and earbuds, as many users can see the benefits of cancelling ambient noise while on their daily commute or at the gym. But new research from the World Health Organization indicates that around one billion Gen Z and Millennials are at risk of hearing loss due to excessive use of headphones — so you might wonder if using noise-cancelling technology is helping or actively hurting your ears.

Is Noise-Cancelling Bad for Your Ears?

The short answer is no — noise cancellation isn’t any worse for your ears than traditional headphones or earbuds. The problem is that many people turn their volume up to unsafe levels, sometimes exceeding 100dBA (decibels audible to the human ear). This can cause tinnitus or hearing loss over time; people may become accustomed to listening at an increased volume, so the changes aren’t immediately noticeable.

In fact, traditional earbuds or headphones without noise cancellation can be worse than the noise-cancelling variety, since people are more likely to increase the volume to break through the ambient noise of an airplane, coffee shop, or office.

The FDA does not regulate headphone volume, making it imperative that individuals monitor their own listening levels. A good rule of thumb to protect your hearing when listening with regular (non-noise-cancelling) headphones is to keep the volume low enough that you can still hear the person next to you. But what about noise-cancelling headphones?

How Does Noise-Cancelling Technology Work?

Noise cancellation works by creating an “anti-noise” wave, 180 degrees out of phase with the original soundwave — cancelling specific sound frequencies before they reach your ears. For example, the external microphones on your AirPods pick up sound in the environment and then create an inverse wave to nullify the environmental sound around you. This process happens rapidly at around 200 times per second.

Noise-cancelling headphones can benefit your ears when in an environment with “steady-state,” or low-frequency noise, such as a busy coffee shop or traffic sounds while you’re taking a walk. The technology helps you listen without having to increase the volume to dangerously high decibels to drown out the background noise. But the volume should still stay below 80dBA, and nothing above 85dBA to prevent damage that could lead to permanent hearing loss.

How to Prevent Hearing Damage When Using Noise-Cancelling Headphones

It’s important to keep the volume at a “reasonable level” — preferably below 80 decibels — when using noise-cancelling headphones. If you’re not sure how loud that is, try keeping the volume no higher than 70% of your device’s maximum volume. Many smart phones also offer listening volume monitoring.

How well the technology works depends on whether there are a lot of sudden loud sounds in the environment that are harder to nullify, and how well the headphones fit your ears. Many models of noise-cancelling headphones also make use of passive noise cancellation by surrounding your ear to nullify even more sound.

Headphones vs Earbuds: Which is Better For Your Ears?

Neither option will be worse for your ears than the other, provided you maintain a reasonable listening volume. If you prefer earbuds, make sure you try different padding sizes when applicable to find the best fit for your ear canal — many default earbud sizes may fit a larger ear better than a smaller ear, so you may have to try different sizes to find the right one.

Earbuds with noise-cancellation work well, but do not seal off the ear canal as well as over-the-ear headphones, which may be a deal-breaker for some. If you’re looking for more noise reduction overall, over-the-ear, circumaural (surrounding the entire ear) headphones are the best choice.

Although they’re bulkier, their ability to seal off the ear better than an earbud or a headphone simply placed against the ear is unmatched. Well-fitting headphones make it easier to listen at a safer volume, because more noise is being filtered out naturally by the fit of the headphones.

Whether you prefer the crisp sound of over-the-ear headphones or the convenience of earbuds, maintaining a reasonable listening level not exceeding 80-85 decibels (70% volume) should always remain your top priority to protect your short-term and long-term hearing.

Harman Professional, which offers sound solutions for establishments including restaurants, has announced the acquisition of Flux Software Engineering. Photo Credit: Nick Karvounis

Audio, video, and lighting company Harman Professional Solutions (HPS) has officially announced a deal to acquire audio tool developer Flux Software Engineering.

The enterprise-focused business unit of Harman International, which Samsung has owned since 2017, emailed DMN today with word of its agreement for France-based Flux. Though the purchasing party didn’t disclose the transaction’s value, it did note that the play is expected to wrap before 2023’s quick-approaching conclusion.

Additionally, the buyout will encompass 17-year-old Flux’s “immersive, processing, and analysis solutions across live production, installation sound, content creation, and post-production,” Harman Professional Solutions drove home.

Building upon the point, HPS, the Stamford-headquartered parent of which owns JBL, Infinity, Lexicon, and more, made clear the belief that the investment will set the stage “for future innovation” throughout its varied brand portfolio.

“The FLUX:: acquisition is part of a technology investment HARMAN Professional is making to bring outstanding immersive experiences for live and recorded productions,” spelled out Brian Divine, who’s served as president of HPS for nearly four years.

“From creation to real-time immersive delivery, we aim to empower artists, designers, and engineers with a comprehensive product offering across the entire system. The foundational technology developed by the talented FLUX:: team opens many opportunities for future integration with our portfolio of brands,” concluded the close to 11-year Harman higher-up Divine.

And in remarks of his own, Flux founder and CEO Gaël Martinet emphasized the sale’s broader significance against the backdrop of spatial audio’s “increasingly important role.”

“The future integration of our software technology with HARMAN’s industry leading brands make for exciting opportunities not only for touring applications, but for installed audio where spatial audio will play an increasingly important role,” relayed Martinet.

“We’ve been pioneering and engineering immersive audio solutions for many years and to be among these HARMAN brands, namely JBL, which developed some of the earliest loudspeakers, is very compelling for our team and for customers,” finished the Flux head, whose business’s almost 20 products include an “immersive mixing solution” and a modular real-time analyzer system.

Harman Professional Solutions’ Flux purchase announcement has arrived just days following the official close of private equity firm Symphony Technology Group’s $1.4 billion buyout of Pro Tools developer Avid Technology. The latter has ceased trading on the public market as a result of the deal.

Photo Credit: Mac Downey for The Come Up Show / CC by 2.0

Producer Murda Beatz teams up with FL Studio to release an exclusive platinum sound kit available as part of FL Cloud’s latest update, with contributions from 9th Wonder, Slushii, Alex Lustig, and more.

Multi-platinum producer Murda Beatz has joined forces with digital audio workstation (DAW) FL Studio to release his exclusive new Murda Beatz Platinum Kit for FL Cloud. The new feature arrives as part of their 21.2 software version update, and contains over 400 samples, including melodies, drums, synth, FX, songstarters, 808s, and more. Murda Beatz is one of six producers contributing to this update, along with 9th Wonder, Slushii, K-391, Alex Lustig, and nuphory.

“My whole life changed when I downloaded FL Studio on my parents’ desktop and started making beats, so the fact that my sounds will be on there for other creators to use is a really cool full-circle moment for me,” says Murda Beatz, whose new collaboration with FL Studio is just the first of many.

Offering access to sounds, mastering, and distribution packaged into one subscription, FL Cloud provides users with a vast sample library from which to download, integrated through FL Studio. Users can browse for inspiration or search for a specific sound using smart filters for instrument type, BPM, key, and many other modifiers.

FL Cloud presents producers with an all-inclusive workspace that it boasts will allow them to concentrate on making music and stay “completely in the creative flow at all times.” While FL Cloud offers a subscription service, users who prefer not to subscribe can purchase credit packs to use on any sample in the library, including those from artist packs such as the Murda Beatz sound kit.

FL Studio makes a great entry-level DAW for anyone interested in creating music, though it is primarily geared towards creating electronic music. Notable users of the program include Avicii, Afrojack, 808 Mafia, and many more.

A judge has overturned a multimillion-dollar verdict handed down in the long-running patent legal battle between Google and Sonos. Photo Credit: Emil Diallo

Back in May, a jury awarded Sonos over $32.5 million in its years-long patent-infringement complaint against Google. Now, a federal judge has tossed the jury verdict, finding, among other things, that the patents in question are “unenforceable.”

Judge William Alsup just recently deemed the relevant patents (numbers 10,848,885 and 10,469,966) “invalid” and vacated the multimillion-dollar jury award, consisting specifically of $2.30 for each of 14,133,558 involved products.

To recap – Digital Music News has covered the convoluted legal battle in detail since it initiated in 2020 – Sonos maintained that Google had infringed upon smart speaker technology concerning customizable multi-room audio-playback systems.

Sonos filed a “provisional application” for the patents in 2006 but only submitted “applications for these patents” and presented “the asserted claims for examination” in 2019, according to the latest order in the long-running courtroom confrontation.

Meanwhile, 2014 is said to have seen the companies discuss a potential collaboration on the patent-described technology. Though the talks failed to produce a deal, Google went ahead and began incorporating the outlined system into speakers in 2015, while Sonos did the same with its own products starting in 2020, per the legal text.

According to the presiding judge, however, the over one-decade window separating the 2006 provisional application and the “prosecution” of the patents was “unreasonable and inexcusable.”

“Having considered the totality of the circumstances,” Judge Alsup spelled out, “this order concludes, by clear and convincing evidence, that Sonos was guilty of unreasonable and inexcusable delay in its prosecution of the patents in suit.”

“Remarkably, at trial, Sonos never provided any sworn explanation for why it waited until April 2019 to claim overlapping zone scenes,” the court continued. “The only sworn explanation addressed a different delay: delay in coming out with its own products that implemented overlapping zone scenes, which took place in June 2020.”

Besides the described prosecution laches’ rendering the patents “unenforceable,” according to the document, Sonos’ inclusion of “new matter” in its applications is said to have placed the “effective filing date” in August of 2019 as opposed to 2006.

“It is wrong that our patent system was used in this way,” Judge Alsup concluded. “With its constitutional underpinnings, this system is intended to promote and protect innovation. Here, by contrast, it was used to punish an innovator and to enrich a pretender by delay and sleight of hand. It has taken a full trial to learn this sad fact, but, at long last, a measure of justice is done.”

Photo Credit Chartmetric

Undoubtedly one of the most productive and credible databases for the music industry, Chartmetric is always searching for ways to improve the user’s workflow.

Chartmetric is a long-term partner of Digital Music News — we’re proud to jointly share this massive announcement.

Chartmetric has launched its new feature, Shortlists, making personalized music insights more accessible and easily trackable. With Shortlists, Chartmetric’s goal is simple: allow users to simplify and amplify insights management.

Achieving More With Customization Of Your Workspace

With the extensive data and insights Chartmetric provides, monitoring multiple artists can quickly become overwhelming. Focusing on that aspect, Chartmetric’s Shortlists allows users to ‘shortlist’ various artists and display that data in a manner that’s easy to keep track of. These customized lists can contain insights for as many artists as a user requires and display strictly the data needed for that user’s specific workflow.

Akash Mukherjee, Head of Product at Chartmetric, explains that a comprehensive analysis of the Chartmetric user base revealed the need for Shortlists.

“Chartmetric’s team realized that many of their customers had created their lists on streaming platforms or built their own on Google Sheets to have the right data centralized somewhere,” Mukherjee relayed, adding, “Now Chartmetric centralizes the data in one place.”

In essence, Shortlists creates a database within the more extensive Chartmetric database. By allowing this customization of data displays, Shortlists offers more convenient tracking of multiple artists’ evolution — simultaneously. Users can create several shortlists, and these customizable views can be saved and reused to suit user objectives.

For example, if you’re managing a record label, creating shortlists to filter tracks and albums through “Top Submissions” or “Collaboration Candidates” could help make opportunities more easily visible.

For managers, “Remix Opportunities” or “Album Considerations” are among the more preferred filters, whereas curated lists such as “Opening Acts” or “Underground Gems” are more prevalent among promoters.

A More Productive View of Your Catalog

For a user that tracks insights of multiple artists, setting up a personalized view of data is only one of many key Shortlists features that could facilitate higher productivity.

Shortlists’ “Noteworthy Insights” creates a quick overview of data points requiring users’ attention each week. Chartmetric’s AI engine and data science power these insights. Over the years, this AI has developed into a steady resource that allows Chartmetric to extract the most valuable insights according to the algorithm.

These AI-powered insights are displayed on the Chartmetric homepage, offering users a global idea of artist developments at a glance. Users can do away with most of their usual management tasks once they create these customized lists with Shortlists.

What’s Next for Chartmetric’s Shortlists?

Shortlists is a private feature, meaning that users’ customized shortlists are not visible to anyone else and are not shareable.

Mukherjee says the next step (coming very soon) will be to build bridges for collaboration. Chartmetric will achieve this goal by introducing sharing capabilities for shortlists, with team members gaining permissions and rights to edit.

“Our goal is to meet our customers where they are and extend their existing curation workflows,” explained Mukherjee, adding, “We will be building integrations with tools such as Spotify, Google Sheets, and more to allow users to import Shortlists into Chartmetric.”

With Shortlists, Chartmetric is taking the necessary steps to reduce the friction for their users.

Shortlists will soon allow direct imports of the lists users have created on streaming platforms and Google Sheets. Bringing these lists onto the Chartmetric workspace will give users a smoother, less complicated workflow.

About Chartmetric

Chartmetric is a music analytics company providing insights for artists, tracks, and albums worldwide. The leading data platform for the music industry helps music professionals better understand actions and make the right business decisions. Chartmetric is now launching a new addition to their offer: Shortlists, allowing users to create lists with unlimited artists to keep track of.

With the rise of audio technologies such as Dolby Atmos on streaming platforms, spatial audio has become unmissable for all artists. Whether we discuss the perspective of well-established musicians or emerging artists, there’s no denying that the music industry is evolving, and leaning more and more toward a potential new standard of audio experience.

Sweetwater has been a long-term partner of Digital Music News, which is proud to share this news.

Apple Music launched the Dolby Atmos format on its platform in 2021, making waves in music streaming by giving significant visibility to new immersive audio formats. The following year, the platform reported that most of their listeners (80%) had switched to the spatial audio format. What does that widespread adaptation mean for music professionals?

Spatial Audio Well On Its Way to Become A New Standard

First things first: spatial audio is special because it matches a human’s natural perception of sound. At any given time, the human mind perceives and registers multiple sources of noise from our environment. There are several sources of sound when we walk down a street, for example. But when we listen to music in a stereo format, we receive only two sources of sound. With spatial audio, sound sources instantly jump to 37.

Thanks to its partnership with Apple Music, Dolby Atmos is now one of the most well-known formats. Developed by Dolby Lab, it allows the listener to be surrounded in immersive 3D sound. However, that is only one of the many gifts spatial audio brings to the table.

It goes without saying that any spatial audio format has to be taken seriously by all music professionals — especially artists and producing teams.

But there are two primary reasons why industry professionals should stay up to date on the spatial audio trend, and fully embrace it.

• • • To fit the requirements of music streaming platforms and maximize chances of getting playlisted, Dolby Atmos mastering is quickly becoming crucial for artists. Over the last couple of years, the audience for spatial audio mixes seems to be growing. Reports also suggest listener engagement for this format is higher than older formats.
    • With spatial audio, artistic vision can attain entirely new dimensions of listener experience. Major labels are in a rush to re-record and remaster back catalogs of some of the most influential artists. However, these actions of remastering tracks are not binary. Re-coloring music and dividing parts of it is highly subjective and specific equipment is required to get the job done right. All in all, spatial audio is taking up more space. It is giving artists more freedom to engage and attain specific aesthetics that fit their creative vision during studio mixing.

Staying Ahead Of The Curve: The Best Practices

So what now? Spatialized audio does make significant new promises for the creative process. However, to ensure that mixes fit an artist’s unique goals and ideas, the right equipment is crucial. Whether we talk about a home recording studio or a more professional space, the right setup is key. Every artist, producer, or music professional has their expertise and specialty. But when we talk about technical recording details in a studio, not everyone is capable of tackling it effectively.

When setting up a studio with the intention and the gear to create music in these new formats, you need to rely on the right people to guide you and set it up.

This collaboration-led excellence is what Sweetwater had in mind. After starting as a recording studio, gearing up to be on the cutting edge of technology, they created a commercial audio offer that could potentially benefit any music professional. From designing to building, the equipment can be expertly handled and utilized. However, the way these tools are leveraged is what will make or break the final track.

It’s all about learning from experience and artistic perception — something Sweetwater launched in their studio with workshops and masterclasses. But what happens once the tracks are finalized as perfectly as possible?

Making Sure That Music Is Rendered The Right Way

If we’re working on creating better music, higher-quality audio, and finding a better way to convey emotion through music, listeners should be able to hear it anywhere. When composing and mixing in a studio, we consider how it would sound at home or in cars. However, venues such as stores, restaurants, or even elevators are often overlooked. This new technology and format demands novel requirements of how we play music in outdoor venues and businesses. If these places aren’t equipped with the right hardware to deliver new formats, how can we render the music the way it was created?

With a focus on solving this problem, Sweetwater launched their Commercial Audio service. This bespoke service designs, builds, and installs the entire sound system in accordance with architectural and budgetary limitations. For obvious reasons, nobody expects contractors or business owners to be well versed in sound systems’ and speakers’ technical aspects and placement in various spaces. Sweetwater will take the initiative to create the right spatial audio atmosphere for any public place.

Spatial audio has introduced a new vision of how music is formulated, created, and broadcasted. As a result of this evolution, the general perception of music is also gradually shifting. Demand for this format continues to grow, leading to inevitable implications for the music industry and the broader retail side.

About Sweetwater

From a recording studio to the first online retailer of commercial audio in the US, Sweetwater has made the journey deeply rooted in professional music. Having gone through the discovery of spatial audio and the testing and setting up of new equipment, Sweetwater has gained extensive experience of spatial audio, and how it will impact the industry. One of the first steps that should be taken is picking up the right hardware for listening to audio. That focus will vastly impact the creative process in a studio — and amplify the final listener experience.

With the capability of setting up sound systems in recording studios, hair salons, and even Olympic stadiums, Sweetwater is here to support upgrades and developments. Recording arts is a job in itself; yours is music!

AirGigs has been a long-term partner of Digital Music News, which is proud to be sharing this massive announcement.

The evolution of the song “Sunny Days (Are Comin’ Once Again)” is definitely one to be remembered. Remote collaboration allowed songwriter and independent artist Greg Poulos to work with ten-time Fiddle Player of the Year and Grammy winner Michael Cleveland through AirGigs to release a new single together.

In the world of bluegrass music, collaborations are the heart and soul of artistic expression. Michael Cleveland, a renowned Grammy-winning musician, and Greg Poulos, a talented singer-songwriter, found themselves collaborating together on a new track.

The Genesis of a Track Through Remote Collaboration

At the time, still deep under lockdown during the pandemic, nobody could tour. So musicians turned to remote production, which is exactly what Michael and Greg did, leading to their paths crossing on AirGigs.

Greg Poulos was looking for a session musician to work on his new song “Sunny Days (Are Comin’ Once Again).” He connected with Michael Cleveland on AirGigs to play on his original song. Interested by the song’s bounce, swing, and blues melody, Michael quickly accepted the offer and ended up playing the mandolin, banjo, fiddle, and a bit of guitar.

What made the project all the more meaningful was the theme. Remember that this collaboration happened during the pandemic, and “Sunny Days” was full of hope. Michael Cleveland was excited to get involved; at the time, collaboration was challenging and the song spoke to the musician.

“Thanks to AirGigs I’ve been able to meet, record and collaborate with musicians and singers from all over the world,” Cleveland said. “It still blows my mind that I can receive a track from someone, in say Ireland for example, I play on it in my basement, send it back and it somehow all lines up correctly.”

“I remember Greg sent me a version with just him singing and playing guitar and I liked the song immediately. It was such a relevant song for what we were all going through and I knew that I wanted to record it if I could.”

Creating Lasting Bonds Between Artists

So the two musicians hit it off, and Michael liked the tune so much that he decided to re-record the song on his new album Lovin’ Of The Game released in 2023.

One of the unique aspects of AirGigs is its ability to create lasting connections between artists. You never know what will happen when you hire a high-caliber musician to play on your track. AirGigs wants to help artists discover each other and build their production network by working through remote collaboration.

“As a songwriter, this is a dream come true for me, especially since I don’t have time to actually record more than a vocal and guitar,” said Greg Poulos when asked about their collaboration. “There’s no way I could find time to record my songs locally with multiple studio sessions.”

”The completely unexpected bonus to all this was when Michael asked me if he could record my song for his new album. That was shocking and gave me the highest level of validation I’ve ever received as a songwriter.”

The Safe Space for Remote Collaboration by AirGigs

Considering the high-caliber artistry and enterprise buy-in on AirGigs, it’s understandable why the platform is building  towards an even more secure remote collaboration experience. Success stories such as Michael Cleveland’s and Greg Poulos’ can only happen if the infrastructure allows it. AirGigs recognizes the importance of maintaining a secure environment for artists.

The platform will soon roll out a deep verification system to create AirGigs Verified Profiles in response to this need. AirGigs aims to protect musicians and their creative works from potential fraudulent activities to keep unveiling unexpected great collaborations such as “Sunny Days.”

AirGigs has been a long-term partner of Digital Music News, which is proud to share this massive announcement.

Photo Credit: Ryan Moraga

Celebrating the tenth anniversary of OneRepublic’s hit song ‘Counting Stars,’ frontman Ryan Tedder collaborates with Samsung to release a remastered version.

To celebrate the tenth anniversary of the hit song “Counting Stars,” Grammy-winner and OneRepublic frontman Ryan Tedder collaborated with Samsung, using the Galaxy Buds2 Pro to finalize a remastered version released on Friday.

“When I’m in the studio listening to songs like ‘Counting Stars,’ I’m hearing them on professional speakers. As soon as I began to reimagine this one, it was essential for me to get out of the studio and have the listener experience,” says Tedder. “Using my Galaxy Buds2 Pro, I was able to review every version of the song exactly as our fans would hear it, and I’m confident that listeners will love this reimagined version as much as I do.”

“Ryan Tedder’s remaster of ‘Counting Stars’ using Samsung’s Galaxy Buds2 Pro exemplifies Universal Music Group for Brands’ commitment to harnessing the power of music and culture to elevate brands,” says Naomi McMahon, EVP of Strategic Marketing & Global Partnerships at UMG. “This partnership demonstrates the boundless possibilities that arise when creativity meets cutting-edge technology.”

Three-time Grammy award-winning songwriter and producer Ryan Tedder has worked with everyone from Adele to Paul McCartney, Beyonce, Taylor Swift, Ed Sheeran, U2, Miley Cyrus, and Lil Nas X, in addition to his position as the lead singer, writer, and producer of the multi-platinum selling band OneRepublic.

Most recently, Tedder was a writer on Justin Bieber and Ariana Grande’s No. 1 albums, as well as writing and producing the Billboard No. 1 hit “Sucker” for the Jonas Brothers – the most-played song in the world in 2019. Ryan also wrote and produced the title track for John Legend’s 2021 Grammy award-winning album “Bigger Love.” He is currently in the studio working with Machine Gun Kelly, Lil Nas X, The Jonas Brothers, and Miley Cyrus on their upcoming projects.

OneRepublic released their debut album, “Dreaming Out Loud,” in 2007, which included the smash hit single “Apologize.” The group’s sophomore album, 2009’s “Waking Up,” produced the hit singles “All the Right Moves,” “Secrets,” and “Good Life.” In 2013, the album “Native” featured the No. 1 hit, “Counting Stars.”

Photo Credit: Apple

Apple unveiled the new iPhone 15 models last week—with a new addition to the accessory line-up. Now EarPods are available with USB-C connectors, offering lossless playback.

The original EarPods have become an iconic part of pop culture for anyone older than 25, so of course Apple brought them into the modern era. They were designed in 2012 for a natural fit inside the ear and offer incredible acoustic quality for a bargain price. They also offer lossless audio playback on Apple Music.

A Japanese Mac site tested the latest EarPods USB-C with the latest iPhone 15. The buds play audio in lossless quality thanks to a built-in DAC that supports 48kHz. You’ll get the same quality audio out of Apple’s more expensive AirPods Max offering—though without spatial audio or active noise cancellation in the EarPods. Unlike the EarPods, the AirPods Max still use a lightning connector.

Apple may be going back to the drawing board with the AirPods Max design entirely for different reasons than dropping the lightning connector, though. While Apple has not addressed the issue publicly, AirPods Max owners have spoken loudly online about what’s been dubbed ‘Condensation Death’ among Max owners. What is condensation death?

Some users have noticed after wearing the AirPods Max for a lengthy time, the ear cups get extremely wet. They’re made almost entirely of metal, so condensation is forming either from sweat or humidity inside the ear cups. This liquid leaks through the speaker holes and may damage the headphone’s internal components—leading to them dying. Posts on the official Apple Community forums and reddit outline the issue.

