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Image: id Software / Bethesda
In an open letter delivered in May 2020, Doom Eternal executive producer Marty Stratton accused Doom Eternal OST composer Mick Gordon of poor behaviour and unprofessional work, which resulted in the poor performance of the game’s soundtrack, and disappointment from devout fans. Stratton alleged that Gordon under-delivered on promises, communicated poorly with the development team, and contributed to ‘project uncertainty and risk’. Now, Gordon has defended himself in a statement that alleges Stratton lied to harm his reputation.
In addition, Gordon alleges that Stratton offered a six-figure settlement for him to stay quiet about the released statement, and accept the accusations.
In a post on Medium, Gordon provided extensive details about his work with id Software on the Doom Eternal soundtrack, and alleged significant issues with pay, as well as a rocky development cycle wherein he was forced to provide music for non-existent levels.
Gordon alleged there were also major contract delays, all-hands-on-deck marketing meetings that interrupted production for six weeks, slow communication from id Software, and conversations bogged down by unrealistic expectations and arguments about recording.
Read: Australian video game composers celebrated at Sound Byte
He further alleged the soundtrack was delayed before he was involved in the project, and that he still hasn’t been paid for ‘over half’ of Doom Eternal‘s score.
‘Two months in, it was clear the schedule wasn’t going to work. It was a masterpiece in Excel but a disaster in reality. The requirement to write, perform, record, produce, mix, master and implement two levels of music – with feedback rounds – every 30 days, when the levels themselves were bare-bone, now looked ridiculous,’ Gordon wrote.
While he attempted to provide solutions to a slow development cycle that meant there was little time for iteration or understanding of level theming and musical intent, Gordon alleges that Stratton struck down these plans, and refused to accept the existing development schedule was flawed.
‘I was taken aback by his reaction. In response, I said he seemed to misinterpret my proposal’s intent, that the current schedule’s rigidity would cause issues down the line, and that finding an execution framework for achieving our ambitious goals was my only agenda,’ Gordon claimed.
‘Hour-long levels where players traverse fantastic worlds with epic vistas and tricky platforming sections had just 30 seconds allocated to exploration music. Doom’s mantra is wall-to-wall music, which made this oversight seem laughable.’
According to Gordon, he worked hard on the soundtrack and to meet the music-first demands of id Software, but was soon locked out of music meetings and had important information withheld as the developer pushed back on his claims that its demands were impossible. Around this time, payment became a major issue as Gordon worked for around eight months without being compensated – which led to the composer ‘surviving on microwaved food’.
This was allegedly made worse by id Software blanking Gordon, and refusing to approve any of his work. In short order, the company announced the launch of the game’s soundtrack to the public, despite it not being in full production yet. Gordon learned of the announcement via the media.
To meet new deadlines, Gordon was forced to crunch – and allegedly did so for two long years thanks to ‘a rigid, brutal music schedule that attempted to finalise the score before the game was ready for it.’
‘Forcibly writing music without a clear purpose caused problems when id Software inevitably rejected it months later, throwing it out with the unrealistic expectation that urgent demands for rewrites somehow wouldn’t impact the already crunched schedule,’ Gordon said.
At the end of the project, Gordon was finally paid – however, id Software allegedly used all of the music produced during development, five hours worth, for which Gordon was not adequately compensated. He alleges only half of this music was paid for, and that it was a conscious decision by id Software to take the entirety of his work.
‘Rejected tracks, mockups, demos, ideas and sketches – a massive amount of additional music, well beyond the budget allocated in the contract, produced at their request and shared in good faith. But, id Software included it all directly in-game, marketing, and updates without paying for it.’
To date, id Software has refused to pay for it, despite this guarantee allegedly being included in Gordon’s contract. The entire situation is extremely messy, and speaks to a game caught in the throws of alleged poor management.
Each accusation laid out by Gordon has been meticulously detailed, and reveals major discrepancies in Stratton’s accusations. The entire statement is worth a read to understand more about the situation, and what allegedly went on behind the scenes at id Software during the development of Doom Eternal.
Leah J. Williams is a gaming and entertainment journalist who’s spent years writing about the games industry, her love for The Sims 2 on Nintendo DS and every piece of weird history she knows. You can find her tweeting @legenette most days.
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Richmond, VA – Yesli Vega, an anti-abortion extremist, is now trying to deny the existence of the audio recording of her saying women who are raped cannot become pregnant.  


In a story from CBS19, Yesli Vega attempts to flat-out lie to Virginians about her dangerously false statements made in the past – a lie U.S. Rep. Abigail Spanberger called a “last ditch effort to save a failing campaign.” 


WATCH CBS19: 



Over the summer, Vega was asked if it would be harder for a woman who is a victim of rape to become pregnant. Vega responded: 


“It wouldn’t surprise me, because it’s not something that’s happening organically. You’re forcing it. The individual, the male is doing it as quickly, it’s not like, you know, and so I can see why there is truth to that. It’s unfortunate.” 


“Yesli Vega can lie all she wants, but women across the Commonwealth and our country will never forget her disturbing comments concerning victims of rape,” said DPVA Spokesperson Gianni Snidle. “This November, Virginians will show Yesli Vega that her recorded comments about rape-related pregnancies and her extreme stance on abortion are disqualifying for Congress.”


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October 24, 2022 Russia-Ukraine news  CNN
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Bacon Secures Bubby Jones Master Of Going Faster Award – SPEED SPORT  SPEED SPORT
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Mexican American music producer Trill Bans has made waves producing for superstar musical artists and is making a name for himself in Hip Hop. Born Marko Cervantes, Trill has been known in the industry for his range to create soulful melodies to dark gritty trap beats which is incorporated to many of the hits he is behind. Growing up in San Diego, He played soccer for most of his youth until he started making music his junior year of high school in which, inspired by Metro Boomin and Murda
Beatz, started by producing trap beats using FL Studio. Engineering is also an added skill Trill has picked up on that has elevated his sound into forming a more cohesive mark in each of his beats. The 20-year old producer has stepped his foot in the industry producing for Chicago’s very own Lil Durk, Detroit rising star Babyface Ray, and working on many tracks with Florida Rapper Hotboii. Trill has recently produced a track on Hotboii’s album Blinded by Death by the name of “Tables Turned” and has also producer “Computer Murderers,” which was single added to Durk’s 7220 project, which peaked at #1 on the Billboard top 200 album charts. Trill’s early work has come about producing many early records for Hotboii including the melodic hit “They Don’t Know” which was later added on Hotboii’s Kut Da Fan On. Trill has more to come his way and being managed by 100k management Vice President of A&R, Saint Paul, the duo can change the sound of the industry and this would be just the start.
Check out Trill Bans on Tik Tok & keep up with him on social media: @trillbans_