“The general consensus among users is that the problem is that the ear cups are made of aluminum and that air flow into the cups is blocked while a user is wearing them. The aluminum stays cooler than the general air, which creates humidity and causes condensation,” a post on reddit outlining the issue reads.

Apple’s next AirPods Max design will definitely feature USB-C connections, but it might not be an all-metal design going forward.

Photo Credit: James Jadotte

Sonos has scored a major victory vs. Google at a U.S. International trade tribunal, convincing a judge not to block its imports.

Google and Sonos have been in a heated patent battle over wireless speaker technology since 2020. Sonos sued the technology giant for infringing several of its patents to create its own suite of wireless speaker products. Sonos won a limited import ban on Google’s smart speakers in 2022 alongside a $32.5 million verdict earlier this year. But Google took the fight to Sonos with a counter-suit.

Google says Sonos’ speakers that utilize voice control technology are infringing on patents Google holds for the tech related to its Google Assistant. Now the International Trade Commission (ITC) will make a ruling on that complaint sometime in 2024. Meanwhile, Sonos was able to convince a judge at the ITC not to block imports of its speakers with voice capabilities as this patent war is carried out in courts.

Administrative law judge Cameron Elliot says Sonos’ imports do not violate federal law. A full commission is set to decide in January 2024 whether or not to affirm that ruling. In a recent interview with The Verge, Sonos CEO Patrick Spence says the company resorted to suing Google because it felt like the conversation was going nowhere.

“We tried to address this constructively,” Spence says. “Others in the industry are more constructive in their conversations with us. It got to a point where I didn’t feel it was constructive anymore and we needed to take action to both stand up for consumers and ourselves as well. We had to stand up for all the inventions that we’ve had. We have over 1,000 patents. Google, I think, infringes over 100 of those today.

“It felt like it was the time to say, “No, I’m not going to let you get away with simply infringing on everything we do,” Spence continues. “We decided then to take the path that we have.”

Photo Credit: Lars Karlsson, Doreen Schimk, Natascha Augustin, Fabian Drebes

Warner Music Group opens a creative hub in Berlin, restoring one of the capital’s iconic buildings, the Schicklerhaus in Berlin-Mitte.

Warner Music Group has announced the opening of its new creative hub in Berlin, which will serve the needs of its employees and domestic and international artists, songwriters, and producers. The space is on the top floor of the Schicklerhaus, a historical landmark built in the late 19th century in the heart of Berlin.

The new hub is equipped with an interior performance space, four rooftop terraces, and collaboration rooms with the latest technology, including Dolby Atmos immersive sound. The grand opening was held on September 14, attended by over 700 guests, including artists, songwriters, the WMG team led by CEO Robert Kyncl, and those from the broader music, entertainment, and politics sectors.

Artists and songwriters attending included Katja Krasavice, Bennett, Marten Lou, Marian Gold (Alphaville), 01099, Wave Wave, Peter Schilling, Marius Müller-Westernhagen, David Orlowsky, noonoouri, Prinz Pi, and Karo Schrader. WMG also welcomed Deputy Mayor of Berlin and Senator for Economics, Energy, and Business Franziska Giffey; State Secretary Michael Biel; Christian Ehler MEP; and Dr. Florian Drücke, Chairman of the German Music Industry Association (BVMI).

Architectural firm Graef conducted the design and build to create a dynamic and inspiring environment. The interior design concept, called “The Wave,” is about bringing music to life, connecting the interior and exterior by incorporating wave-like elements in the structure, floor coverings, and special features, including the soundstage and the bar area.

The opening of the new office sees Warner Music Central Europe and Warner Chappell Music reaffirm their commitment to discovering and supporting local artists, songwriters, and other creative professionals in Germany and the importance of Berlin as a business location and a vibrant cultural and creative space within Europe. The team in Berlin will work closely with colleagues in WMG’s 70+ locations worldwide to build global bridges for its local artists and songwriters.

“This beautifully restored building, at the heart of one of the world’s most vibrant cities, is a symbol of Warner Music Group’s commitment to super-serve our artists and songwriters,” says Warner Music Group CEO Robert Kyncl. “Along with our revitalized offices in Hamburg, these facilities will help our teams in Germany to keep developing our collaborative, innovative approach to music.”

Doreen Schimk and Fabien Drebes, Co-Presidents of Warner Music Central Europe, commented: “Today we are writing a new chapter for Warner Music in Central Europe. Berlin has a rich musical history and cultural scene, and we look forward to working more closely with artists and partners in the region. We see this new space, alongside our revitalized Hamburg headquarters, as a sign of our commitment to local players in the creative and cultural scene and to the importance of Berlin as a European metropolis and a location for the music industry.”

“We’re excited to be expanding our presence in Berlin and sharing a collaborative space with our Recorded Music colleagues. Our songwriters from around the world are drawn to Berlin as a vibrant, exciting city at the crossroads of Europe whose atmosphere fuels their creativity. Now we have a world-class hub where we can host them when they’re in town,” added Lars Karlsson, Managing Director, Warner Chappell Music Germany, Switzerland, Austria, and Scandinavia, and Natascha Augustin, VP of Warner Chappell Music Germany.

“We’ve long been committed to supporting local songwriters of all genres, playing our part in the city’s cultural renaissance. This move into the redeveloped Schicklerhaus in the heart of Berlin is a natural next step for us.”

Franziska Giffey, Mayor of Berlin and Senator for Economic Affairs, Energy, and Labor, concluded: “In 2022, the number of employees in this industry increased by 700 to around 6,800 compared to the previous year. Now, 350 more are being added. With Warner Music Group, we now have another internationally active music label in the city that will be a magnet for artists from all over the world.”

Photo Credit: InMusic

InMusic threatens legal action over AlphaTheta’s $100 million Serato acquisition, which would transform 90% of the digital DJ market into a monopoly.

Audio equipment manufacturer InMusic is threatening legal action in several regions to block the acquisition of Serato by Pioneer DJ’s parent company, Japanese electronics corporation AlphaTheta. AlphaTheta confirmed a $100 million deal in July to acquire the Auckland, New Zealand-based music software company.

Should the acquisition move forward, the two dominant digital DJ and production platforms worldwide — Serato and Rekordbox — would be owned by the same conglomerate, accounting for 90% of the market share. Such a move would effectively eliminate competition, to which many concerns have been raised.

US-based InMusic has launched a publicity campaign with ads appearing in New Zealand media starting on August 24 to raise awareness of the controversy surrounding the buyout. In the ads, InMusic explains that a 20-year partnership with Serato will be forced to end should the deal move forward, as Pioneer is a direct market rival — and developing alternative software in-house without such a partnership could take years.

“When we work with Serato, we give them our product up to a year ahead of time so they can analyze it and put the software in. If I was handing it to the new dominant player, I’m essentially handing it to my competitor,” explains Jack O’Donnell, InMusic CEO.

“I am quite confident what’s happening here, and it’s an outrage as far as I’m concerned,” he continues. “In any market, when you eliminate competition, it has an effect on consumers. It’s going to raise prices, eliminate innovation, and limit choice. So it’s a big thing for a small industry.”

According to O’Donnell, Pioneer’s Rekordbox accounts for 72% of the global market share for DJ audio equipment, while InMusic has maintained around 18%. Without continued partnership from Serato, it would take InMusic an estimated three to five years to develop its own software, essentially fighting a losing battle.

“While New Zealand is the battleground, this is a global fight, as this is a global issue,” says O’Donnell. “We’re in early discussions with them, but we think we have legal grounds to fight in multiple jurisdictions.”

The acquisition is still pending approval from the Overseas Investment Office, but the focus there will not be on competition-related issues.

Photo Credit: Serato

Audio software company Serato has introduced Sample 2.0, a new update to its sampling plugin. The plugin now includes stem-separation technology.

The plugin uses Serato’s machine-learning algorithm to quickly separate, isolate, and manipulate source audio into four stems without compromising sound quality. Using Sample 2.0, producers can utilize Serato’s high-quality sampling and stem-splitting features while maintaining their workflow with their existing digital audioworkstation (DAW).

“Every time I sit down with Serato Sample, I’m blown away by how fast I’m getting fresh ideas out. And let me tell you, the audio separation on this is crazy clean,” says producer Jake One.

“Sampling used to be just chopping & stretching songs,” adds producer !llmind. “Now I get instant access to audio stems in my DAW. Completely changes the game.”

Sample 2.0 is the first VST plugin to combine powerful sampling and stem-separation features into one easy-to-use product. With the push of a button, Stems has the ability to split audio into four distinct tracks for vocals, melody, bass, or drums. Sample 2.0 enables producers to integrate samples, acapellas, and instrumentals into their tracks seamlessly through real-time audio source separation.

“Innovation is at the center of the Serato universe—not only in how we work, but how our community creates,” adds Serato Chief Strategy Officer, Nick Maclaren. “Sample 2.0 brings stem separation to everyone’s fingertips, blowing the lid off what’s possible in the sampling space. We’re excited to launch this update, but mostly to see what producers will create with it.”

Serato Sample also incorporates features from the company’s legendary Pitch ‘n Time technology, allowing producers to time stretch and change keys while delivering best-in-class sound quality.

Serato Sample was first introduced in 2017 and since then, the powerful sampling tool with beat and key syncing technology has become a staple for some of the most prolific producers in the industry, including Metro Boomin, Timbaland, Disclosure, and many more.

Avid Technology has finalized an agreement to sell to STG. Photo Credit: James Owen

Avid Technology (NASDAQ: AVID) has officially confirmed a “definitive agreement” to go private as part of a $1.4 billion acquisition deal with Symphony Technology Group (STG).

Burlington, Massachusetts-headquartered Avid, the developer of digital audio workstation Pro Tools, only recently provided a formal update on the all-cash sale. Expected to wrap sometime during the fourth quarter (at which point Avid will cease trading on the public market), the proposed deal has received unanimous approval from the selling business’s board.

Behind the $1.4 billion debt-inclusive value attached to the transaction, “an affiliate” of private equity firm STG is specifically set to put up $27.05 per common share – or what’s said to be a more than 32 percent premium from AVID’s value during “the last full trading day prior to media speculation regarding a potential sale.”

Addressing STG’s purchase of his company, Avid president and CEO Jeff Rosica (who’s held executive roles for over a decade) said in part: “STG’s expertise in the technology sector and significant financial and strategic resources will help accelerate the achievement of our strategic vision, building on the momentum of our successful transformation achieved over the past several years.”

Expanding upon the point in comments of his own, STG managing partner William Chisholm communicated in part: “We look forward to leveraging our experience as software investors to accelerate Avid’s growth trajectory with a deep focus on technological innovation and by delivering enhanced value for Avid’s customers.”

Coinciding with the sale’s official announcement was the release of Avid’s financials for Q2 2023, when the business is said to have generated $108.54 million in total revenue (up 11.1 percent YoY).

Within the sum, Avid pointed to $44.44 million in subscription income (up 30.16 percent YoY), $23.47 million from maintenance (down 15.51 percent YoY), and $40.64 million or so from integrated solutions and other sources (up 13.62 percent YoY).

Regarding “backlog” revenue – or that deriving from “orders where the customer has been invoiced in advance of our performance obligations being fulfilled” and from “orders for future product deliveries or services that have not yet been invoiced by us” – Avid attributed $315.2 million to the category as of June 30th.

Lastly, the entity acknowledged a $4.60 million net loss for the three-month stretch, compared to net income of $7.37 million for the second quarter of 2022. Avid’s current per-share stock price, $26.60, reflects a small decrease since 2023’s beginning but a material boost from the 52-week low of $19.78 that it touched until the aforementioned sales rumors spurred a jump in late May.

Photo Credit: Johnathan Chng

Language learning platform still has its sights set on teaching music with ‘Duolingo Music.’ Here’s the latest.

In March 2023, Digital Music News reported on Duolingo’s plans to integrate music into its offerings. It would follow the launch of Duolingo Math, which is aimed at strengthening mathematics skills. A job posting for a ‘Learning Scientist for Music’ offered, “come join us to help build a new Duolingo music app that promotes learning and is fun to use!”

Now it appears some references to Duolingo Music have snuck into the Duolingo app itself. Steve Moser posted some screenshots on Twitter of backend references from data mining that seem to indicate the music learning app will be a separate entity.

“Music-related images hidden in their mobile apps indicate that [Duolingo Music] will contain piano, drum, and sheet music lessons,” Moser says. Duolingo has around 74.1 million monthly active users and is growing rapidly as a place to learn languages, so why not music?

When asked for a comment on these hidden references, a Duolingo spokesperson says, “Duolingo is constantly experimenting with new features. We have no further details to share at this time.” Despite no further details, the app does have an upcoming Duocon event on October 11. It’s possible we’ll learn more information about Duolingo Music then.

Duolingo has branched out into separate learning apps for kids and the previously mentioned Duolingo Math. Daily active users for Duolingo increased from 13.2 million in Q2 2022 to 21.4 million in Q2 2023, a growth rate of 62% year-over-year.

Expanding its learning offerings into music will help the company reach even more active learners who are seeking help in learning music theory. Duolingo currently has around 5.2 million paid subscribers, a 59% increase over Q2 2022 (3.3M). Once Duolingo Music launches, it will be interesting to see how its availability impacts those growth numbers.

Photo Credit: Megalit / CC by 4.0

Film and music industry heavyweights Hans Zimmer, Tim Bevan, Eric Fellner, and Steven Kofsky have banded together to purchase Maida Vale Studios, with refurbishment plans to upgrade facilities for the next generation.

Maida Vale Studios has been sold to Tim Bevan and Eric Fellner, the co-chairmen of Working Title, in a consortium with Hans Zimmer and Steve Kofsky, in a four-way purchase in which its legacy as a center for pioneering music will continue.

With plans to keep the original facade of the building and preserve the aesthetic of Maida Vale, the building will remain a studio space with a multi-million-pound refurbishment plan for its existing facilities. There will also be the creation of a not-for-profit educational facility and a long-term commitment to providing local jobs, innovation, and investment.

Having first been bought by the BBC in 1933, Maida Vale Studios has become a beloved and seminal part of music history. Since then, it has seen use by artists like David Bowie, The Beatles, Led Zeppelin, and Dusty Springfield and has become a home for the BBC Performing Group.

“Maida Vale Studios has been synonymous with artistic excellence for generations. The venue has become part of the fabric of the UK’s pioneering cultural industry, from helping to nurture new and ground-breaking artists to housing some of the world’s most legendary musicians,” said Tim Bevan and Eric Fellner.

“We are thrilled to be partnering with our old friends Hans Zimmer and Steve Kofsky on this once-in-a-lifetime project, and collectively, we are determined to continue the BBC’s legacy at Maida Vale by attracting global talent to the UK. Through our redevelopment plans, we will future-proof the historic site, continuing its presence in the local community with a new education facility whilst creating a world-class studio space for the next generation of composers, producers, and engineers.”

“The first time I worked for the BBC at their Maida Vale Studios was 45 years ago. I was just a kid, in awe, honored to be booked to play on one of my first sessions,” says Hans Zimmer. “I still remember the strong pull, the desire to touch the walls, as if that would somehow allow me to connect to the artists whose extraordinary music had resonated against these walls on a daily basis.”

“This was a place of revolutionary science in the service of Art; this was a place that inspired you to give your best, where music was performed around the clock, and Art was taken seriously, for the people by the people. This was the place that kept a struggling musician like me from giving up,” Zimmer continues.

“So now I want to close the circle: make Maida Vale Studios a place that inspires, teaches, technologically serves the arts and humanity — and gives the next generation the same opportunities I was given: to create and to never give up.”

The sale of Maida Vale comes after an announcement in 2018 of the BBC’s plans to move its music studios and performing groups from its Maida Vale location to a new, purpose-built recording and studio space in Stratford’s cultural quarter of East Bank in East London’s Queen Elizabeth Olympic Park.

The new BBC Music Studios in East Bank are scheduled to open in late 2025, including tailor-made spaces to accommodate the world’s biggest musical acts and ensembles.

Photo Credit: AlphaTheta / Serato

Pioneer DJ parent AlphaTheta Corporation has acquired Serato Audio Research, strengthening the longstanding partnership between the two DJ and audio brands.

AlphaTheta Corporation, the parent company of Pioneer DJ and market leader in the DJ hardware and software world, has acquired DJ and audio software company Serato Audio Research, expanding the long-established partnership between the two brands. Both companies share their commitment to the fusion of music and technology, providing the best experience for DJs, artists, and audiences worldwide.

“I am delighted to announce the acquisition of Serato. Through extensive discussions within our company and with Serato’s management team, we have been exploring new ways to contribute to the industry,” says Yoshinori Kataoka, President and CEO of AlphaTheta. “Bringing Serato into the AlphaTheta Group will lead to new synergies and significant technological innovations, adding continued value to the community.”

“Serato has enjoyed a 25-year history of success that is driven by a single-minded focus on serving DJs, producers, and artists. We are incredibly proud of both the strength of our business as well as the community that surrounds our brand,” adds Young Ly, CEO of Serato. “Today, we are excited to deepen our longstanding partnership with AlphaTheta, accelerating how we create value for our users and the industry.”

AlphaTheta has developed market-leading DJ hardware compatible with Serato’s DJ software since 2011 and continues to explore new ways to build and evolve the DJ and audio industry. The acquisition of Serato expands this partnership further, opening up new possibilities.

While the partnership will capitalize on the combined expertise of both companies, Serato and AlphaTheta will continue to operate as standalone brands, including continuing their longstanding partnerships with key players in the DJ hardware and software industry.

Though both companies have agreed on the acquisition, the deal is still subject to approval by the New Zealand Overseas Investment Office and other customary conditions, per the official announcement on Serato’s website.

Photo Credit: Ashley King

Google Pixel 2 and newer model phones can automatically identify the music you hear around you. Here’s how to set it up.

Have you ever heard a song playing while you’re out and don’t have time to ask your phone to tell you what’s playing? For many music fans, that can be a frustrating experience, but Google’s Pixel phones offer a workaround that feels almost seamless once setup.

Google Pixel 2 and later models can automatically identify the music you hear around you for you to reference later, and you can also ask it to identify music for you on the fly. Here’s how it works.

Getting Started

1. 1. Open your phone’s Settings app.
   2. Tap Sound & Vibration > Now Playing.
   3. Turn on Identify songs playing nearby — you may need to ensure your phone is charged and connected to WiFi.
   4. Wait a few minutes while your phone downloads the song database.
   5. Once the download is complete, songs playing around you will automatically be identified and shown on your phone’s lock screen.

To learn more about a song, tap the song name while your phone is locked, or if you’re using your phone, expand notifications at the top of your screen and tap the notification for the song playing.

How to Tell Google to Identify a Song

On Google Pixel 4 and later, you can tell your phone to identify the music you hear that isn’t already in its database. To enable the feature:

1. 1. Open your phone’s Settings app.
   2. Tap Sound & Vibration > Now Playing.
   3. Turn on Show search button on lock screen.
   4. Tap the music search icon on your lock screen to search for a song while it’s playing around you.

How to View Songs Recently Heard

1. 1. Open your phone’s Settings app.
   2. Tap Sound & Vibration > Now Playing.
   3. Make sure that “Show songs on lock screen” is on.
   4. Tap Now Playing History.

Any songs you’ve heard will appear in a list. To share a song or listen to it in the music app of your choice, tap the song. On Pixel 3 and later, you can choose multiple songs to listen to, share, or delete from your list. 

You can also add a song playing nearby to your Now Playing favorites list from your lock screen by simply tapping the music note next to the song title from your lock screen. Then a heart will appear. Tap the music note again to remove the song from your favorites list.

How to Review Your Favorites

1. 1. Open your phone’s Settings app.
   2. Tap Sound & Vibration > Now Playing.
   3. Tap Now Playing History> Favorites.
   4. Tap the heart to remove a song from the favorites list.

If you don’t want to get song notifications at the top of your screen, you can also turn those off under Sound & Vibration > Now Playing. Under Notifications, turn off Recognized Music Notifications. Song info will still display on your lock screen.

How It Works

When music is playing nearby, your Pixel phone compares a few seconds of the song to its on-device library to recognize what’s playing. The processing happens on your phone and is private to you.

Now Playing collects some info, like the percentage of times it correctly identifies music to recognize songs better. Now Playing only collects this info if you have shared usage and diagnostics with Google.

On Pixel 4 and later models, the use of the feature and the counts of songs recognized are aggregated using federated analytics, a so-called privacy-preserving technology. That data is used to improve the Now Playing feature and its song database so it will correctly identify what’s playing more often. 

Notably, Google can never see what songs you listen to — only the most popular songs in different regions. If your settings are enabled to share usage and diagnostics, counts of recognized songs are shared with Google.

If you’re using Pixel 4 or later and have enabled “Show search button on lock screen,” each time you tap to search, Google gets a short, digital audio fingerprint to identify what’s playing.

Only Pixel 2 and later models can make use of the Now Playing feature; the original model Pixel (2016) can’t identify songs. Additionally, some features only work on Android 10 and up. 

You might also notice that your phone struggles to hear songs playing around you if it’s in your pocket or bag — pull out your phone so it can listen to the music clearly if you’re having trouble.

Photo Credit: Toa Heftiba

Sonos has disclosed a 7% reduction in its workforce in the latest layoff round to hit a tech company.

Sonos says it is also committing to further reducing its real estate footprint and re-evaluating its program spending. The layoffs and decisions regarding who is impacted are subject to local laws and consultation requirements. In a regulatory filing shared with Digital Music News this morning, Sonos says it is committed to right-sizing its cost basis while still investing in its product roadmap to help drive future growth.

Sonos further estimates that it will incur anywhere from $11 million to $14 million in restructuring costs and related charges. Around $9 million to $11 million of that will be related to employee severance and benefits. Most of these costs will be incurred during the third fiscal quarter, as revealed by the company’s SEC filing.

The 7% of workforce impacted translates to about 130 employees. “In the face of continued headwinds, we have had to make some hard choices, including eliminating some positions and re-evaluating program spend,” Sonos CEO Patrick Spence told employees. Sonos employed around 1,844 people in October 2022. It previously cut its headcount by 12% in 2020 in response to the COVID-19 pandemic.

Sonos successfully litigated a patent infringement suit against Google, winning $32.5 million in its smart speaker patent battle. That legal battle started in 2020 when Sonos accused Google of copying its technology after a partnership between the two companies was established in 2013. As a result of that case, Google was required to change how some features work on its own lineup of Nest smart speakers and displays.

“This is a narrow dispute about some very specific features that are not commonly used,” a Google spokesperson Peter Schottenfels said in a statement about that verdict. “Of the six patents Sonos originally asserted, only one was found to be infringed, and the rest were dismissed as invalid or not infringed. We have always developed on the merit of our ideas. We are considering our next steps.”

Photo Credit: Apple

Apple unveiled its Vision Pro headset with a $3,499 price tag. The experimental tech is ushering in what Apple calls the era of spatial computing.

During its WWDC 2023 conference, Apple finally gave the world its first peak at its newly announced headset. Now tech journalists are getting their first hands-on experiences with the device. It’s a new category of tech that runs what Apple calls visionOS. Users go through a set up process, scanning their faces and ears to begin using the Vision Pro.

Navigating the new visionOS relies entirely on detecting eye movement, hands, and voice navigation. Tapping your fingers in space on an object selects it, while pinch-to-zoom does exactly what you’d expect. You can open multiple apps and arrange them in the space exactly as you’d expect, though the learning curve for people not familiar with virtual reality controls may be a bit steep.

“Just as the Mac introduced us to personal computing, and the iPhone introduced us to mobile computing, Apple Vision Pro introduces us to spatial computing,” Apple CEO Tim Cook said during the WWDC reveal. “Built upon decades of Apple innovation, Vision Pro is years ahead and unlike anything created before— with a revolutionary new input system and thousands of groundbreaking innovations. It unlocks incredible experiences for our users and exciting new opportunities for our developers.”

The headset features two ultra-high resolution displays that can transform any space into a personal movie theater “with a screen that feels 100 feet wide and an advanced spatial audio system.” Apple Immersive Video offers 180-degree resolution recordings with spatial audio. The headset also features something called EyeSight, which detects when someone is in the room with a person—letting the person wearing the headset see them.

The technology even works for people who need vision correction with ZEISS Optical Inserts to provide eye tracking accuracy. But what about the spatial audio experience?

Apple says it has developed an advanced spatial audio system that creates the feeling of sounds coming from the environment around the user to match the sound in the space. Two individually amplified drivers inside each audio pod deliver the personalized spatial audio experience based on the user’s own head and unique ear geometry, using an iPhone to create the ear scans.

Photo Credit: James Yarema

YouTube Music is experimenting with connecting to speakers for automatic voice control.

Asking a Google Assitant-enabled smart speaker to play music means you can open the YouTube Music app and have it auto-connect to control things like the volume and playlist. It may take the speaker a couple of seconds to recognize something is playing, but it will quickly bring it up. 

After it’s connected, media controls in Android’s Quick Settings panel will show what’s playing on the speaker. The phone’s volume rocker can be used to control the speaker’s volume level, and you can even check out the Up Next tab to see what the speaker will play next. It’s important to note that volume rocker controlling speaker volume is one of the things Sonos sued Google over.

That functionality briefly disappeared from Chromecast devices and appears to be back, now that Google has found a workaround that doesn’t utilize Sonos patents.

Sonos and Google have been fighting the patent battle since 2020, with a judgment recently in Sonos’ favor for $32.5 million. Google has been hard at work bringing its ecosystem back on par with what it offered before Sonos sued. Other features that were removed included the ability to adjust speakers as a group volume with the phone’s volume rocker. 

It’s worth noting that the new experience it’s entirely seamless, either. If you’re playing something on the speaker from another playlist and open the YouTube Music app, the speaker’s playlist will overwrite the preloaded app playlist. 

The feature appears to be a server-side change that is rolling out gradually to YouTube Music users with at least version 6.03.52 of the app. If you’ve recently migrated from Spotify and you’re missing the Spotify Connect feature, this brings YouTube Music pretty close as long as the speakers you’re using have Google Assistant support enabled. 

Photo Credit: Jako Janse van Rensburg

Google/Alphabet has been ordered to pay Sonos $32.5 million for infringing on the company’s smart speaker patent, a jury verdict determined on Friday.

Smart speaker company Sonos has won its ongoing legal battle against Google, with Google now ordered to pay the company $32.5 million for infringing on its critical patent. The feud began in 2020 when Sonos accused Google of copying its patented multiroom audio technology following the companies’ partnership in 2013.

Sonos won its case at the U.S. International Trade Commission, resulting in a limited import ban on some of the Google devices in question. Additionally, Google has had to pull some features from its lineup of smart speakers and displays.

In August, Google sued Sonos over allegations that the audio company infringed on Google’s smart speakers and voice control technology. The most recent trial began earlier this month.

“We are deeply grateful for the jury’s time and diligence in upholding the validity of our patents and recognizing the value of Sonos’ invention of zone scenes,” says Eddie Lazarus, Sonos’ chief legal officer and CFO. “This verdict re-affirms that Google is a serial infringer of our patent portfolio, as the International Trade Commission has already ruled with respect to five other Sonos patents.” 

“In all, we believe Google infringes more than 200 Sonos patents, and today’s damages award, based on one important piece of our portfolio, demonstrates the exceptional value of our intellectual property. Our goal remains for Google to pay us a fair royalty for the Sonos inventions it has appropriated,” Lazarus continues.

“This is a narrow dispute about some very specific features that are not commonly used,” says Google spokesperson Peter Schottenfels. “Of the six patents Sonos originally asserted, only one was found to be infringed, and the rest were dismissed as invalid or not infringed. We have always developed technology independently and competed on the merits of our ideas. We are considering our next steps.”

Despite Sonos’ patent infringement victory, the jury decided that Google’s Home app did not infringe on a separate patent filed by Sonos. Judge William Alsup also told jurors to “disregard a $90 million damages estimate from a Sonos expert witness, saying he had decided that some of the evidence provided was inadmissible.”

The judge expressed frustration that this case ever went to trial and that the two sides had been unable to settle, calling it “emblematic of the worst of patent litigation.” 

Photo Credit: Christian Wiediger

Amazon introduces a $40 ‘Echo Pop’ smart speaker, $50 ‘Echo Buds’, and new versions of the ‘Echo Show’ to offer customers more access to Alexa and Amazon Music.

Amazon announced an update to its Echo line of smart speakers, making it easier for customers to access Amazon Music as Alexa-enabled devices surpass half a billion units sold globally. These include the new $40 Echo Pop available in Lavender Bloom and Midnight Teal colorways, the next-generation Echo Show 5 with a redesigned speaker system, and the brand-new Echo Buds wireless earbuds.

The latest Echo devices strive to pack more value into a small form factor, offering customers more choices in accessing their Alexa-enabled Amazon ecosystem. As customers are using Alexa more than ever — 35 percent increased engagement in 2022 — Amazon reports “well over” half a billion Alexa-enabled devices sold worldwide.

Echo Pop features a new form factor than previous Amazon smart speakers, with a front-facing directional speaker to deliver full sound and access to Alexa for $39.99. In addition to the familiar Charcoal and Glacier White colorways, Echo Pop is available in two new color options: Lavender Bloom and Midnight Teal.

“It was a big challenge to imagine and deliver a powerful smart speaker at this price,” says Rajesh Parthasarathy, principal product manager on the Echo Pop team. “We designed a unique form factor and added two new color options — we think customers are going to love it.”

Echo Pop supports eero built-in, meaning it can add up to 1,000 square feet of coverage to your existing eero WiFi network. 

Echo Buds are wireless earbuds that deliver high-quality audio, promising long-lasting battery life, and “premium features at an unbelievable price” at $49.99. Multipoint pairing enables users to pair Echo Buds to two devices simultaneously — the earbuds will automatically recognize which device is playing audio and switch to it.

Amazon also announced that Echo Auto, designed to bring Alexa to your vehicle, is now available for customers in Australia, Canada, the United Kingdom, Germany, France, Italy, Spain, and Japan.

Photo Credit: Rockaway Records

Over 10,000 pieces of rare Rolling Stones memorabilia and vinyl items, including a 1977 promotional display designed by Andy Warhol, have been acquired by Rockaway Records.

During the 60th anniversary of the Rolling Stones, Los Angeles mainstay Rockaway Records has acquired an extensive collection of Stones vinyl and memorabilia with over 10,000 items, including rare LPs and 45s, vintage t-shirts, dozens of concert posters, promotional items, and more.

Notable highlights include a copy of “Beast of Burden,” the second rarest Rolling Stones picture sleeve 45, and a 1977 promotional hanging display designed by Andy Warhol. The collection comes from the estate of a longtime fan, collector, and famous skateboarder, Brad “Squeak” Blanck, a well-known and beloved figure in the Rolling Stones community.

Already creating buzz, the collection has attracted buyers like Black Crowes frontman Chris Robinson (pictured), who purchased a rare set of 1978 U.K. promo posters for “Some Girls,” among other rarities.

“We have bought many amazing collections over the past 45 years, but this is definitely the most exciting one in a long time!” says Wayne Johnson, co-founder of Rockaway Records. “Some of the highlights are a 1967 ‘Satanic Majesties’ lenticular that is different from the one on the album cover, 1970s t-shirts that look like new, and a 1977 promotional display for ‘Love You Live’ that was designed by Andy Warhol.”

While many independent record stores in Los Angeles have long since shut their doors, Rockaway Records continues to thrive, having shifted focus to high-end vinyl and collectibles. Co-founders and brothers Wayne and Gary Johnson began aggressively acquiring extensive record industry and personal collections of vinyl, posters, autographs, and other similar rarities. 

Expert appraisers of music memorabilia, the Brothers Johnson have traveled the world buying and selling some of the most highly sought-after music collectibles. Rockaway Records continues to be a premiere destination for collectors seeking unique, hard-to-find music memorabilia from their favorite artists, having seen tremendous success with their Creedence Clearwater Revival, The Beatles, and 1970s punk collections. 

Photo Credit: Glenn Francis / CC by 4.0

Following the exit of CEO James “JC” Curleigh, Gibson Brands announces a significant leadership transition, appointing Cesar Gueikian, the company’s brand president, as president and interim chief executive officer, effective immediately.

Gibson Brands, the most recognizable guitar brand in the world, has announced that its Board of Directors has appointed the company’s brand president Cesar Gueikian as president and interim CEO. Gueikian is succeeding James “JC” Curleigh, Gibson’s president and CEO since November 2018.

Gueikian joined Gibson in 2018 as the company’s chief merchant officer and was appointed brand president in 2021. In those roles, he has been integral to the resurgence of Gibson, setting a new company strategy surrounding instruments, sound, and expansion into media. With a lifelong passion for music and guitars, Gueikian brings 20 years of experience as an entrepreneur, financier, and investor.

“I am honored to take on this important role with a company that means so much to me,” says Gueikian. “Gibson has shaped sound for the last 130 years, and we now have the opportunity to drive the future of music and touch people’s lives for the next 130 years.

“We have an obligation to continue innovating across instruments, sound, and media, and to continue inspiring fans and artists of all levels to create music. I look forward to working closely with our experienced senior leadership and team of incredible craftspeople to ensure the long-term success of the business.”

Before joining Gibson, Gueikian co-founded Melody Capital Partners, an alternative asset manager focused on private corporate financing, investing, and restructuring. Under his leadership, Melody grew from a seed investment of $100 million to more than $1.5 billion in assets under management.

“We are transitioning to new leadership at a time of strength to ensure the company continues its momentum and is well-positioned to execute on its next phase of growth,” adds Nat Zilkha, chairman of Gibson’s Board of Directors. “Cesar has played a huge role in the company’s recent success, including securing critical artist partnerships and overseeing the evolution of many of our most iconic product lines, and the Board has full confidence in his leadership.”

“On behalf of the Board, I want to thank JC for helping to return Gibson to its status as an iconic brand over the last five years,” Zilkha continues. “We are grateful for his leadership and contributions to our partners, customers, and the music industry, and we wish him the best in his next chapter.”

“It has been a privilege to lead Gibson, and I’m tremendously proud of what we accomplished as a team,” said Curleigh. “I am ready for my next challenge and want to thank the Board and the Gibson team for the opportunity to guide this company. I look forward to seeing all they will accomplish in the future.”

Photo Credit: Humble Bundle

Soundtrack Loops produces royalty-free samples, loops, and music for films, creative artists, beat makers, producers, DJs, and music lovers. The company recently announced a charitable partnership with Cherry Audio to create a donation-focused ‘Humble Bundle’.

Proceeds from the sale of ‘Level Up Music Creators Power Pack’ will go to Music Will (formerly called ‘Kids Who Rock’).

Music Will runs the largest non-profit music program in the U.S. public school system, providing instruction, instruments, and professional training to K-12 and collegiate educators. The platform brings musical instruments and lessons to children that are less fortunate or might not have access to the critical learning tools. Its teachers currently serve over 500,000 students in more than 600 cities and towns across the country.

Soundtrack Loops’ cofounder Jason Donnelly revealed how the partnership developed with Cherry Audio’s Dan Goldstein. Speaking to Digital Music News, Donnelly said, “Together, we made it possible to provide Music Will an outlet to raise funds. It has been inspiring to see where the money is going, and how talented these kids are.”

Cherry Audio offers an extensive catalog of virtual instruments that are inspired by classic synthesizers, with high-end features that suit demanding music productions.

Speaking about Cherry Audio, cofounder of Soundtrack Loops Matthew Yost revealed, “Cherry Audio’s original synth plugin is highly coveted by music producers.” According to Yost, the synth is popular because of its ability to execute a retro or vintage synth that can sound extremely modern.

According to Humble Bundle, ‘Level Up Music Creators Power Pack’ has already raised over $10,000 for Music Will. Level Up is only available until April 26th.

For as little as a dollar, Level Up brings sample sound packs with thousands of loops, a software synth, a software euro rack synth, and Cherry Audio plugins. For $25 or more, buyers can get the complete music production suite with pro-level DAW, virtual synths and instruments, SFX, and over 15,000 loops and samples from soundtrack loops.

The music production suite also includes Cherry Audio’s Mixcraft Recording Studio to record and mix tracks, Memory Mode synthesizer, PS-20 synthesizer, CA2600, Galactic Reverb, and Voltage Modular Ignite.

Producers get access to loops, vocals, one-shots, and MIDI for a variety of genres, types, styles and formats. They can also select their desired format before downloading, and opt for a 9-item bundle, 22-item bundle, or the top-tier 47-item bundle.

This isn’t the first time Soundtrack Loops has formed a charitable partnership for Humble Bundle, and Yost divulges the secret behind keeping sound packs interesting.

“Every time we’ve had these Humble Bundles for charity, we are always adding new stuff, we’re not regurgitating the same old content. The Level Up Humble Bundle contains state-of-the-art, high-definition sound packs, and is everything producers need for original music productions.”

If you’re planning to attend NAMM, Jason and Matty from Soundtrack Loops will be privately showing off their new VST, Double Scoop. They can be reached at jasond@soundtrackloops.com and matty@soundtrackloops.com.

Photo Credit: Calitore

A California judge has ruled that Google must face a trial in the patent lawsuit brought by Sonos. Inc. against the company.

The case is set for trial on May 8 and is part of a long-standing dispute between Sonos and Google over its smart speaker technology. The lawsuit spans the United States, Canada, France, Germany, and the Netherlands. Sonos won a limited import ban on some Google devices from the U.S. International Trade Commission last year. In response, Google sued Sonos for patent infringement at the ITC and in California.

Google maintains that Sonos has “misrepresented our partnership and mischaracterized our technology.” Sonos says it looks forward to once again demonstrating Google’s “widespread infringement” at trial.

Sonos alleges that Google stole its smart speaker technology for products like Chromecast Audio and Google Home after the company worked with Google to integrate Google’s streaming music services into the Sonos ecosystem. Google argues that it is Sonos who copied its patents and technology after their joint collaboration.

U.S. District Judge William Alsup invalidated one of Sonos’ patents, but rejected Google’s request to cancel the remaining two patents before trial. The same judge also ruled that Google did not infringe one of Sonos’ patents willfully, which reduces the damages that Sonos can receive in a judgement. The judge said he will hold a separate bench trial after the jury trial to determine whether Google’s redesigned speakers infringe on Sonos’ patents.

The patents revolve around synchronizing audio playback across multiple speakers and eliminating reverb and echoes, among other technologies. Google has redesigned its Home and Chromecast systems to avoid the Sonos patents. Despite Sonos’ win for an import ban, Google’s ability to sell its devices was not impacted.

Google was given 60 days to implement changes to its system before the ban would take place—which is exactly what the company did. Android 12 removed the ability to control Chromecast’s volume with the smartphone—one of the infringed patents involved this feature.

Sound Credit CEO Gebre Waddell pictured at the 65th Grammy Awards, where he announced a $30 million advance facility for North American users’ neighboring rights royalties

Sound Credit’s Version 6 brings decentralized architecture, enhanced collaboration tools, AI-powered data enrichment, improved contract and catalog management, expanded export options, and many other features. Their goal: capture more metadata at the source, connect more artists with lost royalties, and help record labels, publishers, administrators, and indies accurately register for royalties.

Among the many dark sides of digital music distribution is the mountain of metadata that’s frequently left behind. Music files are unaccompanied by proper metadata and credits information during the creation process. With general-purpose file transfer services such as Dropbox, WeTransfer, and Google Drive lacking essential metadata recording fields within their collaboration tools, artists and studios often fail to accurately record metadata at the source.

Due to this missing focus on metadata infrastructure, the already enormous pile of lost and missing credits keeps getting bigger.

To say that this discrepancy in metadata is costly would be an understatement. The music industry estimates that over $1.4 billion of unclaimed royalties are left on the table every single year. As we’ve covered in depth, this broken metadata management system also distorts streaming data, robbing artists of crucial opportunities they could have received with proper crediting for their work.

In that soup, Sound Credit’s Version 6 is decentralizing the ingestion process, combining file transfer capabilities with metadata collection on the cloud.

Sound Credit says it has developed over 200 integrations with various supply chain points, and registers relevant information with royalty payment systems in real-time. The company partnered with DMN to give the music industry a comprehensive look at their latest Version 6 release.

The update allows more metadata to be captured from anywhere and at any time — from the moment content is recorded, and through every phase of production that follows. All the collected metadata is then aggregated into one central hub.

With a desktop app, mobile app, plug-ins for any DAW workstation, and even a kiosk, Sound Credit encourages contributors to enter credits before, during, or after a studio session.

The goal is to connect musicians with royalties by allowing easier access across apps, kiosks, and desktops. According to the company, all of these modalities can now ‘talk to one another,’ akin to a ‘Google Docs for Metadata’ or a ‘Dropbox for file storage and sharing’ — albeit with considerably more polished and specialized collaboration capability.

Sound Credit’s Workstation Plug-In collects credits immediately in the recording process.

With this decentralized cloud-based architecture, Sound Credit joins an ongoing mission to collect metadata at the place of origin — so it doesn’t get tangled later on. Placing everything on the cloud removes the possibility of inaccurate metadata entry. It also reduces the chances of that data remaining inaccurate for an extended period and mucking up everyone’s downstream payments.

Sound Credit’s founder and CEO, Gebre Waddell, explained that Version 6 emerged after pinpointing crucial problems faced by artists. “This upgrade provides premium features that raise the bar on prevalent standards within the music data landscape,” Waddell says.

Sound Credit’s ongoing mission is to collect metadata at the place of origin — so it doesn’t get tangled later on.

With Version 6, fluid interactions and better collaboration opportunities appear to be taking center stage.

Users can invite people for collaborative metadata entry on a central storage and sharing hub, with all information collected from multiple endpoints and poured into one spot. Waddell touched upon this community aspect surrounding Version 6. “You can invite people and chat with them. You get notifications on your phone and desktop. It brings a sense of community and high flexibility so people can implement Sound Credit their way across a range of devices.”

Unlike general-purpose file transfer services, Sound Credit provides essential metadata recording fields within collaboration tools.

According to Wadell, Sound Credit’s Playlist feature ‘completely shifts the way the music industry transfers files internally within the industry.’ This feature builds the bridge that connects recordings to the metadata behind them.

Uploading a track to a playlist automatically creates a project on the platform, displaying a ‘credit count,’ so users can start adding credits via desktop app or mobile. Everyone with access to the playlist can stream tracks on their app as if they’re on a streaming service, except this service is limited to those with access.

Every track on a playlist displays a ‘credit count,’ so users can start adding credits via desktop app or mobile. Wadell says, “It all happens with virtually no effort, in seconds.”

With a simple switchover to Sound Credit from a DAW, users can upload and immediately have a shareable playlist on their own private streaming service page — one that’s connected to a Sound Credit project. Everyone with access, including engineers, producers, record labels, or anyone else that’s part of the process, can view and update credit information. Any new credit entered will update on the cloud, and all collaborators with access to the music file will receive a notification. In essence, by always transferring with Sound Credit, users receive a gateway to every feature that captures data at the source — one collaborator at a time.

With streamlined uploads and playlist creation, the platform’s AI steps into the mix. AI-powered detection of artists and titles connects recordings to correct projects.

The AI mood detector scans lyrics and other metadata to determine a song’s musical mood, and an explicit content detector flags specific words and contextual references. This AI-powered data enrichment allows precise categorization, delivery of the right music, and accurate metadata.

With ease of access via any device, quick ISRC and GriD code generation, and the ability to export anywhere, Version 6 focuses on expanding metadata associated with music IP.

Sound Credit Version 6 enters the market with a complete core code rewrite that elevates the user interface, now boasting the visual polish of Salesforce and Hubspot — i.e., established multi-billion-dollar SaaS platforms.

According to the company, the platform’s previous versions contained more than 4 million lines of code. That spelled a serious rewrite process of the core Sound Credit code, though Waddell says substantially more collaborators are now using the platform. At present, Sound Credit counts 45,000 total users, with 15,000 active users.

The interface is simple and unfussy, making accurate metadata a matter of drag-and-drop for track reordering. Users can also conveniently view the number of credits entered for any given song.

The update also offers a Catalog Management feature for archiving older files in a ‘vault,’ allowing simplified segmentation to focus on current projects.

Sound Credit’s kiosk prioritizes current projects, placing them in separate ‘buckets’ for various studios and collaborators. Allowing specific access to relevant and involved parties leads to faster exports, assisting the data collection process at one core point of storage.

With expanded exports, Version 6 includes publishing label copy and song registration with ASCAP, BMI, and SOCAN. Sound Credit is also the first platform of its kind to provide split sheets with legally binding e-signatures.

When Version 4 was released in January of 2022, the platform had a patent-pending data hub method that would allow users to export to multiple formats after entering credits. This included union forms, label copy, and lyric sheets. With Version 6, Sound Credit is adding more compliance, contracts, and legal documents to the platform.

That includes producer agreements and side artist releases that help establish clear titles for recordings. There’s also a new, more simplified flow for union form exports — AFM B4, AFM B9, and SAG-AFTRA Session Reports — all of which can be exported directly from Sound Credit.

Sound Credit’s patent-pending export section allows users to Enter Once and Export Everywhere

“Sound Credit is critical for compliance, especially in this environment of all the things happening from the NMPA, the MLC, and numerous other organizations,” Waddell said, adding, “This is reducing liability and downstream workflow, benefitting artists, musicians, and songwriters.”

According to Sound Credit, the company has invested heavily in patents, aiming to further grease the wheels of metadata management and music file transfers.

Newly headquartered in a wholly-owned, historic, early 19th-century building adjacent to the Mississippi River in downtown Memphis, Sound Credit has longstanding partnerships with major music labels and publishers like Warner Music Nashville. Over the years, the company has garnered serious buy-in for its crediting solutions.

The release of Sound Credit’s Version 6 and a greater awareness of metadata appears like a step forward. At the very least, artists, labels, publishers, producers, songwriters, and other IP owners and collaborators have a better shot at getting paid and recognized for their music.

At the 65th Grammy Awards, Sound Credit’s CEO Gebre Waddell announced a partnership with PPL, which will now allow Sound Credit’s North American users to collect neighboring rights royalties. PPL represents over 100,000 performers and record labels, including John Legend, Anderson .Paak, and Rita Ora.

Photo Credit: Sebbi Strauch

Loudspeaker manufacturer PMC and Universal Music Group (UMG) have partnered to highlight immersive audio possibilities at this year’s National Association of Music Merchants (NAMM) exhibition.

The two companies will showcase PMC monitors and UMG’s industry-leading catalog of immersive audio via an immersive audio and video experience at the PMC booth 15908. UMG and PMC have collaborated on numerous projects to build and equip Dolby Atmos music mixing studios. Since the start of their partnership in 2010, when PMC monitors were installed in Capitol Records Studios in Hollywood, PMC has become the benchmark for UMG’s Dolby Atmos Music studios.

This year’s NAMM exhibition in Anaheim, California will take place from April 13-15. The immersive audio and video experience will take place in a specially constructed demo suite featuring 9.1.4 Dolby Atmos Music-enabled PMC monitors that are perfectly suited to mixing music in new immersive audio formats, utilizing UMG’s impressive catalog of Dolby Atmos mixes and artists. NAMM attendees can experience the immersive sound experience that is equipped in UMG Studios around the globe.

At NAMM, UMG and PMC will host a series of high-profile seminars featuring leading lights from the immersive audio mixing and mastering community. These luminaries will share their expertise and highlight best practices when digital mixing and mastering immersive audio music. The seminars will take place over the three days of the show.

Among the distinguished list of speakers taking part are engineers Steve Genewick, Nick Rives, and Colin Heldt, as well as a presentation from Dennis Wolfe, UMe’s Senior Vice President of A&R. Additional speakers include producers Andrew Scheps, Mike Miller, Bainz, Gary Lux, Mike Tucci, Aaron Forbes, Moritz Braun and Matt Cerritos; mastering engineers Dale Becker, Ronald Prent: and the team from Infrasonic Mastering.

“NAMM 2023 gives PMC and UMG the perfect opportunity to showcase our important role in the immersive audio market,” adds Maurice Patist, President of PMC USA and head of Pro Global. “There is no doubt that PMC monitors are now the de facto standard for immersive audio facilities, not least because, as a technology partner of Universal Music Group, we have been championing this format for more than five years. Having a 9.1.4 Dolby Atmos enabled system in our NAMM demo suite will allow visitors to experience this exciting new format by hearing it demonstrated through PMC’s world-class monitoring products.”

Lucid Motors, an automotive partner of UMG, will park a Lucid Air with built-in Dolby Atmos music speaker system at the booth throughout the show. The aim is to demonstrate the significant impact that immersive audio is having within the automotive cabin.

Bose Professional has been sold to Transom Capital Group, which is expected to operate the commercial-installation unit as a standalone company moving forward. Photo Credit: Steven Erixon

Bose has officially sold its commercial-installation division, Bose Professional, to Los Angeles-headquartered private equity firm Transom Capital Group.