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By Kahn Santori Davison on Wed, Nov 9, 2022 at 9:43 am
Apollo Brown’s studio might be one of the most sleek and organized creative spaces in southeast Michigan. A computer sits on a desk surrounded by four speakers and a few production instruments and tools. His framed concert posters all hang on walls above bookshelves full of records, diecast cars, and a few slices of hip-hop memorabilia. The floor is carpeted, and all the furniture is black.
“I told my wife if I die tomorrow, burn this room,” he says. “Burn all that equipment, my external hard drives. I got five computers, iMacs with music on it — burn that shit. I don’t want that music out. If it’s not out right now, I don’t want it out.”
Over the last 15 years Apollo Brown has been one of the most consistent producers in and outside Detroit. He’s produced 30 full-length albums (which all hang framed above a black couch) and a litany of singles and album cuts for artists across the globe. He’s a self-described “revolver” because he exclusively and unapologetically makes ’90s-inspired boom bap beats. Where his producer counterparts have evolved into trap, alternative hip-hop, and other experimental sounds, Brown has stayed in one sonic lane. This has made Brown an outlier, a throwback — but also a hero.
Born Erik Stephens, Apollo Brown grew up in Grand Rapids within a plethora of musical influences.
“My mom is white and my dad is Black, so they listened to different types of music,” he says. “I always tell people that one day I could be listening to the Isley Brothers version of ‘Summer Breeze,’ the next day I might be listening to the Seals & Crofts version of ‘Summer Breeze,’” Brown says with a laugh.
Once Brown got into hip-hop he was heavily influenced by east coast acts like Wu-Tang, Mobb Deep, Gang Starr, Nas, and producers like Pete Rock and DJ Premier. He never learned to play any instruments, but had an inquisitive nature when it came to sounds. “I would always dissect the music, I would always listen to one part over and over,” he says.
By age 16 he was experimenting with his own hand as a producer. “It was some of the worst beats ever,” he says, shaking his head. “Me and Bronze Nazareth, we bought ourselves software called Voyetra, it came with Windows 95. This was around 1996. It was a sound manipulation program. We would mess with that. We wanted to rap, we wanted to make music.”
Brown enrolled in Michigan State University, where he spent more time making beats in his dorm room than breaking down math equations in class. After obtaining his bachelors in business administration he moved to Detroit, got a steady job, and became more of a closet producer.
“Ten or twelve [years] went by before I showed my beats to anyone,” he says.
In 2007 he met Detroit emcee extraordinaire Finale, who ushered him onto the Detroit rap scene. “I didn’t realize there was an underground scene or a fan base for the kind of music I was making,” Brown says.
“I encouraged him to work with more local artists and jump in the beat battles to crack some heads and get known,” says friend and frequent collaborator Finale.
The mid-2000s were pivotal years for Detroit hip-hop. The city was reeling from the 2006 death of J Dilla, who represented the largest slice of what many felt was the quintessential Detroit sound. Helluva’s “basement sound” that would go on to take over the world was still in its infancy. The city still had a plethora of talented producers like DJ Butter, Black Milk, Waajeed, Ta’Raach, and Denaun Porter (just to name a few). The proverbial baton had been passed and Detroit hip-hop artists stepped up to the plate.
“Yea we had no choice but to take the torch and run with it … it became an obligation for some and an obsession for others,” says emcee Finale.
Later on that year Brown entered a producer showcase hosted by DJ House Shoes. Brown was still unknown to Detroit’s hip-hop scene, so there were no real expectations as the showcase featured notables DJ Dez and Nick Speed. Each producer had 15 minutes to display their arsenal, and Brown left a shocked room full of dropped jaws buzzing eardrums after he concluded his set. Even he was astonished at the reactions.
“People were coming up to me left and right telling me how my beats were fire,” he says.
Brown took the momentum and started doing more showcases and beat battles. “I was just trying to make the hardest, craziest beats I could make … I didn’t realize there were people were sitting back waiting for a sound like mine,” he says
By year’s end he released his first album, Skilled Trade. “It was just a little janky album I put out myself,” he says. “I just wanted to put something out. I hate it to this day. It was a bunch of unfinished stuff.”