Framingham, Massachusetts-based Bose formally unveiled the sale of Professional today, and the latter business, which Transom is already operating as an independent company, went ahead and disclosed the news on social media as well as its website.

Under the deal – the financial terms of which haven’t been publicly revealed – Bose proper is expected to “retain its portable PA systems as part of its core consumer product business,” higher-ups noted.

Bose Professional, on the other hand, is positioned to keep on developing commercial-audio systems for public establishments as a wholly owned subsidiary of Transom, which currently possesses interests in companies including audio-equipment manufacturer Mackie and business-marketing firm BridgeTower Media, per its website. BridgeTower hosts north of 300 events annually, according to its own website.

Addressing the sale in a statement, Lila Snyder, CEO of the overarching Bose Corporation, indicated that the divestiture will enable her company “to focus more deeply on” its core consumer-driven business.

“The sale to Transom will provide Bose Professional the additional attention it needs to support the professional audio customer, and to continue to develop products and technologies that stand out in the industry,” the nearly three-year Bose head Snyder communicated in part. “It will also allow Bose to focus more deeply on our core business – creating amazing audio experiences for on-the-go, at home and in the car.”

Meanwhile, Bose Professional has updated its website to reflect the ownership change, as mentioned – relaying in an expanded “about” section that it anticipates having “more freedom to explore and innovate as an independent company.”

“We’re deepening our investment and commitment to our ever-evolving industry, responding to changing customer needs and industry trends with even greater agility,” Transom’s Bose Professional made clear. “We believe that innovation begins with exploration, and our continued focus is finding and developing leading-edge, transparent technologies.”

Bose has for some time been working to optimize costs and operations, with approximately 2,000 of the 59-year-old entity’s team members having reportedly been laid off in recent years. January of 2020 brought the closure of all Bose retail stores in North America, Europe, Japan, and Australia, and May of last year saw execs do away with Bose’s health-focused hearing aid division.

Photo Credit: Zound Industries

Swedish tech company Zound Industries is acquiring Marshall Amplification. The two will launch the newly formed Marshall Group as one company.

Marshall Amplification signed a licensing deal with Zound back in 2010 to bring the Marshall brand to an entirely new market. A range of headphones and speakers were created bearing the Marshall brand, while retaining the look of Marshall’s classic guitar amplifiers. Now that partnership has been so successful the two companies will join forces to create the Marshall Group.

Marshall Amplification and Zound Industries will see the two companies become one under the Marshall Group name—with annual revenues of $360 million with double-digit profitability.

Under the terms of the deal, Zound Industries will acquire Marshall Amplification and the Marshall family will become the largest shareholder of the newly formed group. The deal includes all of Marshall Amplification brands and subsidiaries, including Natal Drums, Marshall records, and Marshall Live Agency.

“With this game-changing deal, Marshall Group will become the main challenger in our industry and the most exciting alternative to traditional players, bringing even greater innovation and value to clients, employees, and investors alike,” adds Henri de Bodinat, Chairman of Zound Industries and now Marshall Group.

The Marshall Family will own 24% of the newly formed group. Victoria and Terry Marshall—heirs of their father Jim Marshall—who founded the company with his son Terry in 1962, together with Jim’s granddaughter Joanne Marshall-Price, Paul Marshall, and the Marshall Charitable Trust will play key roles in the new entity to ensure the legacy of the famous Marshall sound and brand. Terry and Victoria Marshall will join the board of Marshall Group.

“Since my father and I created the original Marshall amp back in 1962, we have always looked to deliver the pioneering Marshall sound to music lovers of all backgrounds and music tastes across the world,” adds Terry Marshall. “I’m confident that the Marshall Group will elevate this mission and spur the love for the Marshall brand.”

“With Marshall Group, the potential to further impact an ever-modernizing music industry is a highly genuine one,” adds Victoria Marshall. “Together, we shall preserve the Marshall legacy and shape the future of ‘Live Loud.’ Having worked alongside my father during his later years, I know he would be excited at this direction and the potential to reach a larger worldwide audience with innovation and passion, which he always had in spades.”

Photo Credit: Kevin Bhagat

The British government may force Google & Amazon smart speakers to offer UK radio stations for free amid new broadcasting legislation.

Under draft legislation published today, the biggest broadcasters in the UK will receive additional privileges, like ensuring their on-demand services are easy to discover to encourage competition with global streaming giants. The draft Media Bill will enable new reforms to guarantee access to UK radio on smart speakers and require streaming services to provide subtitles, audio description, and signing to support those with disabilities.

The new legislation will enable public service broadcasters (PSBs) like the BBC, ITV, Channel 4, and Channel 5, “to unleash their potential to grow, produce more top-quality British content and invest in new technologies to keep viewers tuning in amid fierce competition from subscription-based online platforms.”

This legislation is the latest move in the British government’s plan to modernize decades-old broadcasting legislation, including new reforms to protect UK radio on smart speakers as listeners move increasingly further away from AM and FM stations in favor of internet-based services. 

Smart speaker platforms, such as those offered by Google and Amazon, will be required by law to ensure access to all licensed UK radio stations — from national stations to small community stations. Platforms will be prohibited from charging stations for being hosted on their services or overlaying their own advertising over station programming.

“Technology has revolutionized the way people enjoy TV and radio. The battle to attract and retain audiences has never been more fierce,” says Culture Secretary Lucy Frazer. “British content and production (are) world-leading, but changes to viewing habits have put traditional broadcasters under unprecedented pressure.”

“These new laws will level the playing field with global streaming giants, ensuring they meet the same high standards we expect from public service broadcasters and that services like iPlayer, All4, and ITVX are easy to find however you watch TV.”

Additionally, the Bill will reduce regulatory burdens on commercial radio stations, relaxing content and format requirements developed in the 1980s. These requirements tie stations to commitments to broadcast particular genres of music or to specific age groups within certain times of the day. Stations will have more flexibility to update or adapt their services as needed, while the reduced bureaucracy from these changes could save the radio industry up to £1 million yearly.

Photo Credit: Tron Le

Apple analyst Ming-Chi Kuo believes we could see a HomePod with a screen as soon as 2024.

Kuo says the next-generation HomePod is likely to feature a seven-inch screen to help facilitate deeper integration with Apple’s other hardware. The post suggests Apple will be testing a new supplier for the redesigned HomePod display. If that participation goes well, it may supply panels for iPads in the future.

We’ve heard rumors that Apple could be introducing a HomePod with a screen on and off since 2021. Mark Gurman at Bloomberg was the first to suggest that a new HomePod featuring a screen with integrated cameras could be coming. Apple seems to be refocusing on its smart home strategy with new devices. The HomePod currently runs a variant of the tvOS, but Apple might be working on a homeOS platform for future smart devices.

A job listing in 2021 suggested the existence of the new ecosystem. This could be part of Apple’s attempts to compete in the home ecosystem with Google and Amazon in a more coherent way. Right now, the HomePod experience is less than stellar when compared to Alexa and Google Assistant.

“As part of its broader home, audio, and accessories strategy, Apple has also begun early development of a HomePod speaker with a built-in screen as well as a device that combines the features of a HomePod, FaceTime camera, and Apple TV,” reported Mark Gurman in 2021. Gurman also reported at the time that Apple is exploring a high-end HomePod speaker that could include an iPad connected via a robotic arm, capable of following the user around a room.

Apple discontinued its largest HomePod model in 2021, only to reintroduce a new HomePod that looks like it. The screen could sit on top of the device where the current HomePod features controls—but there’s at least a year’s wait ahead of this one.

The Aeros Loop Studio is a Swiss Army knife of music-making utility that helped me jumpstart my creativity. Here’s a peek at how this looper gave me the ‘kick in the pants’ I didn’t know I needed.

I recently had a plateau-breaking burst of creativity in my music-making journey. For the first time in over a decade, I’m earnestly writing songs again. So what helped me return to playing with a new, purpose-driven enthusiasm that I was sorely missing? The Aeros Loop Studio by Singular Sound. The company provided the looper to DMN for us to run it through its paces and it has not failed to impress. 

I previously tried simple loopers like the Ditto pedal. I found I couldn’t get much use out of these more limited devices, which I falsely thought represented every looper at my skill level. What a wrong assumption that was and one I was happy to have corrected.

It’s unfortunate that I let my first bad experience with a device turn me off to the idea of looping. Now that I’ve experienced the Aeros Loop Studio, I realize what I was missing out on. 

This looper lets one person be the whole band. A user can have six simultaneous layers of sound (with two layers) and multiple song parts. With expandable storage, you can save everything you make, including your sketches, in-progress ideas, or your final recording. Then it’s a cinch to jump back in any time and use the loops you’ve made in a live setting or pop the SD card out and drag the files into the DAW of your choice.

In reviewing the device for Digital Music News, I’ve found many ways the Aeros Loop Studio adds to my flow. Using a DAW has always been a frustrating and fruitless experience for me. I’ve stared at StudioOne’s settings for hours and couldn’t figure out how to get it to use my I/O inputs. Beyond something simple like GarageBand—they’re just too complicated for me to figure out. 

Even with Garageband, it’s hard to make it sound good just by recording my instruments by plugging them into my Audient interface. All the layers and sounds clash, regardless of my adjustments or what virtual amp is used (or absent). Alternatively, recording by micing my amps is an option–if I owned microphones and could place them optimally. The audio set-up and teardown isn’t in my wheelhouse, which contributes to being unmotivated to record. 

I’d rather be playing guitar and bass, listening to the tones I enjoy. So how do I take what I can do and turn it into any type of recording I need? With the Aeros Loop Studio, of course. 

The Aeros has two ¼ inputs and two corresponding ¼ outputs. I can hook up the Aeros’ inputs to two separate instruments simultaneously with this setup. That means I can play a bass line, then pick up my guitar and play some guitar over it. When I do this through the Aeros Loop Studio, I can prevent the sounds from clashing and get a great-sounding mix of what I’ve recorded into the loop. I also love that I can easily adjust individual track volumes using only the Aeros’ interface. 

Beats have always intimidated me. Being DAW illiterate, this was a hurdle I knew that I would face if I wanted to be the ‘one person band’ that I envisioned. I would love to find a low-cost drum machine with a next-to-no learning curve that fits my needs, but I still needed some kind of beat–and I don’t have a beat machine. Easy solution? I went to soundtrackloops.com to buy three packs of beats and samples. I cannot recommend them enough, and DMN is happy to be working with them. 

Before I had the Aeros, I didn’t have the motivation to tackle this. It always seemed like an intimidating thing that I would get to ‘eventually.’ The Aeros Loop Studio made that day come. 

The inspiration has continued beyond beats. The Aeros even motivated me enough to finally reach my goal of starting to incorporate synth into my songs! Arturia kindly gave me a license to Analog Lab V—and I highly recommend it. I’ve been layering in simple arpeggios I made using the tool. 

The biggest change the Aeros has brought is my enthusiasm for writing music. I no longer feel like there is this huge barrier to me making music, even casually. If I like something I make in the Aeros, I can easily pop the SD card into my computer and drag and drop my projects into Garageband (or any other DAW) and continue to edit it from there.

Once I started using the Aeros Loop Studio, it only took me about three weeks to get myself acquainted with and familiar with it. Most of that time can honestly be attributed to only having time to play on the weekends. Multiple times I’ve tried to give myself the kick in the pants I need to create music.

I’ve bought audio interfaces, new instruments and effects, tried to learn music theory—none of these were the solution I needed. After using a high-end looper like the Aeros, I’ve been able to break through my decades-long creativity plateau. The Aeros has encouraged me to actively try to ‘make music’ again instead of aimlessly venturing between jam session to jam session for over a decade. 

Who could benefit from the Aeros Loop Studio? Songwriters who want to sketch out ideas. Producers and production music houses that want to play around with ideas. Music hobbyists, DJs, and anyone who wants to be a one-person band will find this utility an indispensable part of their workflow.

The Aeros is $629; here is a link to the Singular Sound store to buy one!

Photo Credit: Manuel Sardo

Warner Music Group has released its second annual Environmental Social Governance (ESG) report. It reveals the music company is continuing its shift away from 180g vinyl to reduce environmental impact during production.

WMG says it has invested significantly over the years to reduce the environmental impact of record manufacturing. The company is investing in ways to produce records without using PVC, in addition to adopting vinyl recycling from production offcuts that would otherwise end up in a landfill. Avoiding the use of virgin materials helps lower carbon emissions, reduces plastic waste, and increases transport efficiency. 

After experimenting in 2022 with a large-scale release of re-vinyl for Coldplay’s Music of the Spheres album, WMG continued on with other re-vinyl releases. They include the Red Hot Chili Peppers‘ European release of their new album, Return of the Dream Canteen and The Staves’ 10th anniversary album reissue of Dead & Born & Grown.

WMG also ran a workshop series on WMG’s Global Green Product and Packaging Design Guidelines to help teams learn how to design better packaging for vinyl, cassettes, and C.D.s to reduce their environmental impact. A top recommendation during that workshop was to press new album releases on 140g vinyl instead of 180g vinyl. 

“We’re thrilled to report that in 2022 we pressed roughly 60% of our global vinyl products on 140g discs, reducing our output of virgin raw plastic by approximately 470 tonnes,” the ESG report reads. “Additionally, we’re poised to produce nearly three times the number of discs in the U.S. for the U.S. market in 2023. This will significantly reduce greenhouse gas emissions from sea or air freight that would have otherwise come from European-based manufacturing facilities.”

WMG’s vinyl manufacture in the U.K. saw 94% of new vinyl releases pressed on 140g vinyl, reducing the use of raw plastic by 27 tonnes. 

Why is vinyl manufacturing so hard on the environment?

The main component in a vinyl record is plastic polyvinyl chloride (PVC), which is made from petrochemicals. Pressing plants can use antiquated steam boilers and a toxic brew of chemicals to make records, giving vinyl 12 times the greenhouse gas emissions of other physical media production like CDs.

“The demand for recycled components is still in the minority, but it does seem like it’s been gaining some steam over the past couple of years,” says Matt Earley, owner of the Cleveland, Ohio pressing plant, Gotta Groove Records. 

Photo Credit: Sweetwater

Ready to take your home setup to the next level as a content creator? Whether you’re writing music, streaming video games, or making videos–Sweetwater has the gear content creators need to take their production quality to the next level.

The following was created in collaboration with Sweetwater, a company DMN is proud to be partnered with.

Sweetwater has become the number one choice for many musicians and audio creatives for instruments and pro audio equipment. But the company also carries an amazing selection of cameras, lighting, and software to help you create better content for your viewers. Even if you haven’t recorded your first episode or track yet–this resource should help you get started.

Ready to Podcast? – Here’s What You Need

Podcasts have quickly replaced terrestrial radio programs for many people. The ease of creating a podcast is just one aspect of that–maintaining a successful podcast means having the right gear. A simple podcasting setup will include a microphone to capture voice, an interface to get audio to and from the computer, podcast software, and headphones.

The microphone is the first big step and beginners are often served well with Sweewater’s variety of USB microphones. It eliminates the need for extra gear since the microphone connects directly to a laptop or desktop. For more experienced podcasters, a real broadcast mic paired with a modern interface ups your game to professional overnight. 

A great basic beginner podcast microphone is the Blue Microphones Yeti USB microphone. It boasts four selectable polar patterns to give you flexibility to record in any environment. The figure 8 pattern allows podcasters to capture themselves and their guests with one microphone. 

Prefer Livestreaming? – You’ll Need Plenty of Light

Livestreaming has become the go-to way many music creatives support themselves online when they’re unable to tour or perform  live. The right setup for capturing both your sound and video becomes imperative for successful livestreams. No one wants to stick around if your sound is wonky and the video is choppy or buffering. 

Even if you’ve never streamed a day in your life, Sweetwater has plenty of gear that will help you get started. Logitech’s StreamCam Plus is a great entry webcam that offers 1080p capture at 60fps, making it a fantastic choice for live performances. It also features intelligent facial tracking, so you can stay centered while streaming on platforms like Twitch, TikTok, and Facebook. For those who need something while on the go, the GoPro HERO 10 and HERO11 waterproof action cameras are great choices.

Need to set up your own soundproof booth to help you record your livestream or podcast? Don’t worry, Sweetwater has you covered there, too. From acoustic room kits to proper lighting—you can elevate your home studio to professional quality with the help of Sweetwater specialists. 

Making Video Content for YouTube and TikTok?

Creating engaging content for your online audience means making every shot count. Leveling up your video production can help you reach new audiences you never thought possible for your next YouTube or TikTok video. Establishing a video brand online is hard work because videos must be compelling and shot well—not easy without the right gear. 

No matter your experience level, Sweetwater’s in-house video experts are available to help you get your production started. They can also help identify any pain points you’re experiencing in audio and video editing–or help you replace an older piece of equipment with something that will boost your production quality. 

So whether you’re a podcaster, musician, Twitch gamer, or someone who loves making videos about music history for other music nerds on YouTube, remember this—Sweetwater has you covered. Have questions? Ask Sweetwater. 

Photo Credit: Susan Mohr

Sweetwater has announced it reached $1.57 billion in sales for 2022, achieving revenue growth of 9.5% YoY.

This marks the third consecutive year that Sweetwater has managed to break the $1 billion revenue mark. It illustrates that despite rising struggles for the retail industry, customer satisfaction remains an important driver of sales for the company.

“I am immensely proud of the Sweetwater team’s accomplishments in 2022,” adds CEO John Hopkins. “In a year when the world dealt with economic uncertainty, geopolitical challenges, lingering supply chain difficulties, and many other issues, we were still able to provide exceptional customer service to millions of music makers. What a privilege it is for us to have this role in the music industry; music has the power to inspire, offer hope, and promote healing.”

In addition to the record customer growth and sales performance of 2022, Sweetwater also launched its new Gear Exchange in July 2022. It allows music to buy and sell used music gear on a trusted platform, knowing the transaction is safe. Sellers can avoid fees using the platform by opting for a payout in the form of a Sweetwater gift card.

While Sweetwater launched its Band & Orchestra program in 2021, it has continued to experience significant growth throughout 2022. It now serves more schools and students with a wide selection of band & orchestra instruments.

To help reach customers across the United States more quickly, Sweetwater announced its Distribution Center in Arizona—its first facility outside of its headquarters in Fort Wayne, Indiana. The distribution center allows Sweetwater to deliver its products to West Coast customers more efficiently and it shipped 50,000 orders in just three months of operating, creating 100 new jobs in the process.

Throughout 2022, Sweetwater focused on providing its employees with a supportive workplace. It implemented a record number of promotions, increased 401K company match percentages, and launched new management development courses in addition to its new tuition reimbursement program. Sweetwater also continued its significant philanthropic support of more than 400 music, arts, education, and social service agencies—giving monetary donations of more than $750,000 and $600,000 in instruments and audio gear to schools, music programs, and other groups.

Photo Credit: Apple

Apple just announced a new full-size $299 HomePod with some rich new audio features — and one notable limitation.

Apple has announced the second-generation HomePod, “a powerful smart speaker,” delivering “next-level acoustics” with a sleek new design. The latest HomePod is available to order online and in the Apple Store app beginning today, with availability starting Friday, February 3.

“Leveraging our audio expertise and innovations, the new HomePod delivers rich, deep bass, natural mid-range, and clear, detailed highs,” says Greg Joswiak, Senior Vice President of Worldwide Marketing at Apple. “With the popularity of the HomePod mini, we’ve seen growing interest in even more powerful acoustics achievable in a larger HomePod. We’re thrilled to bring the next generation of HomePod to customers around the world.”

The new HomePod features a “custom-engineered high-excursion woofer, powerful motor that drives the diaphragm a remarkable 20mm, built-in bass-EQ mic, and beamforming array of five tweeters around the base,” all working together to achieve a powerful acoustic experience. It combines an S7 chip with software and system-sensing technology that offers even more advanced computational audio, maximizing the full potential of its auditory system to create a “groundbreaking listening experience.”

With all the robust new hardware in the latest generation HomePod, owners of the original HomePod may wonder if it’s possible to pair the new HomePod with its first-generation and mini counterparts. Notably, creating a stereo pair in the same room with the new HomePod requires another second-generation HomePod — although you can use the two models to play your music or use features such as Intercom in different rooms.

“Creating a HomePod stereo pair requires two of the same model HomePod speakers, such as two HomePod mini, two HomePod (2nd generation), or two HomePod (1st generation),” reads a footnote from Apple’s press release.

Additionally, a software update is on the way for the HomePod mini that grants it two features currently available only to the new generation: indoor temperature and humidity-sensing controls.

The latest HomePod costs $299 and comes in white and midnight colors. In-store availability and deliveries begin Friday, February 3, in the US, UK, Canada, Australia, China, France, Germany, Italy, Japan, Spain, and 11 other countries.

Photo Credit: Sony Asia Pacific

Sony announces two new music players in the Walkman family with download and streaming functionality, enhanced sound quality, and longer battery life.

Singapore-based Sony Asia Pacific has unveiled two new music players, the NW-ZX707 and the NW-A306, the latest editions to the Walkman series. Both players have been designed for high-quality sound, with longer battery life and download and streaming functionality.

The NW-ZX707 features a 5-inch display and Wi-Fi compatibility for easy downloading and streaming. With upgraded fine-tuned capacitors and an 8mm coil for balanced output, the NW-ZX707 creates an improved sound resolution across all frequencies. Integrating a DSD (Direct Stream Digital) Remastering Engine where PCM (Pulse Code Modulation) audio is resampled into 11.2 MHz, the NW-ZX707 offers even more ways for enthusiasts to enjoy music.

The NW-A306 is designed for a discerning enthusiast looking for high-quality sound and style. The music player is compact, weighing just 7 ounces, with a 3.6-inch touch screen and tactile physical music controls. The NW-A306 features full Wi-Fi compatibility, dedicated to providing exceptional music experiences from the user’s pocket.

Both devices feature faithful sound reproduction with S-Master HX digital amp technology, independently developed for Walkman, and compatible with the native DSD format. They have been updated from their predecessor models to feature DSEE Ultimate (Digital Sound Enhancement Engine) to enhance the quality of streaming music by upscaling compressed digital music files in real-time using Edge-AI. 

The NW-A306 delivers up to 36 hours of 44.1kHz FLAC playback or up to 26 hours of streaming with most music apps. The NW-ZX707 promises up to 25 hours of 44.1kHz FLAC playback or up to 22 hours of streaming music.

The new Walkman products are designed without the use of plastic in their packaging, reflecting Sony’s commitment to reducing the environmental footprint of its products and practices. Both the NW-ZX707 and the NW-A306 will be available in select Asian Pacific countries beginning this month, with information about additional availability yet to come.

Photo Credit: Windows

Apple Music and Apple TV are now available on the Microsoft Store–but only for Windows 11 users.

Windows 11 users can download these apps from the Microsoft Store along with another app called Apple Devices. This app says it lets Windows users “manage Apple devices from your Windows PC.” It’s not a huge surprise that these Apple services are now available on Windows since Microsoft announced they would be coming at its Surface 2022 event.

The Apple TV app appears to function similarly to the already existing Xbox app. Apple Music is music the lyrics feature available on Mac and iOS–but is otherwise functionally identical. The Apple Devices app also suggests that Windows users will finally be able to abandon iTunes for good as it takes over syncing local media and restoring the firmware of devices.

The caveat here is that once you’re ready to start using these apps–you must give up iTunes. On first launch, users are warned that iTunes for Windows will no longer work after they’re installed. For users who want to continue using iTunes, the new Apple apps must be uninstalled. I’m not sure why you’d want to soldier on with iTunes at this point since the Windows experience has been abysmal for years.

As more and more of Apple’s revenue is derived from its services, it is continuing to branch out. Apple Music is available on both Xbox and PlayStation consoles–giving gamers options rather than just listening to Spotify. It’s also worth noting that Apple is building out its Maps offering with Business Connect for small businesses to begin offering features like booking tour tickets, hotels, and restaurant reservations inside the Maps app.

This is something Google has worked on by integrating ticket sales into YouTube and YouTube Music. Visiting any artists’ official YouTube channel now usually includes links to upcoming tour dates.

Photo Credit: Apple

Apple has announced a new Business Connect tool for Apple Maps to make it easier for users to buy tickets, book hotel rooms, and make dinner reservations.

Business Connect is aimed at bringing physical businesses more ways to connect with customers digitally through Apple Maps. Some of the examples Apple shares are making a dinner reservation at a restaurant through Open Table or reserving tickets to an upcoming show at a venue.

Apple is making the new service available to businesses in the United States starting today. It will roll out support for businesses across the globe “in the coming months.” Businesses have full control over key information that appears in several Apple apps, including Messages, Wallet, Siri, and Maps.

“We created Business Connect to provide Apple users around the world with the most accurate information for places to eat, shop, travel, and more,” says Apple Services Chief, Eddy Cue. “Apple Business Connect gives every business owner the tools they need to connect with customers more directly and take more control over the way billions of people see and engage with their products and services every day.”

The new feature also offers some proactive business generating tools–like offering nearby customers a discount for coming in. Live music venues can register with Business Connect to keep their schedule and ticket availability up to date across a wide variety of Apple services.

Business owners can use their existing Apple ID or create a new one to register for the service. Once verified, business owners can use the self-service website to claim their locations and begin updating and personalizing their business place cards—all for free. For businesses with many locations, the new feature also includes an API to make it easier to deliver up-to-date information to Maps at scale through listing management agencies like Reputation, Rio SEO, SOCi, Uberall, and Yext.

Photo Credit: Screen Post

A new update for Pixel smartphones finally brings spatial audio support to a limited number of devices. Namely, the Pixel 6 and Pixel 7 series now supports the new feature–older Pixel devices are out of luck.

Spatial audio works to simulate a 3D soundstage in which users feel as if sounds are positioned around them. It’s a feature Apple beat big on with the AirPods Pro and AirPods Max–and which Google has struggled to implement for its own ecosystem until now. Google has been playing with spatial audio support for Android since the Android 13 beta, introduced in September 2022. 

Which Google Pixel phones support spatial audio?

In an update introduced in January 2023, Google finally made spatial audio support available for these devices:

• Pixel 6
• Pixel 6 Pro
• Pixel 7
• Pixel 7 Pro

Users with these devices can now experience spatial audio with apps like Netflix, YouTube, Google TV, and HBOMax. As long as the source material has a 5.1 or higher audio track attached and the user has headphones or earbuds to experience the spatial audio on offer. 

Google has been working hard to refresh its seamless media player experience with more recent versions of Android. The company says it is working closely with Spotify to enable users to easily switch playback between any Spotify Connect device from the Android media player.

Google is also working on a system of notifications to allow audio to seamlessly follow a user throughout their day. “You’ll be able to tap to start listening to a podcast in the car, continue on your phone and headphones and finish on your TV at home,” Google says. “As you move your physical location, you’ll see media notifications on your phone or other devices asking if you’d like to transfer the audio over to a nearby device.” These ‘new’ features are the result of a lawsuit that Sonos won, forcing Google to rethink how its media experience works on its connected devices.

Photo Credit: Alpine Electronics

Alpine Electronics becomes the first aftermarket infotainment manufacturer with SiriusXM-ready tech.

The company is introducing to new Halo floating touchscreen receivers–the iLX-F511 and the iLX-509. These high-resolution audio receivers offer wireless Apple CarPlay and Android Auto support. They build in Alpine’s Halo display design that adds a ‘floating-style’ adjustable display that can fit into any vehicle.

In an industry-first for aftermarket receivers, the iLX-F511 and the iLX-509 features SiriusXM 360L, which combines satellite and streaming content delivery for even more choices in entertainment. The aftermarket units require the SXV300 connect vehicle tuner kit, which is sold separately. Both receivers feature high-resolution audio playback with support for Apple CarPlay, Android Auto, and built-in Bluetooth hands-free calling and audio streaming.

Both aftermarket receivers also feature a front and rear camera inputs to add both to the infotainment system. The rearview camera includes a guidance display that overlays guidelines onto the screen when moving the car in reverse. Multiple camera angles can be viewed using the camera selector, which is also sold separately.

On-board tuning features bring out the full potential of music playback with a 5-band graphic EQ or 13-band parametric EQ per channel, for continuous frequency control. The 6-channel time correction ensures that music is staged properly in the front and center of the vehicle. If more power is needed, additional amplifiers can be added using the three sets of true 4V preamp outputs with front, rear, and subwoofer control.

Both models are mech-less and don’t include access to a CD/DVD player. However, an included HDMI input and output allow a DVD player or a smartphone to be connected for video in/out services.

Alpine Electronics says both receivers will begin shipping in February 2022, with the 11-inch model starting at $1,199.99. The 9-inch model will cost $999.95 and will be available at Alpine Authorized retailers and preferred online stores.

Photo Credit: André Luís Alves Campos

Amazon Music and Fraunhofer are partnering to reveal 360-degree immersive sound while driving at CES 2023.

Fraunhofer IIS is the primary developer of the MPEG-H 3D Audio standard, which serves as the base for Amazon Music’s 360 Reality Audio. Now both companies will demonstrate how the format can be experienced while driving at CES 2023. “During the live demo in an Audi e-tron that’s equipped with a production 3D sound system, CES visitors will be able for the first time to experience Amazon Music’s 360 Reality Audio immersive service streamed to an automotive environment,” the press release reads. 

Advanced in-car sound systems for premium, mid-range, and even entry-level vehicles benefit from discrete spatial audio content that preserves the artist’s intent and reproduce the best possible sound in the car. Rear-seat entertainment systems with installed screens can render immersive audio over headphones with head-tracking and in addition make use of the interactivity, personalization, and accessibility features of MPEG-H Audio that already exist in streaming and broadcast. 

MPEG-H Audio also enables advanced warning sounds with spatially rendered signaling. Audio objects can be positioned freely within an MPEG-H Audio mix. Only one warning sound item needs to be produced across all car models and the warning sound will be rendered at the correct position according to the available playback system.

The 360 Reality Audio music format based on MPEG-H 3D Audio offers a new music ecosystem. It utilizes Sony’s object-based 360 Spatial Sound technology, which gives artists and music creators a sound stage for building a spatial musical experience.

“Fraunhofer has a long and successful history of providing best-in-class automotive audio solutions to the industry,” adds Marc Gayer, Head of Business Department & Deputy Division Director Audio & Media Technologies at Fraunhofer IIS. “The availability of 360 Reality Audio content from Amazon Music in cars is the perfect match to the advancements in audio rendering capabilities that we’ve been striving for.”

Image: https://pixabay.com/photos/christmas-gift-new-year-holidays-3015776/

As we close out 2022, I wanted to share a handful of items that I personally got some enjoyment out of. We’re cutting it close on timing for this to be relevant, but a late gift is still a nice gesture. So, if you know someone who loves music or makes music, I hope this gift guide helps readers find some great ideas for people they care about.

Disclaimer: Some of these items (individually disclosed below) were provided at no cost in exchange for editorial coverage. I don’t care if you buy any of these or not, which is why you won’t find any affiliate links in this article. 

1) Yamaha TT-S303 Turntable (provided for this gift guide)

Vinyl is a fantastic way to enjoy music. Collecting records is fun, and the top royalty-generating way to listen to music. Holding something and appreciating the art it comes with provides a different, more intimate experience than digital streaming. 

Sonically, depending on the source material, many (including me) will tell you that the fidelity is unmatched on vinyl. I think that at around $500 — give or take $50 — this is a good option. 

It’s similar to Pro-Ject models within the same price range, but includes a more user-friendly tone arm with anti-skirt technology. This model also includes a built-in phono amp and speed adjustment from 33 to 45 RPM. That makes this a simpler standalone unit than the Pro-Ject I had previously been using, which required external phono and speed control. I like that. 

There is a downside. Yamaha’s Turntable comes equipped with a Moving Magnet (MM) cartridge and a built-in phono. I personally use a moving coil cartridge. Without getting in the weeds of it, the moving coil is a better type of cartridge, but it requires a setting to be adjusted on the phono amp. If you have an external phono, that’s easy to do. But, as far as I can tell from hours of research, it’s not possible on the Yamaha TT-S303. 

There may be moving coil cartridges that are compatible, but mine (Dennon DL-110) isn’t. 

I would consider this to be a solid beginner turntable, or even an upgrade for someone who may have purchased a lower cost turntable and wants something more serious. However, if your giftee might eventually get more into the hobby, I would get a Pro-Ject instead for the upgradability. 

2) Rock And Roll Warrior — a book by David Libert  (provided for review)

David Libert is an industry gem who has been active in the music industry since the mid-1960s. Scoring big with the hit “See You In September” with his group, The Happenings, he found himself taking on more and more of the business responsibilities of the band after the initial success from the hit had calmed down. This inspired his decades-long career of working with some of music’s most notable artists. 

David’s goofy sense of humor is on display in every page of the book. It’s one of the most ‘fun’ autobiographical books I have read, and I consider it a ‘must’ for anyone who works with talent, tours, or simply wants to know more about the inner workings of the music industry. 

3) Fender Fat Finger

I recently came across this little guitar gadget on Sweetwater, and I had to try it out. It’s a very simple gift, it makes for a great Hanukkah present (or stocking stuffer for the snowflakes who feel that every celebration in late December should be called ‘Christmas’). 

For only around $20, this makes a great gift for anyone who plays guitar or bass. The device claims to increase sustain. I noticed it to some extent, but the really nice thing about this is that sometimes, you just need an inexpensive gift for musicians. This is the perfect thing to get for someone who plays guitar or bass, particularly if you don’t know what to get for them. If nothing else, it’s unlikely that they already have one.

4) Little Korg synths

These are more or less toys for music makers, or people who want to start experimenting with making music and sounds. They (like the last entry) are relatively inexpensive (around $50) and provide ongoing fun. I have a couple that I keep in a desk drawer and bust out 1-2 times per month to play around with for 20ish minutes. There are sure to be people who get more enjoyment than that, but as someone who does not play keyboard, piano, or synth, I get a great deal of enjoyment out of these. 

5) Inside by Bo Burnam

Bo Burnam’s Inside is a special on Netflix. It’s also a contender for my favorite piece of media (including music, movies, and games) of the new millennium. 

Bo is able to take deep societal issues and communicate them in ways that nearly anyone can understand. He addresses how emotions are monetized and how this is psychologically impacting us as a species. I don’t want to spoil it too much, though I think that everyone should watch the special. However, the gift I am recommending is the vinyl record. Preferably ‘Inside – Deluxe’ which includes fantastic outtakes such as Bezos 3 and Bezos 4, and 1985. 

Here is a preview of what you are in for: 

If your giftee is not into vinyl, just hop on to Netflix and watch Inside together. Time together, appreciating great things, that is a gift in itself. 

7) Snark rechargeable

If you know a stringed instrument player, they probably have one or more of these. But, now they make them with rechargeable batteries. It’s a great ‘small gift’ that any string player will appreciate. 

6) Yamaha — Home Theater in a Box System YHT-5960U (provided for this gift guide)

Home Theater in a Box is a product type that has become increasingly hard to find. So a quality offering from Yamaha is a welcome addition — especially in our modern age of 3D mixed audio and more immersive sound design. 

This system is powerful for the price, thanks largely to the very nice amplifier that comes with the set. However, it does lack Atmos. So people who are really going for the latest in 23 audio may want to go a different direction. But, for people who will be happy with 5.1 (which I think is most people in a home theater setup), this is a good pick at a good price.  

Something I used to bely about HTIBs was the sub-par (often proprietary) amplifiers. These would be designed with proprietary ports and other inconveniences that prevented them from myriad use cases. For example, I may buy a HTIB and years later want to upgrade the speakers or just the amp. If the speaker ports are all proprietary, I cannot do that.  

With this system, you get an amp/receiver that will connect to anything and everything you need. It also uses traditional speaker wire. 

The sound quality is pretty good. It may not produce the same fidelity for stereo music that you would get from a nice 2-channel (or 2.1 system), but it does sound great for the price (around $700).

Something to note is that the amp when sold by itself is close to $600. So if you have any desire for 5.1 surround sound, I think that the HTIB provides a great value. 

7) Soul Asylum, Grave Dancers Union (30th anniversary)

A great Minneapolis rock album, Soul Asylum’s Grave Dancers Union is a fantastic album. It includes “Runaway Train”, which won the Grammy for Best Rock Song in 1994. It’s a great album, and a ‘must’ for alternative rock fans. 

Furthermore, this is a fantastic remastering! As someone who has been listening to this for most of my life (“Runaway Train” was the first song I knew all the words to) these songs have never felt so alive and textured. The soundstage has a great deal more depth compared to other versions I’ve heard, and the separation between the instruments allows every element to have individual clarity and vibrance. 

There are only 5,000 copies of this pressed to black-and-gold marbled vinyl (very clever). With how highly regarded this album is, it’s sure to be a valued collectors item for some. I myself bought two copies so I could listen to one and preserve the other. 

That’s all I have for you. I hope that this gift guide helps you find something special for that someone special in your life that either makes music, or loves music.

Photo Credit: pCloud

With pCloud’s signature one-time payment, pCloud’s ‘Family Plan’ streamlines collaboration efforts for music production groups, recording engineers, and musicians.

The company boasts an extensive portfolio of music industry-specific features, high-end synchronization, and encrypted storage. With that, pCloud has emerged as a critical tool for the music industry — earning a seat among mega players providing cloud-based storage solutions. Just recently, pCloud joined forces with Digital Music News to deepen its relationship with music industry creators.

The company is also offering another unique advantage for music people. Studio managers, producers, and musicians can share up to 10TB of storage with up to 5 users while benefiting from unbreakable security for all files.

pCloud’s Marketing Specialist Rafael Pashamov spoke to Digital Music News about the suitability of the Family Lifetime Plan, saying, “A studio engineer used it with his colleagues for recording guitars, piano, mix, and mastering. This plan is amazing for smaller teams.”

This ‘Family’ plan allows team members to streamline collaboration by automatically syncing across multiple devices and implementing selective offline access. Users can work on a project simultaneously, activate auto uploads of critical files, and add HDD extensions through pCloud drive. This creates a storage hub that holds all file versions and relevant metadata — everything creators need to expedite track production accurately. pCloud’s ‘Extended File History’ or EFH feature lets users reach up to a year back in time and fetch older versions.

Explaining how storage is split among members of the Family plan, Pashamov said, “The account holder can easily invite family, friends, and colleagues to join the plan. Space can be distributed among the ‘family’ members however the owner desires.”

Other unique collaboration tools include the ability to customize shared links and brand them for better exposure.

Users can generate shared links with expiration dates, password protection, and more. With stats tracked on every link in real-time, users can keep an eye on crucial data, including download numbers and link traffic.

With tools that streamline the organization and management of instrument files, drum kits, sound samples, and loops, pCloud is quickly becoming the go-to platform for music industry professionals.

Users can subscribe to pCloud’s lifetime plans without hidden charges or setup fees. The Family lifetime Plan allows 10TB of shared link traffic, fair sharing, and 30 days of trash history to revert to older file versions.

With 16 million subscribers already tapping into pCloud’s extensive storage options and collaboration tools, the platform is aggressively grabbing market share with an 85% discount on its Family Lifetime Plan.

Users pay a one-time fee to unlock 2TB of storage for $499 (instead of $1,700) and 10TB of storage for $1,169 (instead of $7,600).

Users can also upgrade to the Crypto Folder Lifetime for only $115 instead of the usual $575 price tag. Pashamov explained how the upgrade ties in for all members of a Family plan, saying, “If the plan owner gets the Crypto Folder Lifetime, all other family members avail it for free.”

pCloud’s music-specific features include built-in video players, streaming, unlimited file size and speed, file version access, remote uploads, and backups from all major cloud platforms.

With high-value files shared across pCloud, the platform implemented ‘zero-knowledge privacy.’ With that, pCloud will never have access to user files and provides an encrypted folder on user’s systems — for military-grade file security. pCloud also integrates across any OS, preserving folder structures on the cloud.

The company aims to support and expedite music production via quick response time and query resolution. pCloud’s critical differentiating features also include access to actual human support 24/7.

Photo Credit: Thomas Crabtree

The music industry’s much-discussed credits problem has caused musicians to miss out on billions in owed payments. Now, VEVA Sound is partnering with universities to help the next generation of music professionals receive their due recognition and compensation.

VEVA Sound has long worked to improve credits and, in turn, enable members of the music community to put unmatched royalties in the rearview. VEVA Collect, the Nashville-headquartered company’s one-stop collaboration tool, allows creators to share files, infill credits at the outset, manage splits, and much more.

Late 2021 saw VEVA Sound unveil high-profile partnerships with entities including the Mechanical Licensing Collective (MLC), the Nashville Songwriters Association International (NSAI), and Phonographic Performance Limited (PPL). A SoundExchange data-sharing partnership, billed by execs as “an important next step in the interoperability of leading companies in the music industry,” followed in May of this year. Throughout 2022, Collect has assisted a multitude of musicians by capturing credits at the source, optimizing metadata, and securing payments to which their hard work entitles them.

These and other efforts are making it easier than ever for established creators to claim and receive proper royalties. Without expert guidance and access to resources like VEVA Collect, however, creatives who are just entering the industry, including the hitmakers of tomorrow, are destined to make further credit-related mistakes and give up billions more in due pay. Now, DMN is partnering to support a new initiative designed to address this issue.

To prevent credit issues and lackluster metadata from inhibiting the careers of up-and-coming talent, VEVA Collect is coordinating with universities throughout the United States.

“This is an idea we’ve been implementing for a while, and now we’ve reached a critical mass of participating schools,” VEVA Sound president Deborah Fairchild told Digital Music News of the initiative.

Nearly 20 institutions have already signed on to the program, with current stateside participants including Berklee College of Music, The Blackbird Academy, Fisk University, Middle Tennessee State University, the University of Georgia, and the University of Miami, to name some.

Across the pond, early U.K. adopters include the London College of Creative Media (LCCM), Liverpool Institute for Performing Arts (LIPA), Academy of Contemporary Music (ACM), WaterBear—The College of Music, and The Unheard Academy. The Abbey Road Institute is also on board across all of its global schools, and VEVA intends to expand the campaign into additional countries moving forward.

Students at certain partner universities are simply using VEVA Collect as a free resource. Others are actively incorporating the platform into lessons.

“With some of the schools, we’re giving them free access to our platform, and they’re in turn making that available to their students,” Fairchild told DMN. “In many other schools, however, classes are focused on the VEVA Collect platform and teachers are integrating it into their curricula.

“Middle Tennessee State University is one of them, with a specific course and actual recording projects. Students are having to collect credits and submit credits and upload files. Basically, the whole way you should use the platform, they’re actually teaching it.

“But regardless of if they teach it or not, it is something current. It is something new. It is something valuable that these kids are getting exposed to for free. And I finally got yeses across the board,” Fairchild continued..

Time will reveal the precise impact of the platform’s availability and role at universities, where students are presumably learning the ins and outs of credits in the contemporary music industry – and working to bring about fundamental change.

Already, music education professionals are reporting positive experiences with VEVA Collect and the overarching lessons that it’s helping relay to students.

“At SAE Institute we want to provide tools to prepare the students to enter and flourish in the creative industries,” said SAE Institute Nashville entertainment business program chair Anthony Corder. “We are so excited about the VEVA Collect platform that helps our industry to credit, organize, share data and provide protection for creatives to collect revenue. VEVA Collect is a great resource.”

“At the University of Miami Frost School of Music, we understand the critical importance of capturing accurate creator credits,” stated Serona Elton, the University of Miami’s professor of music industry and associate dean of administration. “VEVA Sound is an industry leader in this sector and we are very appreciative of them working closely with us to educate our students on how to use the VEVA Collect tools and the industry best practices with respect to metadata.”

It’s notoriously difficult to elicit meaningful change in the music industry. But with a trusted credits platform equipping more young musicians with the tools that they need to succeed – and enjoy the results of their successes – potentially game-changing steps are being taken in the right direction.

Photo Credit: Warner Chappell Music

Warner Chappell Music has opened a new songwriting studio in Barcelona, Spain.

The new studio is run by Cristian Cabrera Viñas, Senior A&R Director at Warner Chappell Music Spain. He works closely with Javier’ Chiki’ Dean, who heads Warner Chappell Music’s A&R operations in Spain and reports to Santiago Menéndez-Pidal, President, Southern Europe, Warner Chappell Music.

The new songwriting studio is located in Barcelona’s Poblenou district, an artistic neighborhood with many converted factories housing tech offices and design showrooms. The district is also home to the Barcelona Design Museum and the famous Bogatell Beach.

“We’re so excited to unveil our new Barcelona studio,” adds Cristian Cabrera. “We’ve had huge demand from songwriters wanting to book time to work here, so we already know it’s a valued addition to the local scene. Many of our international writers like to visit Barcelona, so it’s great that we can provide them with a studio environment, and we also hope it will help us to sign more local writers from Catalonia.”

“I’m delighted that we’ve now got a purpose-built home in Barcelona for our songwriters who want to work in this vibrant city,” adds Santiago Menéndez-Pidal. “Following the launch of The Music Station in Madrid earlier this year, our new studio shows that we’re committed to investing in world-class infrastructure here in Spain to support our songwriters.”

Warner Music Spain and warner Chappell Music launched the creative hub in Madrid in May 2022. That office is located in the former Principe Pio North Station, with a dramatic change from the typical office format. That space in Madrid consists of more than 10,000 square meters to house Warner Music Spain and Warner Chappell Music Spain. The new offices opened with a performance from Alizzz, an artist, producer, and songwriter signed to both Warner Music Spain and Warner Chappell Music Spain.

pCloud is targeting serious music clientele with collaboration, encryption, and metadata. The company is introducing unique features like a native music player, previous file-version access/reverting, metadata recording, DAW compatibility, and ease of use with Splice — alongside other differentiators.

This Black Friday, pCloud is also offering 85% off all Premium Lifetime Plans. Users can access all of pCloud’s most exclusive features and gain insane amounts of storage — for a one-time payment that lasts a lifetime.

pCloud is a securely-encrypted virtual drive that allows users to access, synchronize, and store all types of files on the cloud. With extensive storage space that matches the likes of Dropbox, Google Drive, OneDrive, and other cloud-based storage platforms, pCloud is now making notable moves to stand out as a critical tool for the music industry.

With encryption and protection for crucial, high-value music files and an extensive list of collaboration tools, pCloud has gained a footing amongst the existing cloud-based mega-platforms. The platform aims to disrupt the cloud market share for musicians by providing critical secure storage solutions to the music industry. Now, pCloud is partnering with DMN to expand its footprint further.

Music industry-specific features are opening up new avenues of file management, metadata recording, collaboration, and access to music files. Among its music-specific features, pCloud’s Native Audio Player for all devices allows users to listen to albums, playlists, and enjoy playback shuffle alongside other integral features. With a built-in video player, users can also indulge in video streaming with no limits on file size and speed. 

No matter your industry, losing files costs time, money, and other resources. When we talk about the music industry, those files come with excruciatingly high price tags, sometimes worth millions of dollars (if a price tag can be placed on lost, stolen, or leaked music). These require seamlessly-encrypted security — and nothing less will do.

With its music-industry-specific storage and foolproof security, pCloud is going for ‘Dropbox killer’ status. With TLS/SSL channel protection and 256-bit AES encryption for all files, users can be assured of five copies of every file living on different servers. The music-centric segment of pCloud is custom-built for teams to come together for seamless file management across platforms and DAWs, with the option to purchase an extra layer of protection from pCloud—if needed.

pCloud’s file sharing and collaboration tools include the ability to customize shared links, branding them for more elite exposure and value. Users can also apply expiration dates, password protection, and more.

The ‘invite to folder’ feature unlocks the ability to modify properties of shared links after considerable time has elapsed, and also terminate links whenever needed. With statistics tracking on every shared link, users can keep tabs on crucial data, including the number of times a file is downloaded or how much traffic it receives.

The SYNC feature connects local and cloud folders in a two-way, mirrored fashion. Any changes performed in one place are automatically applied to the other one. 

In this way, two sound engineers or artists can work on the same project simultaneously, from across continents, and achieve the same collaboration efficiency as they would if they were seated side by side — in the same studio.

The platform allows automatic upload of critical files from any device and HDD extension through pCloud drive. Users can also choose selective offline access to modify files while auto-syncing across multiple devices. This creates a hub of storage to house all relevant file versions, metadata, and information needed for track production.

pCloud also expedites metadata detection of artists, albums, composers’ names, songs, producers, and other identifying information. Id3 v1. tags are currently supported, and pCloud has confirmed that extensive upgrades will be released soon.

Most professional sound designers, beatmakers, and producers report needing more than 1 TB of storage space to effectively manage and maintain their projects, DAW plugins, extensions, and sound effects.