Brown’s name and skills grew, but being a producer wasn’t paying his rent. He decided to take a job in Cleveland as a city inspector and commuted to Detroit on the weekends to participate and beat battles and link up with other artists. By 2010 he had reached a crossroads.
“The first week of the year I got laid off,” he says. “Two days later Michael Tolle from Mello Music Group called and told me he wanted to bring me aboard and give me a production contract.”
“Mike from Mello hit me about him and so many others,” says Finale. “And I told them like I’ll still tell them, ‘Y’all better lock in with him because this one is special.’ I’m so proud of my brother.”
Mello Music Group is an Arizona-based boutique record label founded by Tolle in 2007 that looked to bring more boom bap, soul, and a rigid underground sound back to the forefront of hip-hop. A combination of hip-hop becoming more commercialized and the rise of southern trap began to take attention away from east coast legacy acts and emerging artists who preferred a ’90s backpack sound. Fledgling labels like Rawkus and Loud who had rosters that included Mos Def, Mobb Deep, Pete Rock, and Talib Kweli were all defunct. This resulted in smaller labels like Grieslda, It’s a Wonder World Music Group, and Stones Throw Records (which J Dilla was signed to) looking to fill the void.
Though skeptical, Brown understood that signing to Mello was an opportunity to make the kind of music he wanted to make and get paid for it. “The only people on the roster then was Kenn Starr and Oddisee,” Brown says. “I decided to give it a year to see if it would work. And if my bank account didn’t reflect what I wanted it to reflect, if my reputation didn’t reflect what I wanted it to, then I would just update my resume and go back to work.”
Brown wasted no time cranking out projects for Mello’s evolving roster, including The Reset, Gas Mask, and Brown Study in 2010. The projects usually featured a variety of underground artists including Detroit’s own Marv Won, Finale, Invincible, Boog Brown, and Miz Korona. With Brown you won’t get layered keyboards, synthesizers, unnecessary filtered samples, or orchestra aesthetics. Brown’s clean but gritty, sharp but jagged. He gives you honest variations of kick and snare drums and the melody usually resides in the strings, keys, or horns.
“I don’t use the term ‘backpacker,’” he says. “I don’t look at the music that I make or the artists that I make it for as backpackers. I use the term boom bap, because it’s hard to describe this music to somebody without saying boom bap. I don’t do a lot of commercial-style triple-time hi-hats. I’ve produced all over the place, but I usually stay within a certain realm and it’s usually a boom bap style.”
In 2011 he took an auditory pivot releasing Clouds, a laid-back melodic instrumental album built more to fill in the backgrounds at cafes or cold nights snuggled with a good book.
Brown calls it the most important album of his career.
“I come from a battle culture, but I still wanted people to know I can make life music,” Brown says. “I wanted people to be able to relax to my music. It became my highest-selling album. I think yearly, it’s still my highest-selling album.”
By 2012 he started to be recognized more nationally with the release of Trophies with New York’s O.C. and Dice Game with fellow Detroiter Guilty Simpson. “Those really put me on the map,” he says. Then came The Brown Tape with Wu-Tang Clan’s Ghostface Killah, the critically acclaimed Ugly Heroes with Verbal Kent and Red Pill, The Easy Truth with Skyzoo, Anchovies with Planet Asia, and Mona Lisa with Joell Ortiz.
Along the way Brown has also quietly produced tracks for artists that the average hip-hop fan is unaware of, like Danny Brown’s “Contra,” Chance The Rapper’s “The Writer,” and WestSide Gunn’s “Mt. T.”
“For a while West was closing his shows out with ‘Mr. T.’ That was an accident,” Brown says. “Me and West was going to make an album and that was just one song. But that was around the time where he was getting signed, that whole Shady deal, so all that stuff fell through.”
When asked what his favorite album is, Brown looks at the wall above his couch at all 30 album covers and refuses to pick one. “I don’t have a favorite because they were all a specific mood, a specific place,” he says. “Each one of my albums I treat like one of my kids. I don’t rank them, but I love them all equally but differently.”
He acknowledges the quality of his work means the most to his fans, not necessarily the quantity.
“If I make a post today asking, ‘What’s your favorite Apollo Brown album?’, everybody will say something different,” he says. “Everyone doesn’t just gravitate to one album. That’s when you know you’re doing it right.”
In the fall of 2019 he released his most ambitious effort, Sincerely Detroit. The 21-track album featured 59 Detroit artists including Kuniva from D12, Slum Village, Nolan The Ninja, Boldly James, Ro Spit, Trick Trick, Royce Da 5’9”, and Phat Kat (just to name a few). The album was more than just a musical love letter to the D. It was a statement piece, a celebratory hip-hop acknowledgement that Detroit’s boom bap culture was alive and thriving and is still part of the fabric of the Detroit sound. Detroit hip-hop has always been a melting pot of boom-bap and street. You can pop in the Old Miami and hear an emcee chopping up nouns and verbs over a ’70s soul sample and some tough drums. Or you can hit Harpos and hear a club banger and grimy street tales over arpeggiated and monophonic bass lines. They all encompass the Detroit experience and diversity. Much like the city itself, Detroit’s hip-hop scene has always been defined but the sum of its parts rather than a singular sound.
During the late ’90s through early 2000s, boom-bap received more national recognition, whereas Detroit’s trap and street artists have dominated over the last 5 years.
“For me there’s not a single Detroit sound,” Brown says. “I think as a producer we have our interpretation of what a Detroit sound is. When I did Sincerely Detroit, that was my interpretation of Detroit’s sound. I don’t think I have a Detroit sound, never have. Dilla to me is the sound of Detroit. That’s who I look at. But I’ve always thought I had an east coast sound.”
Instead of being overly focused on what he felt Detroit wanted to hear, Brown’s production has always been more of a combination of what he wants to make and wants to give to the world.
“I think you start losing when you’re trying to make music for the city that you’re in,” he says. “I think you’re better off in your career if you make music for the world and it just happens to find its way back to the city. You can’t just make music for your block. You gotta have a broader scope than that.”
The result has been an international fanbase that stretches through Germany, France, Italy, and New Zealand, where Brown tours and regularly sells out shows. “They genuinely love the music out there, they respect the music,” he says. “When you do shows here, the crowd is other emcees and producers. Overseas, everyone is a fan. You get spoiled out there. If you go into any club right now and ask who Apollo Brown is, 99 out of 100 people wouldn’t. If you go into any underground club, the numbers will be higher. And if you leave the city the chances of people knowing who Apollo Brown gets even higher.”
“I think as a producer we have our interpretation of what a Detroit sound is. … I don’t think I have a Detroit sound, never have. Dilla to me is the sound of Detroit. That’s who I look at.”
On his newest album Cost of Living, Brown partners with Windy City emcee Philmore Greene to deliver more of Brown’s specific brand of production over Greene’s personal and introspective lyrics. Brown doesn’t give you anything he hasn’t given you before — he just keeps giving you better versions of it. The song “Paradise” is reminiscent of Wu-Tang’s “Can it Be All So Simple,” and in the lead single “Time Goes,” Brown’s steady head-nodding bassline is the perfect medium for Greene’s introspective baritone flow: “Back when entertainment was shared at the same time/ We all moved to the same tune, same rhymes/Same drop of a dime, we shared memories was precious/ Nowadays it seems kind of hectic.”
As Brown has entered his 40s, he’s reflective and more thankful for the journey more now than he’s ever been. Hip-hop is like professional sports: you usually only get a handful of years to earn as much money and notoriety before it all fades away. Brown has defied that. His rise has been slow but sho’. He’s a building block for Mello Music, and his career has ascended because of it.
“I was a nobody at that time so that was big for him (Tolle) to believe in me, to hit me up, and tell me I had what it takes,” Brown says. “I’m in a family atmosphere. I’ve been with Mello for 13 years. We’ve created a brand together. I call myself Kobe on the Lakers.”
While admitting he’s slowing down a bit, Brown has no doubt he’ll reach the 50-album milestone.
“We don’t have retirement benefits. We don’t have 401k matches,” he says. “It’s up to us to take our IRAs to make sure our future is good. We kind of gotta work as long as we can. I have a renewed love for it. There was a time when I thought about going back to school and doing something else. But I’m always going to be in the music industry. Being a producer is what I’m good at. It’s the only thing that can put a smile on my face when it comes to work.”
Brown often feels like he was born in the wrong decade — that his legacy would be evaluated differently if he were around in the ’90s producing boom bap bangers alongside Pet Rock and DJ Premiere. But at the same time, would Erik Stephens be Apollo Brown without the inspiration from those same producers he saw as heroes as teen? Ultimately, Brown’s timing has been perfect for Detroit, and perfect for the world.
“I’d say his style represents how one pays homage while simultaneously carving out his own niche,” says emcee and friend Boog Brown. “The contribution to Detroit hip-hop is that everywhere he goes, he city goes too. It’s the international reach that changes the game.”
“I want to know that I was significant to hip-hop, not just Detroit hip-hop,” Brown says. “There’s that question out there, ‘Would you rather be successful or significant?’ That’s a hard question to answer, but everyone has their own definition of success. But to me, ‘significant’ is more of a concrete word to describe where I want to be. I’m already successful. I got a beautiful wife, beautiful kids, I have a beautiful home, the vehicles that I want, the career that I want. I’m surrounded by great people. But I want to know that I’ve made a significant impact on hip-hop.”
Apollo Brown and Phillmore Greene’s Cost of Living is available on all streaming platforms on Nov. 15.
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Over the last month, the average rental price in Queens has increased by 1.36%, going from $2,687 to $2,723 in October, according to a new MNS report.
The latest MNS report also revealed that Forest Hills was the neighborhood with the largest month-over-month increase, where a one-bedroom rose 7.4% from $2,242 to $2,407.
Comparatively, the neighborhood with the largest month-over-month decrease was in Astoria, where a studio apartment decreased in its average rent by 3.8% from $2,328 to $2,241.