Accordingly, pCloud has introduced ‘lifetime plans’ with a one-time payment. Users can upgrade to up to 12 TB of lifetime space — with 16 million subscribers already tapping an elaborate list of features and functions.

pCloud’s free account from their dedicated music page presents users with 500 GB of storage for three months. Premium plans start at $199 for 2 TB of storage, the second tier at $399 for 4 TBs of securely-encrypted storage, and the highest tier unlocking 12 TB of total storage with a $1,190 price tag. All plans can be availed with pCloud’s signature one-time payment, valid for the user’s lifetime.

pCloud Marketing Specialist Rafael Pashamov emphasized the platform’s unique DAW compatibility, saying, ‘We have designed pCloud to be able to work effortlessly with any DAW. Since pCloud Drive functions as a Virtual Drive, it acts with no difference than any other Drive on your Device with Any DAW.’

pCloud’s highly-developed file-versioning allows restoration of lost versions or previous instances. It’s also applicable to all kinds of files. With automatic upload on mobiles, an intuitive tool saves phone storage by making everything accessible on any connected device. The platform also integrates seamlessly on any OS, while preserving folder structures online.

Company reps reference pCloud’s unique ‘Rewind’ feature as ‘like using a time machine.’ ‘Rewind’ is applicable on all free and premium plans, allowing users to set specific date/time stamps, so they can revert to them for later use. 

Elevating ‘Rewind’ is a paid upgrade ‘Extended File History’ or EFH. This allows users to reach up to a year back in time and fetch older versions.

Having easy access to an entire library of projects and components streamlines project execution in the music industry. This feature is being appreciated by users and is being called a ‘huge advantage.’ Users can easily pull any relevant file from pCloud with their folder structure, drag and drop components onto the track, and create their latest hits.

The platform also works with any DAW when using pCloud. Organizing files for music is especially important; by gathering and managing instrument files, drum kits, sound samples, and loops, pCloud has quickly become the go-to for music industry professionals.

pCloud is also sorting the longstanding nuisance of lost Splice samples. Although extensively used by composers and music managers, reusing these samples sometimes requires redownload and repayment. With pCloud, all acquired Splice samples are stored for later use.

Pashamov confirmed that ‘users can effortlessly use all samples and sounds they collect from Splice — which is used by EVERY producer. The sheer convenience of organizing your project files and beat components into sound libraries of drums, kicks, hi-hats, snares, 808, etc., pulling the pCloud Drive from the DAW itself is highly impactful.’

More than just a critical piece of tech for music management and storage, pCloud features also ensure seamless management for other documents, files, and photos.

Users can allow offline access across all devices using their pCloud account. The file gets cached with an encrypted-sharing concept, preserving it to become available to listen to, open, and modify. With encryption features that company reps call ‘the best on the market,’ pCloud also brings a crypto folder to protect the most sensitive and valuable data. Subscribers can also commandeer autonomy to choose the data center, USA vs. EU.

One of the biggest highlights of the platform? pCloud owns the data centers and servers housing the users’ files on the cloud, which means no third-party makes any connection with user files. Unlike other cloud-based storage platforms, the user’s encryption key is stored on the user’s device, blocking access for pCloud employees.

Musical content creators may also appreciate human support, often missing on bigger platforms. pCloud says they connect users to real people for 24/7 technical support. Every request and query is responded to and resolved within a few minutes of initiation—with a maximum recorded request-resolve time of 48 hours.

By offloading CPU loads onto the Graphical Processing Unit, GPU Audio is placing a powerful and underexploited parallel processor at the center of music production. The shift could have massive implications for the emerging music metaverse, AI, resource-intensive production environments, collaboration platforms, and bandwidth-demanding concert live streams. The company might provide the critical backbone required to support a myriad of fast-emerging music industry sub-categories.

Keeping up with the breakneck music industry of 2022 is a difficult task. Once upon a time, billions of streams were dazzling enough – now the industry is bursting with avatar bands, metaverse livestreams, increasingly-sophisticated DAW or plugin options, emerging collaborative platforms, NFT surges and flops, and resource-intensive, immersive audio experiences.

It’s a dizzying explosion — especially when it comes to the topic of powering it all. Concepts like complex spatial audio environments and real-time jamming sound great on paper, but is there enough processing power for all of it?

Graphic cards — or GPUs — are underexploited processing powerhouses capable of more than just graphics, and can take a good beating with massive amounts of workload. They are the backbone of the modern AI industry, the infrastructure of metaverses, and now—the future of audio?

As advancements in tech surpass imagination, computing demands for audio dutifully follow. Upgraded tech like spatial audio, neural networks, machine-learning-based plugins, and heavy virtual analog plugins now highlight a massive need for music developers. A new ‘standard of processing’ is needed to go where tech is going.

The pro-audio industry has tried numerous prospective solutions, from SHARC to FPGAs. But no company has successfully enabled the underutilized power of graphic cards. The tech had been thoroughly idealized yet never effectively executed due to the fundamental differences between GPU architecture and the sequential nature of audio processing.

Now, Los Angeles-based GPU Audio is tapping into the remarkable power of built-in GPUs for audio production and attempting to change the face of a multitude of other industries.

Currently the only company able to fully exploit the processing capability of built-in GPUs, GPU Audio founders refer to themselves as ‘unlockers’ and ‘enablers’ of  ‘accelerated audio computing.’

Judging from initial user feedback, the company appears to be filling a real gap in the industry. Alexander “Sasha” Talashov, co-founder and co-CEO at GPU Audio, described the company as ‘a conductive layer that connects companies, complex tasks, and systems.’ Just recently, the company joined forces with DMN to broaden adoption and accelerate the growth of this powerful solution.

GPU Audio launched its Early Access plugin at NAMM, and it’s already being touted as a solution that brings parallel processing back to the forefront of music production. Post NAMM drop, GPU Audio’s pre-beta users increased 33-times this summer and currently stand at over 20,000 users — up from 600 in the first couple of days of June. Just weeks ago, they further released the “Beta Suite” featuring a growing toolset of audio plugins, beginning with classic, mainstay effects: Flanger, Phaser, and Chorus.

Talashov spoke about the company’s broader mission of establishing new standards for pro-audio, and enabling connections to other computing technology advancements. According to Talashov, a good example is the current VST3 standard. “The VST3 doesn’t provide any new features; it doesn’t connect us with anything. No new hardware, no new software, no new bridges to the rest of the world. So we began there — by connecting it to the GPU.”

Speaking about building this bridge with GPUs, Talashov added, “This is not only connecting platforms — it’s connecting industries.”

It’s no secret that processing power bottlenecking has always been the bane of the pro-audio industry.

Fiendish latency has destroyed the sanity of audio producers everywhere. Then there’s trouble rendering out STEMS, summing a group of mixes, or having to freeze or export and import tracks to save DSP power. But even an investment in expensive hardware fails to defeat bad renders, off-beat STEM processing, and choppy audio workflows in Dolby Atmos. Despite the considerable advances in Apple silicon, walk into an Atmos-certified studio, and you still find engineers using two or three computers to execute projects.

The economics of tapping into existing GPUs versus purchasing expensive hardware is grabbing user attention.

A bottleneck-free hardware setup can easily cost $4,000 or more when purchasing computing power for mixing tracks live. In comparison, a $900 hardware setup will run programs that usually require external acceleration hardware or expensive desktop-grade solutions. By enabling existing GPUs, users can fire up a neural GP, amplifiers, processing, and other essentials with huge performance implications.

Speaking about what GPU Audio is doing, fellow co-founder Jonathan Rowden said, “We greatly power up spatial audio tools. We speed up machine learning and AI tools – even the basics. Tools that use GPU Audio will turn your GPU into a DSP accelerator, saving your CPU headroom for other tasks.”

And what about Apple’s second generation M2 — the buzz that these chips are the ultimate, much-needed native hardware upgrade for track processing?

Speaking about these latest Macbook processors, Rowden appeared unconcerned. “People talk about M1 and M2 MacBook processors as though these eliminate the need for acceleration, but there are still limitations when ‘going native’ for consumer-grade systems. Apple silicon also has GPUs, and we’ll be enabling and unlocking those as well. We’re already working with Apple on solving this and the results are extremely promising. The feature will be available in Early Access in just a few weeks–or less.”

Already, the company has raised $6 million. With its current valuation, GPU Audio could be approaching its Series A by the Spring of 2023.

Talking about what’s coming within the next few months, Talashov said, “If you have a Windows laptop, you can download it today. Our first Beta Suite Bundle was made public on October 8th. It’s compatible on PCs with NVIDIA GPUs. AMD support is now in ‘Early Access’ and available on the PRO Driver based GPUs. Internally, we already have Mac OS support for M1 and M2 GPUs, along with AAX support for ProTools – and before long, users can test this in early access.”

As the system is developed, there’s also the promise of exciting implications for real-time collaboration. Cloud-based DSPs can provide real-time, non-destructive workflow opportunities that could change the game in myriad industries. Rowden elaborated on this, saying, “We operate on the grounds of core-level innovation. GPU Audio can make audio renders available instantly. We can get rid of the export button. Imagine how a simple feature can change the game of how companies design the future of workflows and the impact it will have on creative output – from such a fundamental level.”

GPU Audio is focused on the tech’s scalability and upgradability, and is acutely interested in collaborating with third parties to develop products. Speaking about this, Rowden clarified, “This is what we mean by bridging accelerated computing and pro-audio. This tech is a new standard that we believe can be used anywhere.”

With grand plans of tech applications in various industries, GPU Audio claims it will ‘power the future of audio from music to metaverse’ – and company execs are pretty convincing when they explain how.

From the accelerating computational needs of gamers and PC users to manufacturing industries running mammoth equipment for complicated computations, unlocking the potential of GPUs is what gets the ball rolling.

According to Rowden, “Anywhere a GPU is present, GPU Audio powered applications will be able to harvest its power.”

In the final weeks of October, the GPU hardware powerhouse AMD (Advanced Micro Devices) also invited GPU Audio as guests to the Adobe MAX conference in Los Angeles. Rowden called AMD one of their ‘strongest supporters,’ and added, “AMD wants to bring GPU-accelerated audio processing to their creative users – video and graphics creators. Senior leaders at AMD expressed that everything their creative user base needs is accelerated by GPUs, and it makes sense to expand this to audio.”

For AI and machine learning, GPU’s highly parallel nature will process and accelerate workloads.

Designing robotics, industrial equipment, and autonomous vehicles require data input from various sources and sensors, such as video equipment and audio sensors. New neural network models, techniques, and use cases appear rapidly. For speech and image recognition demands and other language processing, GPUs accelerate data ingestion and expedite the entire AI workflow. With the acute interest and support of leaders at multiple GPU hardware companies, GPU Audio is working on a backend and front-end solution for making AI-based audio applications faster and more powerful.

And what about web3 and the metaverse?

GPUs may also supply the enormous computing power needed by web3 developers, so the industry can tackle the massive amounts of channels and pathways that go into metaverse creations.

Rowden is clearly thinking big. “Because GPU Audio utilizes a source of compute that makes up a vast processing infrastructure – especially cloud-based – it stands as the most powerful potential resource for the future of cloud-based DSP. This has massive implications for metaverse and web3-focused projects,” he explained, adding, “GPU powered plugins will be easily deployed on the cloud, and it won’t stop there.”

GPU Audio aims to facilitate realistic immersive experiences in the metaverse by ‘enabling’ the tech that allows a network of cross-communicating and connected virtual worlds. It will also unlock advanced AI executions.

On this front, US-based NVIDIA, a world-leading designer and manufacturer of GPUs, chipsets, and other multimedia software has also taken an interest in what GPU Audio can bring to the table. NVIDIA has asked the company to implement more focused efforts on the development of AI advancement tools and metaverse applications.

NVIDIA is currently developing Omniverse, a collaboration platform for developing metaverses and related products and ecosystems. As that initiative takes root, NVIDIA is now exploring how GPU Audio processing can transform the ‘cost’ of audio processing bottlenecks into an advantage on their cloud.

This is just one example of the pioneering tech that GPU Audio says will change the world – as they continue to enable GPU solutions.

GPU Audio greatly encourages anyone interested to join their more than 20,000 users to participate in Beta and Early Access Testing. Beta addresses the production suite of plugins, while Early Access features a convolution reverb to address new features like Mac M1/2 support before it reaches beta.

Please contact Jonathan Rowden at jonathan@braingines.com (or LinkedIn here) to learn more.

Photo Credit: Spotify

Spotify finally realized its barebones Apple Watch app experience is hurting more than helping. The streaming giant redesigned the app with new features.

The Spotify Apple Watch app before the update was barely worth using. Songs on the screen appeared in a text-only list, which made it hard to find music quickly. The latest update brings a more familiar user experience that also features album artwork. The Spotify app for watchOS update is rolling out with this new Library view and in-depth music controls. 

Tapping on an album or playlist used to initiate play immediately, but Spotify changed that behavior. Now there’s an additional screen that includes options for downloading and shuffling music. Spotify’s offline playback for the Apple Watch hit in May 2021, but that implementation was severely limited. For starters, users still needed to use their phone to choose offline music, and only songs–not albums and playlists–could be downloaded to the watch. 

The latest update allows users to download playlists and albums without needing an iPhone. And finally, for podcast listeners, the app now remembers where you left off when you stop listening to an episode. The previous version would always restart the episode, meaning you’d lose progress and have to scrub your way through to find your old position. 

All of these changes are designed to make the Spotify Apple Watch more competitive with the Apple Music experience. Apple Watch owners have been complaining for years on the Spotify Community forums about some of the features that were implemented today. The redesigned interface should make the app more useful for anyone who uses their watch to listen to music. 

Spotify’s Apple Watch experience has been barebones since 2018, when the app was made available. It started life as a simple remote control option for music still streaming on an iPhone. Updates followed that brought direct streaming to the Apple Watch. This latest update finally gives users something worth using on its competitor’s platform.

Photo Credit: James Owen

Meta has announced an AI-powered audio compression method that supposedly delivers ten times better compression than the MP3 format.

The audio compression method is called ‘EnCodec,’ which Meta debuted on October 25 in a paper titled by ‘High Fidelity Neural Audio Compression,’ authored by several Meta researchers. Meta gave a brief summary of the research that went into the compression codec on its blog. 

Meta says its method is a three-party system that is trained to compress audio to the desired target size. The encoder transforms uncompressed data into a lower frame rate ‘latent space’ representation. The ‘quantizer’ compresses the new representation to the target size, while keeping track of the important information to rebuild the signal. The compressed signal is sent, and a decoder turns that signal into audio in real-time using a neural network.

“The key to lossy compression is to identify changes that will not be perceivable by humans, as perfect resconstruction is impossible at low bit-rates,” Meta researchers add.

“To do so, we use discriminators to improve the perceptual quality of the generated samples. This creates a cat-and-mouse game where the discriminator’s job is to differentiate between real samples and reconstructed samples. The compression model attempts to generate samples to fool the discriminators by pushing the reconstructed samples to be more perceptually similar to the original samples.”

Meta researchers claim they are the first group to apply a neural network for audio compression to 48 kHz stereo audio–just a hair better than CD’s 44.1 kHz sampling rate. Meta seems to be aiming the technology at delivering voice calls over bad network connections with smaller files, but there are also metaverse applications too. 

Researchers say EnCodec could eventually deliver “rich metaverse experiences without requiring major bandwidth improvements.” The technology is still in research, but it appears Meta is focused on new ways to deliver high-quality audio across a network, no matter the conditions.

Photo Credit: Evgeniy Konev

Whether buying your first acoustic guitar or your tenth, the decision is always unique to the sound you want. Have questions? Check out this acoustic guitar buyer’s guide with some recommendations from Sweetwater’s vast inventory.

The following was created in collaboration with Sweetwater, a company DMN is proud to be partnered with.

Steel-string acoustic guitars produce a unique sound that originated in the 19th century with a German-born American luthier, Christian Frederick Martin. Martin designed a unique X-style bracing system to handle the extra tension generated by metal strings. The sound produced by modern acoustic guitars has defined the sound of musical genres like country, folk, bluegrass, and many others. This quick buyer’s guide to acoustic guitars will help familiarize you with some of the major differences between different guitars and what to expect when buying your first guitar. 

How Body Shape Impacts Acoustic Guitar Sound

Acoustic guitars come in a variety of body shapes, which significantly affects the tone and volume the instrument produces when played. Guitars with a smaller body will have a midrange-forward sound–which makes them ideal for recording. Larger-bodied acoustic guitars produce a louder song, making them ideal for solo singers and live performances. 

How an acoustic guitar sounds is an important part of the selection process, but how the guitar feels in your hands is equally important. Start with finding the right body shape of the acoustic guitar you want before considering factors like tonewoods. Sweetwater makes it easy to sort through acoustic guitar shapes on their site.

How Tonewood Impacts Acoustic Guitar Sound

Tonewood are varieties of wood that produce tonal properties, making them a good choice for woodwind or acoustic stringed instruments like guitars. The most commonly used tonewoods for guitars include spruce, mahogany, cedar, rosewood, and maple. Some acoustic guitar manufacturers have models that utilize alternative tonewoods like koa, ovangkol, bubinga, sapele, and myrtlewood. The type of tonewood used to make a guitar impacts the resonant sound the instrument makes. You can hear examples of this on Sweetwater’s website.

Choosing an Acoustic Guitar – Does Price Matter?

Acoustic guitars are available from under $200 to thousands of dollars for just one instrument. How much does price matter when selecting an acoustic guitar? That question has a multi-faceted answer and depends heavily on how you plan to use the guitar. 

Casual play and learners will be well-suited to an affordable acoustic guitar. A professional Bob Dylan tribute band may want something with a deeper, richer sound that is made from alternate tonewoods and comes with a higher price attached. Want to hear what a guitar sounds like? Check out Sweetwater, where you can hear sound clips of every single guitar being played on their website.

Acoustic Guitar Recommendation – Under $500

Need a great first acoustic guitar that offers a great sound? Look no further than the Yamaha FS800 Concert Acoustic, which features a solid spruce top with a nato/okoume back and sides, a nato neck, and a walnut fingerboard. The free Player Port app for iOS and Android gives beginners the tools they need–tuner, how-to videos–to begin playing.

Acoustic Guitar Recommendation – Under $1,000

The Seagull S6 Original is a classic dreadnought acoustic guitar with a solid cedar top with furniture-grade laminated wild cherry mated to a neck of silver leaf maple. The construction offers a warm and lively tone for fingerpicking and strumming and an extra-wide rosewood fingerboard for players with larger hands. 

Acoustic Guitar Recommendation – Under $2,000

Tired of hauling multiple guitars around to gigs? The Fender Acoustasonic Player Telecaster gives guitarists an electric-style magnetic pickup and an acoustic-style undersaddle system in one package. The body features a sitka spruce top with mahogany back and sides. It’s merged with a mahogany neck and features a rosewood fingerboard with a Fishman undersaddle and a Fender N4 Noiseless magnetic bridge.

Photo Credit: Nolen Johnson

Spotify’s discontinued Car Thing accessory has been hacked and root achieved thanks to security loopholes.

The Car Thing is ultimately a failed experiment from Spotify to try and give those with older cars easy access to music streaming. The device originally retailed for $89.99 before Spotify realized no one was willing to pay that for such a pitifully limited device. Plus, most cars made in the last ten years or so include Bluetooth at least. 

Nolen Johnson and security researcher Frédéric Basse managed to come up with a chain-of-trust bypass for the Spotify Car Thing. The device itself is powered by an Amlogic SD905D2 SoC, which introduces an attack vector in the form of USB burning mode. Amlogic-based devices are notoriously hackable using USB burning tools. 

After prying open the outer shell of the device and accessing the pin-outs meant of debugging and repairs, the researchers were able to use USB-mode specific commands to obtain root access. Rooting a Spotify Car Thing doesn’t require you to do the same though, since they’ve packaged everything into a series of scripts on GitHub. The only thing required is a Spotify Car Thing, a USB cable, and a PC running Linux to use the libusb-dev package. 

Developing anything meaningful for the software would be hard, though, considering it only features 500MB of RAM. If you’re curious to see the researcher’s documentation for this Spotify Car Thing root project be sure to check out the GitHub page. It’s highly technical, but there are plenty of photos to highlight how researchers were able to achieve root on the device. 

Ultimately this just goes to show how little effort Spotify put into developing the Car Thing. Researchers alerted Spotify on October 20, 2022 that they have managed to hack the hardware device. Spotify responded the following day saying the product is “unsupported, and end-of-life, and therefore no bugs would be accepted pertaining to the product.”

Reprtoir is now simplifying its multi-product offering and switching to plan-based pricing with four major tiers. With the B2B shift, Reprtoir’s CMS is now courting bigger companies.

Juggling a list of digital chores can quickly become overwhelming for even the most well-staffed of labels. But that spells opportunity for those that dare to manage the chaos.

Enter Reprtoir, which has daringly grouped disparate musical assets into a comprehensive content management system. With Reprtoir, files, playlists, contracts, accounting details, and analytics can be organized in one place, even for the largest companies. Reprtoir’s updated, B2B-focused model now aims to offer more simplified organization and a dose of sanity for overloaded teams and companies.

Reprtoir says its streamlined SaaS workspace helps labels, management agencies, and others focus more on music development, release strategies, monetization ideas, and royalty accounting and management. Transitioning clutter and disorganization into actionable strategy is the name of the game. Just recently, Reprtoir and Digital Music News joined forces to expand awareness of the retreaded platform.

Regarding the timing of its model overhaul, Reprtoir says it completed its pricing transition in June. But the planning for this change had been in the works for over two years, with lots of client consultation involved.  “We have been working as closely as possible with our customers to understand their needs and methods, and we acknowledged them to create our new model,” commented Mathilde Neu, Content Manager at Reprtoir.

Apart from the streamlined solutions and modified pricing, there are other changes that current Reprtoir customers will notice.

For starters, customers are now billed in US dollars, no matter their country of origin. With a per-user pricing model, each plan now includes a limited number of authorized users, from a one-user limit in the Starter Plan to 10 users for the Enterprise Plan (though subscribers can add more users for a fee). Moreover, tracks, videos, and works are pooled under the name ‘Assets,’ with the Starter Plan facilitating 5,000 Assets, incrementally increasing to 100,000 Assets for Enterprise subscribers.

Features such as Metadata Collector and Business Analytics are no longer offered as add-ons but are standard in all plans.

Customers can also subscribe yearly, gaining an immediate discount of one free month and spreading the royalty-processing quota over the entire year.

Reprtoir has streamlined its extensive portfolio of nine solutions and complementary add-ons. The company now offers four straightforward business solution categories: Catalog Management, Music Sharing, Release Builder, and Royalty Accounting.

Catalog Management replaces earlier products Audio Manager, Metadata Collector, Videos Manager, Works Manager, and CRM. The Music Sharing solution replaces Playlists for Business and Business Analytics. Release Builder will replace what was originally the Release Manager, while Royalty Accounting takes the place of Rights and Royalty Manager.

Reprtoir’s solutions are now focused solely on label and production company use.

“Reprtoir is changing to offer solutions more suited to the work methods we’ve been observing for a few years,” Neu continued. “Our habits are evolving, and to keep providing one of the most complete solutions on the market, we are taking the step to evolve.”

Reprtoir’s client portfolio includes labels like DeeVu Records, Big Star Recordings, Cleopatra Records, and Genencia 360, as well as organizations like ACEMLA — to name a few.

From a music management perspective, Reprtoir offers an all-in-one workspace for record labels and music publishers, allowing powerful collaboration and productivity solutions.

Catalog Management at Reprtoir is a state-of-the-art catalog management system for record labels and music publishers’ extensive portfolio of music assets. With sound recordings, musical works, albums, videos, releases, contributors, rights holders, and more — the SaaS platform places storage and management of tracks and metadata in one place.

As a comprehensive SaaS suite for labels and companies, bulk imports to Reprtoir with Spotify Importer or Reprtoir Sheets allow streamlined management of more extensive catalogs. From our review of the platform, the collaborative space will enable users to fill thousands of rows into an online spreadsheet quickly. Reprtoir’s team of data experts and developers will also assist label managers for free for complete catalog migration.

Moreover, an intelligent bot called ‘Metadata Enrichment’ autonomously collects data from the web. For music catalog management, users can also mass edit and utilize advanced filtering for business catalogs and data export, alongside hundreds of other features.

The Music Sharing solution creates and shares playlists, monitoring traffic in real-time and enabling sales teams to pitch tracks for sync and licensing deals faster. While keeping complete historical data with no retention limit, contact filtering displays real-time playlist analytics, keeping track of opened playlists, streams, and downloads. Linking content and release planning expedite delivery to any distribution company with all metadata updated.

Reprtoir’s Release Builder appears to be the only available solution for a persistent industry concern: the creation of pre-formatted metadata packages that are compatible with distributors. Tailor-made for labels and publishers, Reprtoir’s Release Builder allows its users to submit releases as pre-filled, bulk-upload spreadsheets for distribution platforms such as Believe or The Orchard.

For any other music distribution company, aggregator, or streaming download service, Reprtoir will set up a specific feed for submission on their CMS by creating custom import packages in Reprtoir’s workspace.

The Royalty Accounting solution is a ‘supercharged accounting solution built exclusively for labels and music publishers,’ the company says. Seamlessly handling a bulk of income fees, advances, and royalty statement processing, Reprtoir’s signature Automated Statement Mapper is compatible with standard files from dozens of retailers, distributors, aggregators, performance mechanicals, or neighboring rights organizations.

Label managers can add royalty breakdowns to assets while bulk-assigning contributors, rights holders, and roles to generate royalty statements.

Discussing the old pricing model, Reprtoir’s original announcement on their website states, ‘While the pricing was ideal for small structures, it was not ideal for medium and large companies. In the majority of cases, they’re dealing with yearly approved budgets. The lack of long-term vision quickly became a problem.’

Reprtoir also aims to ‘reward our users who commit to us in the long run, by offering discounts, and those using the authorized royalty processing amount for a long period.’

The four pricing subscriptions are Starter, available at $79 per month, Professional at $129 per month, Business at $299 per month, and Enterprise at $999.

Here’s a detailed breakdown of the plans and their features. 

The Starter Plan is designed for companies that require only catalog management and music-sharing features—priced at $79 per month or $869 per year, with top features of Catalog Management, Metadata Enrichment, Contact Management, and Music Sharing. Starter Plan subscribers have access to email support, 100 GB of storage, and the ability to store and manage 5,000 assets.

The Professional Plan is tailor-made for small organizations that need advanced royalty management features. Priced at $129 per month or $1,419 per year, it includes everything offered in Starter but adds Release Builder, Contract Management, Royalty Accounting, and Sales Analytics. Professional Plan allows three users, 200 GB of storage, and the ability to store and manage 10,000 assets. It also enables users to process $20,000 of royalty statements per month, or $240,000 per year. The Professional Plan, like the Starter, offers email support.

The Business Plan subscription starts at $299 per month or $3,289 per year—and this is where the platform features get bigger and better. Built for medium-sized organizations that require more royalty management quotas, assets management, and storage, Reprtoir’s Business Plan includes all elements of the Professional Plan while adding Rights-Holders Portal, CWR Exports, and Multiple Organizations for five users.

With 500 GB storage and the ability to manage 25,000 assets, this plan allows royalty statement processing of $50,000 a month, or $600,000 a year. To meet the high-end demands of organizations, business assistance for this plan includes online documentation, email support, and chat support, available 24/7.

The Enterprise Plan fits the complex needs of labels and organizations that control large catalogs. Available at $999 per month or $10,989 per year, the plan includes all features of the three lower-tier subscription plans and adds Reprtoir API, Single Sign-on, and Customer Development. The numbers get big on this one, with the plan allowing ten users, 100,000 assets, 2TB of storage, and the ability to process $200,000 of royalty statements every month, or $2.4 million annually. Business assistance and support go beyond email and chat. This plan adds exclusive phone call support and a dedicated customer success manager to speed things up.

According to Neu, “Our transition into a platform for labels aligns with our long-term vision while making an impact on how the music industry transitions into the digital world.”

Photo Credit: Arturia

Arturia announces four new products during their “Rendez-vous” livestream on Tuesday, October 18th.

The following comes from Arturia, a company DMN is proud to be partnering with.

Dive into the biggest Arturia new product drop in two decades, spanning all corners of its music creation ecosystem. Introducing Augmented GRAND PIANO, MiniFuse 4, MiniLab 3, and MiniFreak.

A morphing virtual piano; a versatile audio & MIDI interface; a universal music-making controller; a hybrid algorithmic polysynth. Four new products, 4 new sources of inspiration for sound explorers. Head to arturia.com for more details, and watch the Arturia keynote here :

Arturia expands wild hybrid synth range with 6-voice MiniFreak

MiniFreak is a polyphonic hybrid keyboard that combines two digital sound engines with warm analog filters, playful modulation, spontaneous sequencing, and rich stereo effects for sounds that are immediately curious, beautiful, and chaotic in equal measure.
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The universal music-making controller : MiniLab 3

MiniLab 3 is a next-generation plug-and-play MIDI controller that combines a great-feeling keyboard, flexible pads, faders, and knobs, and a premium software bundle with seamless DAW integration that lets users get creative right out the box.
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Augmented GRAND PIANO

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MiniFuse 4 available now!

Capture crystal-clear recordings, refine with pro-grade creative software, and make music happen with a 4-in/4-out interface that ticks all the boxes: best-in-class audio, expanded connectivity, a 5-year warranty, and a world-class suite of software titles for modern music production.

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“Arturia specializes in the creation of music software and hardware dedicated to the exploration of sound. Operating in 55 countries, their aim is to create tools that encourage musical discovery, nurture inspiration, and savor the creative process.”

Photo Credit: Jerin John

After a firmware update, several Apple AirPods Pro 2 users are complaining about audio sync and drifting issues. Here’s what we know. 

The audio drifting issue being described is one where the sound shifts between the two earbuds, either from L to R or vice versa. The audio moves back and forth between the two earbuds, even when spatial audio and dynamic head tracking features are turned off. In a reddit post from two weeks ago, one user says this is their second pair of AirPods Pro 2 to experience the issue.

“This is my second pair of AirPods Pro 2 and the audio still seems to shift/drift all over the place, sometimes it can compress the volume of a song and then randomly raise the volume. Can anyone explain why this is happening could it be a software issue or a hardware issue?” the user asks the r/AirPods community. 

“I actually exchanged my AirPods Pro 2, to see if it was a hardware issue with that pair, but I get the same issues with the new pair,” another user commented. 

Another user responded to the same thread and says the issue seems to be with noise canceling. “Noise cancelling or Adaptive Technology results in weird shifting of the sound stage and random volume changes in some frequency ranges. Some tracks are impacted far more than other tracks and there seems to be some dependency on external conditions,” another user says. 

While there seem to be plenty of people experiencing this issue, Apple has yet to acknowledge it publicly. Some people on social media who are discussing it say Apple representatives they’ve spoken to about it say this is the first they hear of any problems. Right now, it’s unclear whether this issue is a software or a hardware flaw. It’s not one that’s incredibly widespread, since only a few people are talking about it on social media.

Photo Credit: Bence Boros

Google is working on a royalty-free open media format to rival Dolby Atmos and Dolby Vision.

The internal plans, called Project Caviar, were shown to specific hardware manufacturers earlier this year, according to a report from Protocol. Google’s presentation called the project a way to build a “healthier, broader ecosystem” for premium media experiences. As it stands, anyone who uses Dolby’s formats must pay a licensing fee to do so. 

YouTube is the primary focus for introducing a competing standard with Dolby. The largest video platform in the world does not currently support Dolby Atmos or Dolby Vision. Google’s efforts in the video realm have been primarily focused on codecs. It helped to found the Alliance for Open Media, which oversees the royalty-free AV1 video codec. 

Protocol reports that Project Caviar is different than Google’s past audio projects because it’s not a codec. It focuses on 3D audio and HDR video formats that use existing codecs but offers a “rich and immersive media playback experience.” The clear aim is to give YouTube creators access to Dolby Atmos-like experiences without the need to pay Dolby’s licensing fees.

Dolby makes most of its money through licensing with hardware manufacturers. Dolby Vision nets upwards of $3 per TV produced with the technology. We don’t know what Dolby charges hardware manufacturers to license its Dolby Atmos tech because the company hasn’t publicly disclosed it. But Xbox owners who want to experience Dolby Atmos on their console pay a $15 license per console to do so.

Google and many other companies under the Alliance for Open Media are also seeking an alternative to Dolby Atmos. Members include Amazon, Netflix, Meta, and Samsung, among other smaller companies. The consortium is currently working on a new audio format called Immersive Audio Container–meant to deliver a 3D audio experience with existing open codecs. Apple has thrown its support behind Dolby Vision and Dolby Atmos–so is a format war at hand?

Photo Credit: Eric Tompkins

The debate over songwriter compensation is unlikely to end anytime soon — though fast-evolving technology will play a big role in the discussion moving forward. Case in point: Audoo is working to improve songwriter pay by optimizing performance data from public establishments. The resulting changes could be dramatic.

Songwriter compensation has become a particularly hot topic in 2022. In the wake of multibillion-dollar bets on song rights, the imbalance between publishing and recording payouts has assumed greater importance. And the late-August announcement of a long-sought royalty-rate hike on streaming services is part of a years-long battle over who gets what.

With signs pointing to a streaming plateau ahead, Hipgnosis Songs founder and CEO Merck Mercuriadis recently reaffirmed his bullish vision for the segment. But songwriter payouts remain a touchy subject.

“When I presented [the Hipgnosis] investment case to the financial community, I told them that this was going to be a great way to make money, because Spotify and streaming was going to go from having 30 million paid subscribers to having 100, 200, 300, 400, now we’re at 500 million,” said Mercuriadis. With that rise, Hipgnosis’ hit-heavy holdings are poised to enjoy a material revenue jump.

But Mercuriadis warned that shorting songwriters could come with a cost. Recent dips in Spotify’s subscriber growth, far from being indicative of a plateau in the wider music streaming market, only reflect deficiencies in the company’s business model and approach to songwriters, Mercuriadis relayed.

“I think what is plateauing [for Spotify] is because of the negative stance that they’ve taken on songwriters – and because of being preoccupied with some other things. I think Spotify perhaps isn’t going to end up with the same share of the global market that I expected them to have.”

Meanwhile, National Music Publishers’ Association president and CEO David Israelite promptly touted the 15.35 percent headline royalty rate that streaming services agreed to pay songwriters and publishers during the 2023 to 2027 stretch.

“This historic settlement is the result of songwriters making their voices heard. Instead of going to trial and continuing years of conflict, we instead move forward in collaboration with the highest rates ever, guaranteed,” Israelite stated of the deal.

Conspicuously absent from these and other streaming-focused assessments is a mention of accurate data captures, which could well be the most important component of songwriter compensation in the contemporary music industry.

Audio-recognition companies including Audoo have arrived on the scene with the ambitious goal of delivering technology to identify every song played in public spaces — and assure that music professionals receive the entirety of their owed pay. It’s a simple concept, but one that is far from being actualized.

Instead, methods for counting public plays are shockingly outdated. The song-recognition model currently utilized by performance rights organizations (PROs) centers on extrapolating play data from estimates and limited samples. Royalties are distributed accordingly — often to the benefit of superstars and the detriment of those without a massive following. Earlier this year, DMN joined forces with Audoo to bolster their vision of improving song IDs and resulting payouts.

“In the U.S. last year, across all four PROs, I think there were less than a few thousand samples. What are they distributing between them a year? $3.5 to $4 billion. And they’re doing that off of small samples. You’ve got to get your data set bigger – you’ve got to get it accurate,” Audoo founder and CEO Ryan Edwards told Digital Music News.

Employed on a global scale, a reliable data-capture infrastructure for public establishments – from small restaurants that occasionally flip on the radio to department stores that play music for the better part of 24 hours per day – would paint a far clearer picture of actual consumption.

“We’ve seen that in a U.K. test where an artist saw a lot of streams. She had about 2,000 followers on Instagram, and she’d never earned a [performance] royalty in her life. We reached out to her and said, ‘Hey, we just wondered how much you’re earning? Because this is what we do.’ And she said, ‘No, I’ve never ever received a royalty payment.’ She’d been PRO registered for two years.

“Can you spot [the use of tracks] if every nightclub suddenly starts to play a song that’s never been played, or hasn’t been played recently? We can inform that, and that’s what this data will do,” Edwards continued.

Now, Audoo is looking to make the fully automated (and far more accurate) logging of public plays a reality with its inconspicuous ‘Audio Meter.’

The four-year-old company last spoke to DMN about the hardware – a compact product that plugs into any standard outlet and then identifies and recognizes any song played  – and its broader objectives back in March. That followed a nearly $10 million funding round to close out 2021 and a partnership with Japanese PRO JASRAC.

Since then, Audoo has recorded several high-profile victories in its quest to reshape the song-identification process, including a July agreement with Sydney-headquartered PRO APRA AMCOS. To start, the pact has brought the Audio Meter to businesses in Adelaide, Brisbane, Sydney, Melbourne, Canberra, and Auckland.

That same month, Audoo partnered with entities including the Music Venue Trust (which represents hundreds of grassroots venues in the U.K.) on a campaign called “Recognize the Music.” As its title suggests, the initiative aims to bring reliable and accountable music recognition technology to public establishments. Edwards told us that the undertaking is achieving the desired result, prompting some participating businesses to register with PROs for the first time.

“We had thousands of sign-ups in less than a week,” Edwards said of Recognize the Music, which has framed the Audio Meter as a straightforward way for business owners to compensate their favorite acts directly. “We also have a toggle switch to see if they [public establishments] have a license. About 30 percent didn’t!”

“I think the PROs struggle to market particularly well to new potential licensees,” Ryan continued. “Whenever we have articles, anything about us as a business or about the campaign, people are like, ‘Oh my God, I didn’t know I needed a license to play music. Where do I go?’”

With several European PRO deals in the works, the continued onboarding of clients, and conversations with stateside performance rights organizations, Audoo intends to keep delivering the use of Audio Meter globally.

The big vision is also a granular one. If every song played is properly identified, then every rights owner, artist, and publisher is paid properly. That could actually mean more for some superstars who are currently overcompensated by their PROs. Or, it could translate into smaller paychecks for others. But at least the checks would be closely aligned with reality.

According to execs, every identified play – and every bolstered paycheck – is a step towards making songwriter compensation as accurate and equitable as possible in the long term. That’s good news for artists who aren’t getting paid properly, but also a big step toward crafting better valuations around song catalogs.

After years of high-flying music acquisition prices, that’s also good news for investors looking for more accurate valuations.

Photo Credit: David Levêque

Curious to know what’s new from Apple? The iPhone 14, Apple Watch 8, and updated AirPods Pro 2 have arrived.

Let’s take a quick peek at some of the latest product announcements before focusing on the new AirPods Pro 2.

• iPhone 14 | Not many changes here in terms of an upgrade from last year’s model. Apple added a 5-core GPU for improved performance and a bigger sensor for better low-light shots. But the camera sensor is the same as last year.
• iPhone 14 Plus | Features for this one are the same as the iPhone 14 with a larger screen and bigger battery.
• iPhone 14 Pro & Max | Apple didn’t hike the cost of its premium offering this year. They’re powered by the A16 Bionic chipset and bring a 48MP main camera. The notch is finally gone and replaced with a cutout called ‘Dynamic Island.’
• Apple Watch 8 | This version now includes a temperature sensor and a new low-power mode that Apple says will double the watch’s battery life. Apple also debuted the Apple Watch SE (2022) and the Apple Watch Ultra for its premium watch offering. Apple Watch Ultra promises better GPS tracking, double battery life, and a higher price point ($799).

AirPods Pro 2 | This refresh of Apple’s $249 wireless earbuds gets the new H2 chip and a new low-distortion audio driver, and a custom amplifier for improved sound. Apple says the front camera on the iPhone can create a customized spatial audio profile. The battery life advertised is six hours of playback.

The AirPods 2 also come with a refreshed case and extra-small ear tip size in the box. The refreshed case features a speaker on the bottom to make it easier to find using the ‘Find My’ app.

Unfortunately, this iteration of wireless earbuds still doesn’t support high-resolution audio. Despite that, Apple says the sound quality should be better with richer bass and more dynamic audio across the entire frequency range.

Sweetwater has launched a new program for buying and selling gently used music gear called the Sweetwater Gear Exchange.

The following was created in collaboration with Sweetwater, a company DMN is proud to be partnered with.

The Sweetwater Gear Exchange offers sellers the ability to create their own customized storefronts, including setting a store address, outlining policies for returns, and bio information to let people know more about them. Sellers can create listings for gear and instruments they no longer need and want to sell to someone else. 

“Being avid music makers ourselves, we know how real the connection can be between the musician and their gear,” says David Stewart, Chief Marketing Officer for Sweetwater. “It goes beyond just being an instrument and becomes an extension of the artist. Whether it’s someone’s first guitar or an old recording interface, every piece of gear has a story. The Gear Exchange provides music makers and gearheads the opportunity to find a common place to buy and sell items, sharing the remarkable stories behind each unique piece.”

The Sweetwater Gear Exchange has implemented tight fraud prevention measures, including requiring photos of the exact item listed. Sweetwater is also implementing a badge system so users of Gear Exchange can see how long sellers have been verified as Sweetwater customers. Additionally, a full team of administrators will be dedicated to the marketplace to handle any potential security risks.

One unique aspect of the Gear Exchange is that the seller doesn’t have to pay the shipping bill until they get paid. Here’s how that works. Shipping labels for sellers can be purchased through the Gear Exchange, taking advantage of Sweetwater’s already great rates. The cost of the labels can be subtracted from the payout – so sellers don’t worry about shipping bills until the gear is bought. 

Sweetwater is the #1 eCommerce provider for music instruments and audio gear in the United States. Through the Gear Exchange, there are also zero seller fees incurred when the seller chooses to accept a Sweetwater gift card as the form of payment until October 31, 2022.

Part of what makes the Gear Exchange an easier way to do business online is that sellers can draw information from Sweetwater’s product descriptions, tags, and other specifications from the Sweetwater website. That helps save time, especially when dealing with several pieces of gear to list. As of the time of writing, there are nearly 3,000 pieces of lightly used gear available, from guitars to amps and more. 

Photo Credit: IKEA

IKEA teases a record player for their upcoming collection in partnership with Swedish House Mafia.

Earlier this summer, at the IKEA Festival at Milan Design Week 2022, IKEA revealed three additional products for their upcoming collection, OBEGRÄNSAD, in collaboration with electronic music artists Swedish House Mafia. The new products include a desk and an armchair designed for music production, and a record player.

OBEGRÄNSAD, Swedish for ‘unlimited,’ hints at the collection’s target demographic: those with a limited budget but unlimited creativity. IKEA and Swedish House Mafia aim to “democratize” music production at home, enabling many to unleash their creativity and passion without breaking the bank.

“The design supports creating, playing, enjoying, and even just setting the mood,” says Swedish House Mafia of the collaboration.

“Sound is everything in music, and we have added two speaker stands to the desk to bring the speakers to the ear level,” says IKEA designer Friso Wiersma. “We have also added a pull-out shelf below the desktop. This functionality allows you to have a midi keyboard, for example, in easy reach, while maximizing space on your desktop.”

“Armchairs are a place to unwind, reflect, and set oneself into the creative flow,” says James Futcher, Creative Leader at IKEA of Sweden. “The OBEGRÄNSAD armchair manifests the importance of comfort.”

The record player “celebrates the timeless joy” of the vinyl record listening experience with a sleek, minimalistic style with support for IKEA’s ENEBY speaker in mind.

“The solid, chunky design gives the player a presence in the room,” explains Wiersma. “It transmits the physicality of music in the collection, making it really claim space with the attitude of music woven into it — rather than making it blend.”

The entire collection will launch globally this fall, as IKEA and Swedish House Mafia explore the conversation of music and creativity at home, making everyday life easier for the many who listen to and create music. The collection will feature more than 20 home furnishing options to make living spaces better suited to the needs of those who live and breathe music.

Photo Credit: Vinicius Amano

A pair of trademarks from Apple suggests the word ‘Reality’ will feature in its AR/VR strategy.

A new Bloomberg report details at least three separate patent filings for Reality One, Reality Pro, and Reality Processor. The name suggests the word ‘reality’ will be a key part of Apple’s marketing strategy for its mixed reality headsets. An older patent application suggests the ‘realityOS’ will power the headsets.

According to the U.S. Patent & Trademark Office, Immersive Health Solutions is the patent filer for Reality One. This is likely a shell company used by Apple to keep the project under wraps while filing for the necessary patents. These patents were filed across multiple markets including Canada, the UK, Europe, Australia, New Zealand, Costa Rica, Uruguay, and Saudi Arabia.

According to reports, the mixed reality headset from Apple will offer VR and AR versions of Apple’s apps. That includes FaceTime, Maps, and other options for consuming media. Apple is not expected to announce anything related to its VR push at its upcoming event on September 7, but the patent registration suggests we could see the headset as early as next year.

Apple analyst Ming-Chi Kuo says he believes the mixed reality headset won’t arrive until January 2023 at the earliest. Kuo called the project “the most complicated product Apple has ever designed” but says the release could fuel rapid growth in the market for head-mounted displays. Kuo has been trying to predict when Apple will release its VR attempt for several years now.

Apple’s main competition at this point is Meta’s Oculus, which got its start as the Oculus Rift before being acquired by Facebook for $2 billion in 2014. Mark Zuckerberg is betting big on the future of the ‘metaverse,’ but it’s unclear why he thinks Facebook is the company to lead that strategy. Recent images from his attempt at a metaverse mercilessly mocked the CEO’s avatar, dubbed ‘World Baby.‘

Photo Credit: Tim Foster

The next high-end Sonos speaker is code-named ‘Optimo 2’ and will play sound in nearly all directions.

Sonos is working on a new high-end flagship speaker, code-named “Optimo 2,” as the company shifts its focus back to upscale audio devices. The Verge described early work-in-progress images of Optimo 2 as showing a substantial departure from Sonos’ existing product lines. The new device is taking a position to be the best-sounding speaker the company has produced — quite a lofty claim, even for Sonos.

Unlike the Sonos One, Five, Arc, Beam, and Roam, the Optimo 2 is encased in a “funky, dual-angled shell,” with an array of drivers that project in different directions. Optimo 2 is said to include twice as much RAM and around eight times more flash memory than any previous Sonos speaker, designed to become an all-purpose go-to speaker for users looking for a one-stop-shop WiFi and Bluetooth speaker.

Optimo 2 will feature automatic sound tuning with built-in microphones to optimize its performance in various settings. The same mics will also support Sonos Voice Control, and the speaker’s array of drivers will allow the Optimo 2 to showcase Dolby Atmos audio. 

The Verge reports that the this speaker is the lead product in a trio of devices in progress, including an Optimo 1 and an Optimo SL, which will not include built-in microphones. Aside from the mics, little is currently known about the differences between the three Optimo devices. Significant updates to Sonos’ software will unlock additional functionality for all Optimo speakers.

It’s still too early to say whether any of the above will change during the Optimo product development. Interestingly, news of the upcoming line follows the delay of Sonos’ Sub Mini until Q1 2023. The company reported turbulent third-quarter earnings earlier in the month, which may account for the delays and Sonos’ shift of focus back to high-end devices.

The company is still locked in its patent battle against Google, which now involves a countersuit from Google over several of its patents.

Photo Credit: Alfred Marroquin / CC by 3.0

Megan Thee Stallion is seeking $1 million in damages from her label 1501 Entertainment. She also says her latest album fulfills her contractual obligation to the Houston label.

The initial lawsuit was filed in February 2022 and sought non-monetary relief. But now the rapper has amended the complaint to seek damages and release from the contract. The complaint says Traumazine, her newest album released on August 12, “both constitute an ‘album’ as defined in the parties’ ‘recording agreement,’ and therefore Megan ‘has satisfied all option periods’ in her contract.”

Megan Thee Stallion has been locked in a legal battle with her label, 1501 Entertainment, since March 2020. The rapper has posted to social media about her efforts to remove herself from the contract she signed as a young artist.

Former baseball player Carl Crawford owns the label and has pushed back against Megan’s claims that she has satisfied the album requirements. The label claims Something For Thee Hotties is less than an album. 1501 Entertainment also contends that Megan Thee Stallion still owes the label “millions” from her activities like touring, endorsements, merchandising, and other commercial efforts.

The rapper hired Roc Nation as her management firm in September 2019 and the filing alleges this action irked 1501 Entertainment. In the amended complaint, the rapper says Roc Nation helped her understand the contract she signed was not in keeping with industry standards.

The contract has a 60/40 split of recording income in 1501 Entertainment’s favor. Payments to outside parties (producers, sound engineers) must come out of her 40%. The initial contract also gives 1501 Entertainment a 30% cut of her touring and merchandising profits.