MNS has also been able to observe different trends in Queens real estate. In Long Island City, renters will find the most expensive prices for a studio, one- and two-bedroom units with prices averaging at $3,311, $3,938 and $5,873, respectively.
Ridgewood’s rental prices have also increased this past month. A two-bedroom in the neighborhood increased 7.1%, according to MNS. In September, Ridgewood’s average rental prices had dropped 7.1%.
Flushing has the least expensive studios, with prices averaging at $1,694.
Overall, average rental prices in Queens are up 16.28% from this time last year, according to MNS reports. 
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TSX.V: LR
www.luminexresources.com

Mr. Marshall Koval reports:
Highlights Include:
VANCOUVER, BC, Nov. 3, 2022 /CNW/ – Luminex Resources Corp. (TSXV: LR) (OTCQX: LUMIF) (the “Company” or “Luminex”) is pleased to announce results from three holes drilled at the Camp deposit, part of the Condor North project area. Drill holes CC22-39, CC22-40 and CC22-41 have enabled the Company to delineate a thicker part of the Camp deposit. The three holes were drilled to infill an area of more widely spaced holes in the lower-central part of the deposit, which formed as composite sheets of mineralized material that dip steeply to the north. This thicker part of the deposit has been defined by intercepts measuring above 10 metres true thickness horizontally, using a 1.0 g/t gold cut-off grade. It comprises an irregular area measuring approximately 200 metres by 200 metres and remains open to expansion to the southeast, northwest and to depth (see Figure 1). Luminex expects these holes to add to the Camp mineral resource.
Luminex is continuing to drill infill and step out holes on the Camp deposit, as well as step out holes at the emerging, nearby Cuyes West and Ruiz structures with two active rigs at Condor North.
Table 1. Drill intercepts for Camp deposit holes.
Hole
Azimuth / Dip / Length
From
(m)
To
(m)
Interval
(m)
True
Thickness
(m)
Au
(g/t)
Ag
(g/t)
Au Eq
(g/t)
CC22-39
30° /
-52° / 753.3m
185.0
187.0
2.0
1.00
2.92
8.1
3.02
And
240.0
242.0
2.0
1.00
4.08
28.8
4.42
And
248.0
256.0
8.0
5.00
2.51
10.1
2.63
And
312.0
313.0
1.0
0.60
5.32
35.9
5.75
And
345.0
347.0
2.0
1.00
1.44
6.3
1.52
And
355.0
356.0
1.0
0.50
3.28
2.3
3.31
And
381.8
387.0
5.2
3.00
14.61
37.4
15.06
And
393.0
397.0
4.0
2.20
2.00
21.5
2.25
And
403.0
420.0
17.0
10.50
1.41
15.7
1.60
And
492.0
500.0
8.0
4.65
1.51
10.2
1.63
And
560.0
562.0
2.0
1.20
2.13
13.8
2.30
CC22-40
22° /
-38° / 528.2m
194.0
202.0
8.0
4.90
1.79
7.9
1.88
Incl
194.0
196.0
2.0
1.40
5.22
11.7
5.36
And
259.7
260.0
0.3
0.25
3.62
63.8
4.39
And
307.0
308.0
1.0
0.70
2.80
36.9
3.24
And
335.0
336.0
1.0
0.70
11.80
25.3
12.10
And
350.0
351.0
1.0
0.70
5.48
15.6
5.67
And
364.0
367.0
3.0
2.10
2.05
14.9
2.23
And
377.0
394.0
17.0
11.90
3.07
25.8
3.38
Incl
384.0
389.0
5.0
3.50
8.92
36.0
9.35
And
448.8
450.0
1.2
0.90
3.78
15.8
3.97
CC22-41
210° /
-70° / 720.0m
419.7
431.0
11.3
3.50
1.20
8.2
1.29
And
437.0
458.6
21.6
7.80
2.29
25.3
2.59
Incl
437.0
442.0
5.0
1.80
4.84
19.4
5.07
Incl
453.0
455.3
2.3
0.83
5.45
21.1
5.70
And
465.0
506.8
41.8
13.20
2.17
25.5
2.47
Incl
475.0
477.0
2.0
0.60
4.94
33.3
5.34
Incl
490.0
494.0
4.0
1.26
3.34
35.3
3.76
Incl
497.0
506.8
9.8
3.10
3.40
30.5
3.76
And
558.5
560.2
1.7
0.52
3.32
15.9
3.51
Note: Intervals, except those marked with an asterisk (*), are calculated using a lower limit of 1.00 g/t Au with a maximum inclusion of up to five continuous metres below cut-off and the highest gold value used in the reported weighted averages is 82.4 g/t Au. AuEq values assume $1,500 gold and $18.00 silver (AuEq= Au g/t + (Ag g/t *0.012). Equivalent values assume 100% recovery of all quoted metals.

Hole CC22-41 intersected the thickest zone of gold mineralisation, 41.8m grading 2.17 g/t gold, 25.5 g/t silver for a gold equivalent of 2.47 g/t, including 9.8m grading 3.40 g/t gold, 30.5 g/t silver for a gold equivalent of 3.76 g/t. The true thicknesses of these intercepts are interpreted to approximately 31% of the core length.
Holes CC22-39 and CC22-40 also contained notable intervals such as 5.2m grading 14.61 g/t gold, 37.4 g/t silver for a gold equivalent of 15.06 g/t in hole CC22-39 and 5.0m grading 8.92 g/t gold, 36.0 g/t silver for a gold equivalent of 9.35 g/t in hole CC22-40. The true thicknesses of these intervals are estimated to be 57% and 70% of the core length respectively.


Quality Assurance
All Luminex sample assay results have been independently monitored through a quality control / quality assurance (“QA/QC”) protocol which includes the insertion of blind standards, blanks as well as pulp and reject duplicate samples. Logging and sampling are completed at Luminex’s core handling facility located at the Condor property. Drill core is diamond sawn on site and half drill-core samples are securely transported to ALS Laboratories’ (“ALS”) sample preparation facility in Quito, Ecuador. Sample pulps are sent to ALS’s lab in Lima, Peru for analysis where gold content is determined by fire assay of a 50-gram charge with ICP finish.
Silver and other elements are also determined by ICP methods. Over-limit samples assaying greater than 10 g/t gold and 100 g/t silver are re-analyzed by ALS using fire assay with a gravimetric finish. Luminex is not aware of any drilling, sampling, recovery or other factors that could materially affect the accuracy or reliability of the data referred to herein. ALS Laboratories is independent of Luminex.
Qualified Persons
Leo Hathaway, P. Geo, Senior Vice President Exploration of Luminex and the Qualified Person as defined by National Instrument 43-101 Standards of Disclosure for Mineral Projects, has reviewed, verified and approved the scientific and technical information concerning the Condor Project in this news release and has verified the data underlying that scientific and technical information.
About Luminex Resources
Luminex Resources Corp. (TSXV:LR, OTCQX:LUMIF) is a Vancouver, Canada based precious and base metals exploration and development company focused on gold and copper projects in Ecuador. Luminex’s inferred and indicated mineral resources are located at the Condor Gold-Copper project in Zamora-Chinchipe Province, southeast Ecuador. Luminex also holds a large and highly prospective land package in Ecuador, including the Pegasus and Orquideas projects, which are being co-developed with Anglo American and JOGMEC respectively.
Further details are available on the Company’s website at https://luminexresources.com/.
To receive news releases please sign up at https://www.luminexresources.com/contact/contact-us/.
Follow us on: Twitter, Linkedin or Facebook.
LUMINEX RESOURCES CORP.
Signed: “Marshall Koval” 
Marshall Koval, CEO and Director 
Neither the TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in the policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this news release.
Cautionary Note Regarding Forward-Looking Information
Certain statements and information herein, including all statements that are not historical facts, contain forward-looking statements and forward-looking information within the meaning of applicable securities laws. Such forward-looking statements or information include, but are not limited to, statements regarding future drilling and work programs at Condor and future changes to the mineral resource estimate at Camp. Often, but not always, forward-looking statements or information can be identified by the use of phrases or statements that certain actions, events or results “will” occur or be achieved.
With respect to forward-looking statements and information contained herein, the Company has made numerous assumptions including among other things, assumptions about general business and economic conditions, the prices of gold and copper, and anticipated costs and expenditures. The foregoing list of assumptions is not exhaustive.
Although management of the Company believes that the assumptions made and the expectations represented by such statements or information are reasonable, there can be no assurance that a forward-looking statement or information herein will prove to be accurate. Forward-looking statements and information by their nature are based on assumptions and involve known and unknown risks, uncertainties and other factors which may cause the Company’s actual results, performance or achievements, or industry results, to be materially different from any future results, performance or achievements expressed or implied by such forward-looking statements or information. These factors include, but are not limited to: risks associated with the business of the Company; business and economic conditions in the mining industry generally; the supply and demand for labour and other project inputs; changes in commodity prices; changes in interest and currency exchange rates; risks relating to inaccurate geological and engineering assumptions (including with respect to the tonnage, grade and recoverability of reserves and resources); risks relating to unanticipated operational difficulties (including failure of equipment or processes to operate in accordance with specifications or expectations, cost escalation, unavailability of materials and equipment, government action or delays in the receipt of government approvals, industrial disturbances or other job action, and unanticipated events related to health, safety and environmental matters); risks relating to adverse weather conditions; political risk and social unrest; changes in general economic conditions or conditions in the financial markets; changes in laws (including regulations respecting mining concessions); and other risk factors as detailed from time to time in the Company’s continuous disclosure documents filed with Canadian securities administrators. The Company does not undertake to update any forward-looking information, except in accordance with applicable securities laws.

Calibre Mining is a Canadian-listed gold mining and exploration company with two 100%-owned operating gold mines in Nicaragua. The Company is focused on sustainable operating performance and a disciplined approach to growth. Since the… LEARN MORE

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Author of the article:
TORONTO — EQ Bank owner Equitable Group Inc. said Tuesday it has closed its takeover of Concentra Bank in a deal valued at $495 million.

The takeover of Concentra boosts Equitable’s assets under management base by $13.6 billion to help it compete, said chief executive Andrew Moor.
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“Banking is a bit of a game of scale, especially in this digital world. So when we put Equitable and Concentra together we will be the seventh largest bank in Canada. That’s a pretty meaningful jump.”

Concentra operates under the Wyth Financial brand, and also has a Trust division that provides services largely to credit unions with $38.6 billion in assets under administration.

Equitable has been talking to numerous credit unions since announcing the deal and will be looking to expand its services to the sector, including syndicating loans, supporting registered savings businesses and advisory services, said Moor.

“There’s a wide range of activities that we are deeply enmeshed with the credit union world and I’m looking forward to trying to build those capabilities.”

Along with added assets, the takeover of Concentra adds around 400 staff to bring Equitable’s total employees to about 1,800.

With the deal closed, Wyth operations will be replaced by EQ Bank as the single digital platform.

Overall, Equitable said the deal brings its direct and indirect client total to more than five million.

The Credit Union Central of Saskatchewan had been the largest shareholder of Concentra before the sale at about 84-per-cent ownership.

This report by The Canadian Press was first published Nov. 1, 2022.

Companies in this story: (TSX:EQB)

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AURORA, IL — One week into November, and it’s already been a busy month for Aurora officials. Last week, they celebrated the grand opening of three residential buildings throughout the city.
One ribbon-cutting ceremony was hosted per day Wednesday through Friday to mark the opening — or reopening, in the cases of the latter two downtown Aurora properties — of the Lumen of Fox Valley, Terminal Building and Hobbs Building.
After decades of vacancy, the Terminal and Hobb buildings were revitalized to accommodate 51 new apartments. The upper five floors of the history Terminal Building, at 2 N. Broadway, have been empty since the 1960s, and the last commercial tenant left the ground floor in 2003, Chief Communications Officer Clayton Muhammad said.
When the six-story Hotel Arthur, built in the Second Renaissance Revival style, was completed in 1905, it became Aurora’s first skyscraper. The hotel came to be regarded as one of the finest in northern Illinois, according to nonprofit organization Aurora Downtown.
In its lifetime, the Terminal Building has also been the home of the former Chicago Aurora and Elgin Railroad and Broadway Diner. Now called Lofts on Broadway, the historic site features 20 loft apartments on the upper levels and retail space on the ground floor.
A similarly historic and vacant property, the Hobbs Building, at 2 N. River St., has also been transformed into an apartment complex, featuring 31 units and ground-floor retail space. The top floors of the building, initially built in 1892, have been unoccupied for more than 70 years, according to Muhammad.
The Romanesque Revival building is most recognizable by its copper onion dome. The Hobbs was added to the National Register of Historic Places in 2021.
Across town, 304 more apartments opened at Fox Valley Mall. Built in place of the torn-down Sears store, the Lumen consists of studio, one-, two- and three-bedroom apartments in three contemporary buildings. The complex features a two-story lounge, private dining room and parlor, game room and fitness studio. Outside, there’s a swimming pool with a sundeck and grilling station.
The community’s first tenants moved in last week as apartments continue to be leased, city officials said.
The Lumen of Fox Valley is considered phase one of the “Reimagining Fox Valley” renovation. Phase two consists of building additional 500-plus apartments, including a four-story luxury community and five-story senior living center, Patch reported.
RELATED: 500 More Apartments Approved For Fox Valley Mall Reimagining