Megan Thee Stallion says she believes 1501 Entertainment was the source of the August 4 leak of her latest album, Traumazine. She says the leak left her no choice but to release the work early and that she’s been hired to hire “forensic investigators to determine the source of the leaks.”

1501 Entertainment counter-sued Megan Thee Stallion in March 2021 with new claims. The label says the rapper “must include at least twelve new master recordings of her studio performances of previously-unreleased musical compositions” for a release to qualify as an album. Megan Thee Stallion will sit for an in-person deposition in October, and discovery for the case won’t close until 2023.

Photo Credit: Beats

Kim Kardashian announces her partnership with Beats to design new colorways for Beats Fit Pro.

For a partnership that marks Beats’ first time releasing a custom Fit Pro collaboration, Beats x Kim “sits at the intersection of fashion and functionality,” with muted earth tones matching the signature aesthetic of Kim Kardashian. The fashion icon announced the collaboration today after subtly teasing it last fall when she wore a beta version of the earbuds. She explains that she pitched the idea for the partnership to Beats after having her own pairs of earbuds painted to match her wardrobe. 

“I wanted to break away from the idea that headphones have to be colorful to make a statement,” says Kardashian. “This collaboration is special because it allows you to blend in or stand out, and Beats is known for creating products that showcase individuality.”

“Kim brought her signature minimalist style to the first-ever Beats Fit Pro custom headphones,” says Eddy Cue, Apple’s senior vice president of Services. “We’re excited to offer Beats’ most innovative headphones in a whole new, gorgeous color palette to music fans and fashion lovers alike.”

The Beats x Kim collaboration earbuds come in three neutral, matte hues: Moon (light), Dune (medium), and Earth (dark), with a matching case in the same smooth shades. The collaboration will be available starting Tuesday, August 16, online and in stores starting Wednesday, August 17. The earbuds are functionally identical to existing Beats Fit Pro models and will sell for the standard Fit Pro price of $200.

While Kardashian’s partnership with Beats may not be the first flesh-colored earbuds on the market, they might be the best quality. The weight of her name combined with Beats’ own could make these a highly sought-after pair of earbuds for Kardashian fans and Beats enthusiasts alike. Apple has been working hard to make Beats a platform agnostic earbuds brand, too. 

Photo Credit: Akhil Yerabati

AirPods will switch to USB-C charging in 2023 alongside the iPhone 15, according to analysts.

Apple is expected to debut a new model of AirPods later this year, likely the last to feature the lightning cable. “I predict Apple will launch USB-C capable charging cases for all AirPods models in 2023,” says Apple analyst Ming-Chu Kuo. “However, the charging case of the new AirPods Pro 2 launched in 2H22 may still support Lightning.”

The supply chain analyst has been closely monitoring when Apple plans the switch to USB-C charging for its suite of accessories. Back in May, Kuo predicted Apple’s accessories like the Magic Keyboard, Magic Trackpad, and others would begin using USB-C charging soon. The sooner the iPhone itself makes that transition, the rest of Apple’s accessories will follow. The iPad Pro was the first of Apple’s major hardware to switch to USB-C charging in 2018.

Why switch to USB-C over Lightning charging?

One reason why Apple is making the switch is due to regulation. European regulators are looking at making Apple adopt the common mobile standard, which is now USB-C. USB-C offers transfer speeds of up to 40Gbps, while Lightning only supports 480Mbps. Another area where the two standards are different is power delivery.

USB-C is capable of supporting power delivery of 100W/3A and up to 240W/5A. While Lightning port power delivery caps at 12W/2.4A, which means these cables don’t support fast charging.

European regulators looking at making Apple switch to a universal standard charger means these changes are all but guaranteed. If Apple’s newest model of AirPods release with a lightning charging dock, they may just be dead in the water for consumers who are paying attention. What’s the point of buying an accessory that will be replaced within six months with a new charging standard? The AirPods Max already uses USB-C as the standard, so you’re safe there.

Photo Credit: Ranjith Alingal

Google is suing Sonos over its voice control technology, claiming it violates Google patents.

The move follows Sonos’ successful lawsuit against Google for at least five Sonos patents. As a result of that lawsuit, Google had to change the way its Chromecast and Android devices managed volume controls. Now Google appears to be hoping to cripple Sonos’ ability to offer voice control for its speaker groups.

The lawsuits claim that Sonos’ Voice Control feature for its speakers infringes on seven patents related to Google Assistant technology. Sonos first introduced the new technology in May 2022. Following news of the lawsuit, Sonos’ Chief Legal Officer Eddie Lazarus released a statement calling the new lawsuits an “intimidation tactic designed to retaliate against Sonos for speaking out against Google’s monopolistic practices, avoiding paying Sonos a fair royalty for the roughly 200 patents.”

A Google spokesperson told Reuters that Sonos “started an aggressive and misleading campaign against our products at the expensive of our shared customers.” Google is also filing a relevant complaint with the International Trade Commission (ITC).

According to the lawsuits, Google has made its Google Assistant software available to Sonos for years. The lawsuits also say that Google’s engineers helped Sonos engineers implement the voice-recognition technology on Sonos devices. An unspecified amount of money damages are requested, along with an order to block Sonos’ alleged infringement of Google’s patents.

Google says Sonos’ current speakers infringe on a variety of its patents related to “enabling voice assistant technology and providing improvements to the efficiency, reliability, and durability of voice-controlled and battery-powered devices.”

Both Patrick Spence, CEO and Eddie Lazarus, CLO have spoken in front of Congress about Google’s monopolistic practices and antitrust issues. Sonos’ leadership spoke with Decoder and says the decision to sue Google wasn’t an easy one. “It got to a point where I didn’t feel it was constructive anymore and we needed to take action to both stand up for consumers and ourwelves as well,” Spence told the podcast. “We have over 1,000 patents. Google, I think, infringes over 150 of those today.”

Photo Credit: Spotify

What happened to Spotify’s Car Thing? The music streaming giant appears to exit car hardware experiment.

If you didn’t jump at the chance to buy a Spotify Car Thing for $89.99, they’re now being offered at a significant discount. Spotify is selling the hardware for $49.99 as it appears to be trying to clear out inventory. The Car Thing was an experimental piece of hardware aimed at people who don’t have a Bluetooth-capable car. Spotify acknowledged that the experiment failed to TechCrunch but says supply chain issues are prohibitive.

“The goal of Spotify’s Car Thing exploration was to better understand in-car listening, and bring audio to a wider range of users and vehicles,” a Spotify spokesperson told TechCrunch. “Based on several factors, including product demand and supply chain issues, we have decided to stop further production of Car Thing units. Existing devices will perform as intended. This initiative has unlocked helpful learnings, and we remain focused on the car as an important place for audio.”

Spotify is taking a $31.4 million hit on its car hardware experiment as it discontinues Car Thing.

The music streaming giant launched Car Thing earlier this year as a way to entice music streaming in cars with no infotainment system. Spotify will still be able to gather listening data from the Car Thing hardware it did sell, so the experiment wasn’t entirely moot. But it’s clear there was little interest in an additional screen at $90. Perhaps Spotify will find more Car Thing adopters at the new fire sale price as it moves the rest of its hardware.

Tech enthusiasts weren’t exactly thrilled with the experience of using Car Thing. PC Mag called it a device with an awkward interface and laggy voice controls. The device is clearly meant to be tapped, with voice controls added as an afterthought. One annoyance about Car Thing reviewers mention is that is even after using voice controls; you have to tap the screen to see playback controls. That’s certainly not very intuitive while driving.

Photo Credit: Jesman Fabio

Dolby Atmos and Spatial Audio tech offers an entirely new listening experience for music fans. Here’s what you should know about the format and the impact it can have on your music. 

The following was created in collaboration with AlexProMix, a company DMN is proud to be partnering with.

Dolby Atmos allows music labels and publishers to future-proof their music while providing a new listening experience to fans. In the past, new music tech was locked behind proprietary formats like DVD-A and SACD. It made listening to new music tech a chore, since these formats barely lasted the decade which they were introduced. Dolby Atmos has become ubiquitous among the music industry, not least of all thanks to Apple Music support. Many artists and IP owners are rushing to get their music mixed and remastered in this new format. 

Dolby Atmos music boosts listener engagement and can help refresh or revitalize an older catalog. It’s also satisfying to listen to for audiophiles because you can hear the difference between instrument clarity and separation in the mix. AlexProMix is an early adopter and trusted leader in Dolby Atmos Mixing & Mastering. He’s taken some time out of his busy schedule to explain how Dolby Atmos mixing works and why some people may not ‘hear’ it.

Alex says he’s often faced with questions like ‘How do I listen to Atmos?’ or upon hearing an Atmos mix, comments like ‘this just sounds like stereo music.’ Alex says the culprit is easy to identify when this happens. Presenting mixes in Dolby Atmos doesn’t require special hardware, but you should be aware of the setup required to hear it properly.

3 Ways to Experience Dolby Atmos Music

Dolby Atmos music provides an immersive music listening experience that is supported by online music streaming platforms like Apple Music, Tidal, and Amazon. Listeners can experience Dolby Atmos music on their headphones, smart speakers, and surround sound systems. Below are the three ways in which a sound engineer can produce a Dolby Atmos mix.

Dolby Atmos Exercise Files – Download the Dolby Atmos Exercise Files to follow along.

Option 1: Binaural Mix

Sound engineers must use a 7.1.4 configuration according to Dolby to properly produce an Atmos mix and master. The 12-speaker layout consists of seven speakers in the horizontal plane, a subwoofer, and four ceiling speakers. This immersive listening experience can be heard on headphones using binaural audio – a technology that reproduces the real-life experience of hearing sound.

A binaural mix can be reproduced using any set of headphones. A binaural mix downloaded on a computer or mobile device can be heard with any headphones. As an added benefit to the client, Alex provides the binaural mix with a visual representation of the Dolby Renderer.

Note: For best practices, use wired headphones, not Bluetooth headphones or earbuds. Bluetooth headphones stream audio with a compressed resolution – yes, even the AirPods Max when used wirelessly. An analog (wired) connection will always produce the best sound quality. 

Option 2: Surround Sound

Dolby Atmos mixes exported as .mp4 files are multi-channel files that can be played back on TV, AV receivers, or soundbars with surround sound. You can experience the mix created in Atmos on a 5.1 surround sound system with these instructions.

1. Download the file named surround sound to a USB thumb drive.
2. Play the track on a home theater sound system.
3. On the TV remote, press the ‘Source’ button.
4. Then press USB Device or Connected Device. 
5. The music should begin playing and labeled “Dolby Audio.”

This method allows you to preview the Dolby Atmos mix on a 5.1 home theater system, where vocals and effects are panned to the rear speakers. This gives the listener the illusion of being right in the middle of the audio, immersing them in the mix.

Option 3: Spatial Audio

Spatial Audio is Apple’s rendition of binaural audio. Apple decodes the multi-channel Dolby Atmos master and converts it to Spatial Audio to playback on AirPods Pro or AirPods Max devices. To experience a Dolby Atmos mix from AlexProMix in Spatial Audio, here’s a quick rundown to listen on your iPhone.

Step 1: Locate the file and click ‘Share > Export File > Save to Files.’ Save the file to your local storage named On My iPhone. This creates a copy of the file from Dropbox and saves it on your local iOS storage.

Step 2: Open your ‘Files’ folder and locate the file you downloaded from Dropbox. When your file is saved to local storage, it will appear in this folder. This is the version you want to play, not the file from Dropbox.

Step 3: Connect and pair your AirPods Pro or AirPods Max and enable Noise Cancellation and Spatial Audio Fixed. Notice the file format recognized by iOS as ‘Dolby Atmos’ under the volume slider.

This ensures you are playing back the Dolby Atmos file provided by AlexProMix using Apple’s Spatial Audio for a Dolby Atmos experience.

Want to learn more about Dolby Atmos Mixing and Mastering? Have questions only a sound engineer can answer? Alex at AlexProMix keeps up to date with the best sound mixing and mastering practices and discusses them on his blog and YouTube channel. Need a track mixed and mastered in Dolby Atmos? AlexProMix can help with that, too. You can check out Alex’s rates and see more information here.

Photo Credit: Freebird / CC by 2.0

Gibson has won a permanent injunction against Dean Guitars for its trademarked guitar shapes. Here’s the latest.

On May 27, 2022, a Texas federal jury found that Armadillo (Dean Guitars) infringed on seven of its trademarks. Those trademarks included electric guitar body designs and headstock designs. Specifically, the Flying V, Explorer, ES, and SG body shapes and the ‘Dove Wing’ headstock design, the ‘Hummingbird’ name, and ‘Moderne’ trademark.

Gibson filed the lawsuit back in 2019 and accused Armadillo of trademark counterfeiting. The lawsuit alleged that the company was trying to mislead consumers into believing guitars manufactured by Dean were affiliated with Gibson. Dean denied those allegations, insisting that it had offered V and Z-shaped guitars since 1976.

Jurors rejected those claims and found in favor of Gibson that its designs were protectable and its trademarks valid.

Now on July 28, the court issued an injunction permanently enjoining Armadillo from the manufacture, advertisement, or sale of its guitars that infringe on Gibson’s ES, SG, Flying V, and Explorer trademarks and the Hummingbird wordmark.

“Gibson is once again very pleased with the outcome after years of simply trying to protect their brand and business through well recognized intellectual property rights, rights that have been Gibson’s for decades. Gibson’s guitar shapes are iconic and are now firmly protected for the past, present, and future.”

Gibson calls the injunction a win for Gibson fans, artists, dealers, and related partners. The company says it can now continue its attention on leveraging its iconic past and investing in future innovations with confidence. Gibson may have only won $4,000 in damages in the original court case, but this injunction means far more for the brand.

Dean will have to go back to the drawing board for some of these designs to prevent them from being in breach of Gibson’s registered trademarks. Kiesel guitars also received a cease and desist letter from Gibson over its Ultra-V model for its similarities to the Flying V trademark. Kiesel also spoke with a guitar enthusiast YouTube channel and mentioned receiving a cease and desist over the company’s CS6 California Single body.

Photo Credit: Robert Gerwig

Sweetwater is opening its first distribution center outside of Indiana. The new fulfillment center is in Phoenix, Arizona, and should help speed up shipping times across the United States. 

The following was created in collaboration with Sweetwater, a company DMN is proud to be partnered with.

The 350,000-square-foot building will serve as a fulfillment center for thousands of products and accessories sold by Sweetwater. That includes audio gear like microphones, speakers, mixers, and amplifiers to drums, guitars, and other orchestra instruments. 

“The opening of this new fulfillment center is one more way for us to provide the exceptional experience our customers have come to know and love,” Sweetwater President & CEO John Hopkins told Digital Music News about the new opening. “Those who live in the western part of the country often have to wait several days for their orders to arrive from our facility in Indiana. This will change that dramatically.”

“I’m honored to welcome Sweetwater to our thriving city,” adds Glendale Mayor Jerry Weiers. “Their investment will enable them to create a better customer experience for their clients and will bring more than 150 jobs to the area. They join a growing number of global and national corporations who now call Glendale home.”

Sweetwater is now hiring to fill as many as 165 positions, including shift supervisors, pickers, packers, and machine operators, in August. They expect the new fulfillment center to be operational by October and ready to ship those holiday orders. 

Phil Rich, who oversees Sweetwater’s supply chain, says the new fulfillment center means west coast customers should see their Sweetwater packages arrive within a day or two. That’s a drastic difference from the current wait times. “We are integrating state-of-the-art technology into this facility to ensure that items are shipped quickly, efficiently, and accurately,” Rich adds.

Sweetwater has seen an increase in its online sales since the pandemic. The company attributes this to its excellent customer service. Back in 2003, Sweetwater was only doing around $4 million in online sales. In 2021, the company announced it had surpassed $1.43 billion in sales and facilitated 4 million orders.

“Sweetwater is fortunate to be in an industry that was accelerated by [the pandemic],” says Mike Clem, Sweetwater’s Chief Growth Officer. “Many people picked up a musical instrument for the first time, or re-ignited a hobby, or invested in streaming and online performances. Now we are seeing those customers return to upgrade their instruments or buy more accessories. Retention is strong in [this] high-passion category of ours.”

Photo Credit: Daniel Romero

Apple has agreed to settle a lawsuit over a patent dispute with headphone manufacturer Koss.

The lawsuit was filed over Apple’s AirPod earbuds and its Beats headphones back in July 2020. That filing alleges that Koss began the development of a wireless earbud product in the early 2000s. But due to the economic situation post-2008, its true wireless earbuds never saw the light of day for consumers.

“Unfortunately, the economic reality of Koss’s market position did not permit it to bring its Striva-based product vision to the masses. In particular due to events abroad, Koss’s supply chain and customer base were thrown into upheaval in the late-200’s and early 2010’s,” the filing reads.

After Apple’s entry into the true wireless earbuds market with the AirPods, Koss informed the company of several of its patents it was infringing upon. Koss says it first met with Apple concerning patent infringement in 2017 and again four times. The trial for the case was set to begin on Monday, but both companies told the federal court that they had resolved allegations of infringement.

U.S. District Judge Alan Albright dismissed the case with prejudice the same day – meaning it cannot be refiled. Neither Apple nor Koss provided any details about the settlement. Apple isn’t the only competitor Koss went after following the rise of the true wireless earbuds market. Bose and Skullcandy have also been sued by Koss and those cases are now pending in other courts.

According to the 2020 filing, Koss asked for royalties from the sales of AirPods and wireless Beats headphones in the Apple case. Apple’s position was that it did not infringe on any patents held by Koss because those patents were invalid.

The company also filed a counter-suit against in San Francisco courts, alleging the original complaint included confidential information about the licensing negotiations the two companies were engaged in.

The new filing suggests both companies have settled “all matters in controversy between them.”

Photo Credit: Apple Music

In December 2020, Tesla added references to Apple Music in its software. Now those references have disappeared.

Since those references, Tesla has added support for several music streaming services. Tidal support came in November 2021. The software also supports Spotify, TuneIn, and Slacker Radio. But Apple Music references have disappeared from Tesla’s current software code, as reported by Tesla North.

What does Apple Music references disappearing mean? Well, it could mean support isn’t a feature that’s being worked on even behind the scenes. In a recent interview in July 2020, Tesla CEO Elon Musk admitted he just connects his iPhone via Bluetooth to use Apple Music in his car. Tesla doesn’t support Apple’s CarPlay standard, which has led some to create their own solutions.

Does CarPlay work on a Tesla?

The short answer is not officially. But developer Michael Gapinksi has been working on a third-party solution. The workaround requires a Raspberry Pi running a custom version of Android; and two more running Linux to handle video and networking capabilities. It’s a Frankenstein solution that very few people will want to employ.

The rub is that once it’s set up, the actual software experience of using CarPlay is powered by the in-car browser featured in Tesla cars. Alpine is also working on aftermarket units with CarPlay support designed for the Tesla vehicle.

Another option for CarPlay support in a Tesla vehicle is the Intellidash Pro standalone head unit. This device features wireless CarPlay support and attaches to your car’s dash.

Will Tesla ever support CarPlay?

At this point, it’s looking unlikely that Tesla will feature support for Apple’s CarPlay service. Especially since built-in references to Apple Music have been removed from the most recent Tesla software updates. The company itself has more to worry about on the horizon than supporting another music streaming service, no matter how popular it may be.

Want a new vehicle that supports CarPlay and Apple Music by extension? Vehicle manufacturers like GMC and its subsidiaries, Ford, Honda, Kia, Mercedes-Benz, BMW, Hyundai, Porsche, Toyota, Volkswagen, and Nissan, all feature models with support for CarPlay.

Photo Credit: Brett Jordan

The Bluetooth Special Interest Group (SIG) responsible for the wireless standard has announced a new low-energy audio specification.

Bluetooth LE Audio focuses on power efficiency while providing better audio quality. The new spec was first announced in 2020 and it has taken the Bluetooth SIG nearly two years to complete the spec. There are no products available that use the spec yet – but that’s coming in just a few months. The Bluetooth SIG says it expects to see consumer devices with Bluetooth LE Audio implemented by the holiday 2022 season.

“Our members overcame the many challenges placed on them these past few years to complete the largest specification development project in the history of Bluetooth SIG. LE Audio extends the boundaries of what’s possible for the wireless audio market,” says CEO of the Bluetooth SIG Mark Powell.

The new LC3 codec is designed to be a more efficient way to transmit audio via wireless connection. That means higher quality audio than the baseline SBC codec. The Bluetooth SIG claims it will offer slightly better audio quality at less than half the bit rate. A lower bit rate means less power consumption for longer battery life and more listening time.

Bluetooth SIG says that the classic SBC codec usually encodes a 1.5 Mbps audio stream to a 345 Kbps (0.345 Mbps) stream. The Bluetooth LE Audio codec (LC3) can compress the same stream to 160 Kbps (0.160 Mbps) with better audio quality than the SBC codec.

The new LC3 codec is just one of many improvements for the new Bluetooth LE Audio spec. Another new feature is the ability to connect multiple audio devices to a single source in a feature called Auracast.

Auracast will allow you to connect two pairs of headphones to a single phone, or several earbuds to the same TV. Bluetooth SIG says users will be able to search for audio sources like WiFi networks, scan QR codes to connect or use NFC-enabled surfaces for easy connection.

Photo Credit: Julian Hochgesang

After rolling out real-time lyrics across Android, iOS, televisions, consoles, and the web, Spotify finally brings them to the Google Nest Hub and other Google Assistant Smart Displays.

Spotify released real-time lyrics display across most Android and iOS devices back in November. When playing a song on the Nest Hub or other Google Assistant Smart Display, Spotify’s fullscreen media controls now include a lyrics button near the bottom-right corner—tapping the button swaps the background image for scrolling text, highlighting the current line while the track plays. The following lines appear beneath the transparent row of audio controls.

The lyrics feature utilizes music note emojis to indicate when there are no words. The function remains enabled even as tunes switch until you turn it off. Near the end of a track, Spotify says the lyrics are “Licensed & Provided by MusixMatch.”

Displaying lyrics on-screen is a convenient feature and one that Google Play Music offered back in 2018. Unfortunately, the functionality never migrated over to YouTube Music, which offers its own static lyrics functionality in the Now Playing interface.

This launch puts real-time Spotify lyrics capability on all its major platforms and clients, and the feature works with both Spotify Free and Premium accounts. The company commented on the feature back in November when it was released across most platforms, stating that it was one of the most requested features.

“Lyrics are one of the most requested features from listeners across the globe,” Spotify says. “So after iterating and testing, we’ve created an experience that’s simple and interactive — and even shareable. By partnering with MusixMatch, we’re bringing song lyrics to life through in-app access across the majority of our extensive library of tracks.”

Google Nest Hub users are reporting the feature is appearing in batches on reddit, where users are testing the new real-time lyrics feature.

Photo Credit: Apple

The MacBook Air with M2 chip is now available for pre-order and will begin shipping on July 15.

The new MacBook Air features a larger 13.6-inch retina display, a four-speaker sound system, and up to 18 hours of battery life. It’s Apple’s more budget-friendly model compared to the MacBook Pro series, loaded with all the performance improvements the new M2 chip brings.

The newest MacBook Air features a four-speaker sound system. Apple says to fit in such a thin design, the speaker and mics are completely integrated between the display and keyboard. “A three-mic array captures clean audio using advanced beamforming algorithms, while the speakers produce improved stereo seperation and vocal clarity,” Apple claims in its marketing materials. “MacBook Air also supports immersive spatial audio for music and movies with Dolby Atmos.”

The M2 chip is the next generation of Apple silicon for Mac, with more performance and power efficiency. M2 adds a next-generation media engine with a powerful ProRes video engine for hardware-accelerated encode and decode. MacBook Air with M2 can play back more streams of 4K and 8K video content than before.

Apple says intensive workloads like editing complex timelines in Final Cut Pro are also reduced. They’re up to 40% faster than M1, but up to 15x faster for those who haven’t upgraded to the M1 chip. The MacBook Air with M2 is available in four finishes including midnight, starlight, silver, and space gray. It starts at $1,199 for the base model.

The M1 Mac has already proved itself capable of handling many more tracks in DAWs than Intel Macs. Both heat and fan noise are also worlds apart when it comes to comparing Apple silicon to the older Intel machines. Apple’s improvements for the M2 chip means producers and creators will be able to juggle more plug-ins with their favorite DAWs without experiencing slowdown or heat issues.