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The Music Promoter Software Market Research Report 2022-2027 contains demographic statistics, facts, trends, and insights about the competitive environment in this niche market. Let’s take a closer look at the overall market scenario and regional demand. The report also discusses the impact and recovery from Covid-19, as well as possibilities and tactics to increase growth with Top Key-Players Soundcharts, PromoterOps, Eventbrite and more.
The Music Promoter Software Market Research Report 2022-2027, provides an in-depth overview and insights into the market size, revenues, various segments and drivers of development, as well as limiting factors and regional industrial presence. The purpose of the market research study is to thoroughly evaluate the Information and Communication Technology , Information Technology sector and gain a review about the Music Promoter Software industry and its commercial possibilities. As a consequence of the Russia-Ukraine War and COVID-19, the world economy will recover, and generate a lot of revenue till 2027. The global Music Promoter Software market size was valued at USD 147.8 million in 2021 and is expected to expand at a CAGR of 21.96% during the forecast period, reaching USD 486.5 million by 2027. In accordance with this, the client receives extensive knowledge on the industry and firm from the past, present, and future perspectives, allowing them to invest money and deploy resources wisely. This research report also includes up to date analysis and forecasts for various market segments and all geographical regions.
The Music Promoter Software Market research report is the result of persistent work conducted by qualified forecasters, creative analysts, and brilliant researchers. With the specific and up-to-date information provided in this report, businesses can gain an understanding of the types of consumers, consumer demands and preferences, their perspectives on the product, their purchasing intentions, their response to a specific product that is already on the market, and their varying tastes about a specific product that is already on the market. Music Promoter Software Market report provides an absolute overview of the market by covering many elements of market analysis, product definition, market segmentation, significant developments, and the existing vendor landscape through 2027.
Get a Sample PDF of report @ https://www.precisionreports.co/enquiry/request-sample/21938356
The report focuses on the Music Promoter Software market size, segment size (mainly covering product type, application, and geography), competitor landscape, recent status, and development trends. Furthermore, the report provides strategies for companies to overcome threats posed by COVID-19. Technological innovation and advancement will further optimize the performance of the product, enabling it to acquire a wider range of applications in the downstream market. Moreover, customer preference analysis, market dynamics (drivers, restraints, opportunities), new product release, impact of COVID-19, and regional conflicts provide crucial information for you to take a deep dive into the Music Promoter Software market.
This Music Promoter Software Market Report offers analysis and insights based on original consultations with important players such as CEOs, Managers, Department Heads of Suppliers, Manufacturers, and Distributors etc.
The research explores prominent Music Promoter Software market players in order to better understand their market position and future strategies. Many marketing channels and strategies are predicted to rise throughout the forecast period, according to data that assists readers in developing a winning plan.
Major Players in Music Promoter Software Market are:
Music Promoter Software Market is segmented on the basis of type, end-use industry and application. The growth amongst the different segments helps you in attaining the knowledge related to the different growth factors expected to be prevalent throughout the market and formulate different strategies to help identify core application areas and the difference in your target markets.
Based on Product Type, the Music Promoter Software Market from 2017 to 2027 is primarily split into:
The report studies end-user applications in various product segments and the global Music Promoter Software Market. By collecting important data from relevant sources, the report assesses the growth of individual market segments. In addition, the market size and growth rate of each segment is explained in the report. The report considers key geographic segments and describes all the favorable conditions driving market growth.
Based on End Users / Applications, the Music Promoter Software Market from 2017 to 2027 covers:
The country section of the report also includes individual market influences affecting current and future market trends and changes in market regulation at the country level. The detailed analysis of consumption, revenue, market share and growth rate, historical data and forecast (2017-2027) of the following regions are covered as,
Geographically, Music Promoter Software Market is segmented into:
– United States
– Europe
– China
– Japan
– India
– Southeast Asia
– Latin America
– Middle East and Africa
The purpose of the Music Promoter Software thorough study is to assist clients in increasing their market position, and this research provides a detailed analysis of numerous main Music Promoter Software market vendors. Furthermore, the Music Promoter Software market research report includes information on upcoming trends and challenges that may affect market growth. This is to help firms strategize and capitalize on any forthcoming growth opportunities. The study gives useful information on the Music Promoter Software Major’s market features. It includes SWOT Analysis, PESTEL Analysis, and Porter’s FIVE Forces Analysis to help you understand the Music Promoter Software Market, Competitive Landscape, and Factors Influencing it, as well as projecting the company’s future.
Music Promoter Software Market Research Report 2022-2027 Synopsis:
In addition to the factors mentioned above, the report encompasses several factors that have contributed to the Music Promoter Software market’s growth.
The study was conducted using an objective combination of primary and secondary information including inputs from key participants in the industry. The report contains a comprehensive market and vendor landscape in addition to an analysis of the key vendors. For further information on this report, please visit – https://www.precisionreports.co/21938356
Chapter 1 mainly defines the market scope and introduces the macro overview of the industry, with an executive summary of different market segments ((by type, application, region, etc.), including the definition, market size, and trend of each market segment.
Chapter 2 provides a qualitative analysis of the current status and future trends of the market. Industry Entry Barriers, market drivers, market challenges, emerging markets, consumer preference analysis, together with the impact of the COVID-19 outbreak will all be thoroughly explained.
Chapter 3 analyzes the current competitive situation of the market by providing data regarding the players, including their sales volume and revenue with corresponding market shares, price and gross margin. In addition, information about market concentration ratio, mergers, acquisitions, and expansion plans will also be covered.
Chapter 4 focuses on the regional market, presenting detailed data (i.e., sales volume, revenue, price, gross margin) of the most representative regions and countries in the world.
Chapter 5 provides the analysis of various market segments according to product types, covering sales volume, revenue along with market share and growth rate, plus the price analysis of each type.
Chapter 6 shows the breakdown data of different applications, including the consumption and revenue with market share and growth rate, with the aim of helping the readers to take a close-up look at the downstream market.
Chapter 7 provides a combination of quantitative and qualitative analyses of the market size and development trends in the next five years. The forecast information of the whole, as well as the breakdown market, offers the readers a chance to look into the future of the industry.
Chapter 8 is the analysis of the whole market industrial chain, covering key raw materials suppliers and price analysis, manufacturing cost structure analysis, alternative product analysis, also providing information on major distributors, downstream buyers, and the impact of COVID-19 pandemic.
Chapter 9 shares a list of the key players in the market, together with their basic information, product profiles, market performance (i.e., sales volume, price, revenue, gross margin), recent development, SWOT analysis, etc.
Chapter 10 is the conclusion of the report which helps the readers to sum up the main findings and points.
Chapter 11 introduces the market research methods and data sources.
We have been following both the direct and indirect effects of the Russia-Ukraine war and the COVID-19 epidemic on the Music Promoter Software market. To Know How Covid-19 Pandemic and Russia-Ukraine will Impact this Music Promoter Software Industry, this research provides an in-depth market evaluation by highlighting information on various aspects covering market dynamics like drivers, barriers, opportunities, threats, and industry news and trends. Furthermore, the report provides strategies for companies to overcome threats posed by COVID-19 period.
To Understand How Covid-19 Impact Is Covered in This Report – https://www.precisionreports.co/enquiry/request-covid19/21938356
What exactly is included in Music Promoter Software Market Report ??
The research report provides a detailed market analysis. It focuses on key aspects such as leading companies, products, and end-users. Besides this, it offers insights into the trends in the global Music Promoter Software market and highlights key industry developments.
Music Promoter Software Market’s Sample PDF Report consists of the following,
– Updated Regional Analysis with Graphical Representation of Size, Share, and Trends for the Year 2022
– The COVID-19 Pandemic Outbreak Impact Analysis is included in the package
– Provide detailed Chapter by Chapter guidance on Request
– The most recent version of the report includes the Top Market Players, their Business Strategies, Sales Volume, and Revenue Analysis
– Significant Economics Statistical Analysis (Facts and Influencing Factors)
Request a Sample Copy of “Global Music Promoter Software Industry Research Report, Competitive Landscape, Market Size, Regional Status and Prospect” Here
The research report provides an analysis of the various factors driving the markets growth. It creates trends, constraints and impulses that change the market in a positive or negative direction. This section also discusses the various segments and applications that could affect the future market. Details are based on current trends and past achievements. The report includes a comprehensive boundary condition assessment that compares drivers and provides strategic planning. The factors that impede market growth are fundamental because they create different curves to seize opportunities in emerging markets. We also gather information from the opinions of market experts to better understand the market.
Inquire or Share your Questions If any before the Purchasing this Report – https://www.precisionreports.co/enquiry/pre-order-enquiry/21938356
Key questions answered in the report include,
– What will the market size and the growth rate be in 2022?
– What are the key factors driving the global Music Promoter Software market?
– Does this report consider the impact of COVID-19 and the Russia-Ukraine war on the Music Promoter Software market?
– What are your main data sources?
– What are the key market trends impacting the growth of the global Music Promoter Software market?
– What are the challenges to market growth?
– Who are the key vendors in the global Music Promoter Software market?
– What are the market opportunities and threats faced by the vendors in the global Music Promoter Software market?
– Trending factors influencing the market shares of the Americas, APAC, and EMEA.
– What are the key outcomes of the five forces analysis of the global Music Promoter Software market?
Reasons to buy this report:
– Gained an analysis of market insights and a comprehensive understanding of the Global Music Promoter Software Market and commercial environment.
– To mitigate development risk, the production process evaluates key problems and solutions.
– Recognize the driving forces and impediments that have the biggest influence on Russia-Ukraine war and covid-19 in the Music Promoter Software market, as well as its worldwide market.
– Explains the market strategies adopted by each major institution.
– Understand the Music Promoter Software Market’s future view and forecast.
– In addition to standard structure reports, we also offer custom studies tailored to specific requirements.
Purchase this report (Price 3250 USD for a Single-User License) @ https://www.precisionreports.co/purchase/21938356
With tables and figures to help analyze the global Music Promoter Software market trends, this study provides key statistics on the state of the industry and is a valuable source of guidance and direction for companies and individuals interested in the market.
1 Music Promoter Software Market Overview
1.1 Product Overview and Scope of Music Promoter Software Market
1.2 Music Promoter Software Market Segment by Type
1.2.1 Global Music Promoter Software Market Sales and CAGR (%) Comparison by Type (2017-2029)
1.3 Global Music Promoter Software Market Segment by Application
1.3.1 Music Promoter Software Market Consumption (Sales) Comparison by Application (2017-2029)
1.4 Global Music Promoter Software Market, Region Wise (2017-2029)
1.4.1 Global Music Promoter Software Market Size (Revenue) and CAGR (%) Comparison by Region (2017-2029)
1.4.2 United States Music Promoter Software Market Status and Prospect (2017-2029)
1.4.3 Europe Music Promoter Software Market Status and Prospect (2017-2029)
1.4.4 China Music Promoter Software Market Status and Prospect (2017-2029)
1.4.5 Japan Music Promoter Software Market Status and Prospect (2017-2029)
1.4.6 India Music Promoter Software Market Status and Prospect (2017-2029)
1.4.7 Southeast Asia Music Promoter Software Market Status and Prospect (2017-2029)
1.4.8 Latin America Music Promoter Software Market Status and Prospect (2017-2029)
1.4.9 Middle East and Africa Music Promoter Software Market Status and Prospect (2017-2029)
1.5 Global Market Size (Revenue) of Music Promoter Software (2017-2029)
1.5.1 Global Music Promoter Software Market Revenue Status and Outlook (2017-2029)
1.5.2 Global Music Promoter Software Market Sales Status and Outlook (2017-2029)
1.6 Influence of Regional Conflicts on the Music Promoter Software Industry
1.7 Impact of Carbon Neutrality on the Music Promoter Software Industry
2 Music Promoter Software Market Upstream and Downstream Analysis
2.1 Music Promoter Software Industrial Chain Analysis
2.2 Key Raw Materials Suppliers and Price Analysis
2.3 Key Raw Materials Supply and Demand Analysis
2.4 Market Concentration Rate of Raw Materials
2.5 Manufacturing Process Analysis
2.6 Manufacturing Cost Structure Analysis
2.6.1 Labor Cost Analysis
2.6.2 Energy Costs Analysis
2.6.3 RandD Costs Analysis
2.7 Major Downstream Buyers of Music Promoter Software Analysis
2.8 Impact of COVID-19 on the Industry Upstream and Downstream
3 Players Profiles
4 Global Music Promoter Software Market Landscape by Player
4.1 Global Music Promoter Software Sales and Share by Player (2017-2022)
4.2 Global Music Promoter Software Revenue and Market Share by Player (2017-2022)
4.3 Global Music Promoter Software Average Price by Player (2017-2022)
4.4 Global Music Promoter Software Gross Margin by Player (2017-2022)
4.5 Music Promoter Software Market Competitive Situation and Trends
4.5.1 Music Promoter Software Market Concentration Rate
4.5.2 Music Promoter Software Market Share of Top 3 and Top 6 Players
4.5.3 Mergers and Acquisitions, Expansion
5 Global Music Promoter Software Sales, Revenue, Price Trend by Type
5.1 Global Music Promoter Software Sales and Market Share by Type (2017-2022)
5.2 Global Music Promoter Software Revenue and Market Share by Type (2017-2022)
5.3 Global Music Promoter Software Price by Type (2017-2022)
5.4 Global Music Promoter Software Sales, Revenue and Growth Rate by Type (2017-2022)
6 Global Music Promoter Software Market Analysis by Application
6.1 Global Music Promoter Software Consumption and Market Share by Application (2017-2022)
6.2 Global Music Promoter Software Consumption Revenue and Market Share by Application (2017-2022)
6.3 Global Music Promoter Software Consumption and Growth Rate by Application (2017-2022)
7 Global Music Promoter Software Sales and Revenue Region Wise (2017-2022)
7.1 Global Music Promoter Software Sales and Market Share, Region Wise (2017-2022)
7.2 Global Music Promoter Software Revenue and Market Share, Region Wise (2017-2022)
7.3 Global Music Promoter Software Sales, Revenue, Price and Gross Margin (2017-2022)
7.4 United States Music Promoter Software Sales, Revenue, Price and Gross Margin (2017-2022)
7.4.1 United States Music Promoter Software Market Under COVID-19
7.5 Europe Music Promoter Software Sales, Revenue, Price and Gross Margin (2017-2022)
7.5.1 Europe Music Promoter Software Market Under COVID-19
7.6 China Music Promoter Software Sales, Revenue, Price and Gross Margin (2017-2022)
7.6.1 China Music Promoter Software Market Under COVID-19
7.7 Japan Music Promoter Software Sales, Revenue, Price and Gross Margin (2017-2022)
7.7.1 Japan Music Promoter Software Market Under COVID-19
7.8 India Music Promoter Software Sales, Revenue, Price and Gross Margin (2017-2022)
7.8.1 India Music Promoter Software Market Under COVID-19
7.9 Southeast Asia Music Promoter Software Sales, Revenue, Price and Gross Margin (2017-2022)
7.9.1 Southeast Asia Music Promoter Software Market Under COVID-19
7.10 Latin America Music Promoter Software Sales, Revenue, Price and Gross Margin (2017-2022)
7.10.1 Latin America Music Promoter Software Market Under COVID-19
7.11 Middle East and Africa Music Promoter Software Sales, Revenue, Price and Gross Margin (2017-2022)
7.11.1 Middle East and Africa Music Promoter Software Market Under COVID-19
8 Global Music Promoter Software Market Forecast (2022-2029)
8.1 Global Music Promoter Software Sales, Revenue Forecast (2022-2029)
8.1.1 Global Music Promoter Software Sales and Growth Rate Forecast (2022-2029)
8.1.2 Global Music Promoter Software Revenue and Growth Rate Forecast (2022-2029)
8.1.3 Global Music Promoter Software Price and Trend Forecast (2022-2029)
8.2 Global Music Promoter Software Sales and Revenue Forecast, Region Wise (2022-2029)
8.2.1 United States Music Promoter Software Sales and Revenue Forecast (2022-2029)
8.2.2 Europe Music Promoter Software Sales and Revenue Forecast (2022-2029)
8.2.3 China Music Promoter Software Sales and Revenue Forecast (2022-2029)
8.2.4 Japan Music Promoter Software Sales and Revenue Forecast (2022-2029)
8.2.5 India Music Promoter Software Sales and Revenue Forecast (2022-2029)
8.2.6 Southeast Asia Music Promoter Software Sales and Revenue Forecast (2022-2029)
8.2.7 Latin America Music Promoter Software Sales and Revenue Forecast (2022-2029)
8.2.8 Middle East and Africa Music Promoter Software Sales and Revenue Forecast (2022-2029)
8.3 Global Music Promoter Software Sales, Revenue and Price Forecast by Type (2022-2029)
8.3.1 Global Music Promoter Software Revenue and Growth Rate of Service (2022-2029)
8.3.2 Global Music Promoter Software Revenue and Growth Rate of Hardware (2022-2029)
8.4 Global Music Promoter Software Consumption Forecast by Application (2022-2029)
8.4.1 Global Music Promoter Software Consumption Value and Growth Rate of Large Enterprises (2022-2029)
8.4.2 Global Music Promoter Software Consumption Value and Growth Rate of SMEs (2022-2029)
8.5 Music Promoter Software Market Forecast Under COVID-19
9 Industry Outlook
9.1 Music Promoter Software Market Drivers Analysis
9.2 Music Promoter Software Market Restraints and Challenges
9.3 Music Promoter Software Market Opportunities Analysis
9.4 Emerging Market Trends
9.5 Music Promoter Software Industry Technology Status and Trends
9.6 News of Product Release
9.7 Consumer Preference Analysis
9.8 Music Promoter Software Industry Development Trends under COVID-19 Outbreak
9.8.1 Global COVID-19 Status Overview
9.8.2 Influence of COVID-19 Outbreak on Music Promoter Software Industry Development
10 Research Findings and Conclusion
11 Appendix
11.1 Methodology
11.2 Research Data Source
Continue…
Browse Detailed TOC of Music Promoter Software Market Industry Research Report, Competitive Landscape, Market Size, Regional Status and Prospect – https://www.precisionreports.co/TOC/21938356#TOC
The research methodology used to estimate and forecast this market begins by capturing the revenues of the key players and their shares in the market. Various secondary sources such as press releases, annual reports, non-profit organizations, industry associations, governmental agencies and customs data, have been used to identify and collect information useful for this extensive commercial study of the market. Calculations based on this led to the overall market size. After arriving at the overall market size, the total market has been split into several segments and subsegments, which have then been verified through primary research by conducting extensive interviews with industry experts such as CEOs, VPs, directors, and executives. The data triangulation and market breakdown procedures have been employed to complete the overall market engineering process and arrive at the exact statistics for all segments and subsegments.
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Home › Recording›Facilities
K-Pop purveyors SM Entertainment recently installed an SSL AWS 924 console in its facility, Blue Ocean Studio.
By Mix Staff
Published: 10/26/2022
Seoul, S. Korea (October 26, 2022)—Multinational record label, talent agency, production company and music publisher SM Entertainment, a pioneer in popularizing K-Pop worldwide, has installed a Solid State Logic AWS 924 AWS δelta SuperAnalogue mixing console with SSL δelta and DAW control at a new facility in Seoul, South Korea. GearLounge, Solid State Logic’s distribution partner in South Korea, supplied the SSL AWS 924 AWS δelta.
The SSL AWS console has been installed in Blue Ocean Studio, one of several production rooms in a new building to which SM Entertainment relocated in 2021. SM Entertainment was founded in 1995 by record executive and record producer Soo-Man Lee and is home to such artists as BoA, TVXQ!, EXO, Red Velvet, æspa, NCT and Girls’ Generation.
“For around 13 years since I started my career until I came to SM Entertainment, I used SSL consoles,” says mix and recording engineer Chul-Soon Kim, who works with the company’s vocal artists. Kim worked for many years on a variety of large format SSL desks at other studios. “The fact that I was used to using SSL consoles is the main reason that I chose the SSL AWS,” he says.
Kim has mixed many tracks for SM Entertainment’s artists on the new AWS desk, although not all of them have yet been officially announced. With the AWS console, he says, “I can maintain the transparency of the vocal tracks while enjoying its huge headroom, so that I can make my track sound more harmonically full and rich while the vocals just sit nicely on the top of the instrument track.”
​The first track that Kim worked on using the AWS console was “Pilot” by NCT 127, he says, which was released in late-October, 2021. “There is a chorus part in the song where all the members are singing together. I originally used a summing mixer to process that chorus part, but somehow it didn’t sound clean. Later, I processed the same chorus part in the AWS console, and it sounded just perfectly nice and clean. The producers really liked how the vocal sounded and the track got released.”
Mix Staff
Tags ⋅ chul-soon kim ⋅ k-pop ⋅ sm entertainment ⋅ Solid State Logic ⋅ SSL

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TORONTO, Oct. 17, 2022 /CNW/ – EQ Bank, powered by Equitable Bank, Canada’s Challenger Bank™, announced it is increasing its interest rate by 0.50% to 2.50%¹, effective October 17, 2022.
“We want to give our customers the chance to get more out of every dollar with an everyday account that also earns high interest,” said Mahima Poddar, Group Head of Personal Banking. “Not only does our everyday account offer high and growing interest, it also has features of a chequing account, without the fees on transactions in Canada. From paying your bills, sending Interac e-Transfers^® or international money transfers, buying GICs, and even compartmentalizing your funds to help you manage your budget, we’re committed to changing the way people bank while helping them make more.”
The new 2.50% interest rate is available as of October 17, 2022, to all current and new customers, and applies to EQ Bank Savings Plus Accounts, Joint Savings Plus Accounts, TFSA Savings Accounts and RSP Savings Accounts. At the same time, EQ Bank is increasing its US Dollar Account interest rate from 1.40% to 2.00%¹, and in the coming months it will launch its first payment card. With over $7 billion in deposits and more than 250,000 customers, EQ Bank was named the top Bank in Canada on the Forbes World’s Best Banks 2021 and 2022 list.
All EQ Bank deposit products are eligible for CDIC deposit insurance.^†
About Equitable Bank
EQB Inc. trades on the Toronto Stock Exchange (TSX: EQB, EQB.PR.C and EQB.R) and serves more than 360,000 Canadians through its wholly owned subsidiary Equitable Bank, Canada’s Challenger Bank™. Equitable Bank has a clear mandate to drive change in Canadian banking to enrich people’s lives. Founded over 50 years ago, Equitable Bank provides diversified personal and commercial banking and through its EQ Bank platform (eqbank.ca) has been named the top Schedule I Bank in Canada on the Forbes World’s Best Banks 2022 and 2021 lists. Please visit equitablebank.ca for details.
¹ Interest is calculated daily on the total closing balance and paid monthly. Rates are per annum and subject to change without notice.
† Equitable Bank is a member of CDIC. EQ Bank is a trade name of Equitable Bank.
® Trade-mark of Interac Corp. Used under licence.
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EQB Inc. trades on the Toronto Stock Exchange (TSX: EQB and EQB.PR.C) and serves a growing number of Canadians through Equitable Bank, Canada's Challenger Bank™. Equitable Bank has grown to become the country's eighth largest independent Schedule I bank with a clear mandate…
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