Blog

The best plugins for mixing vocals will result in the best-sounding vocals. If you want to incorporate a vocal track into your music, it is essential to have some of the best VST plugins for vocals. 
However, vocal plugins can be costly and if you are just starting as a music producer, you may not have the funds for premium plugins like Autotune or Waves Diamond Bundle.
We've compiled a list of the most effective free VST plugins for vocals.
Yep, you heard that right…
We're talking free reverb plugins, free vocal processing plugins, and even a free saturation plugin or two.
In other words, you need some high-quality vocal effect plugins to make your singing sound as good as your favorite performers. But that doesn't mean you have to spend a lot of money.
Check Out All Of Our Production Tutorials Here <<<
This vocal eq is a great plugin that both equalizes the signal and adds subtle harmonic content. This allows you to alter the frequency response of the vocal while also allowing the vocal to sound full and warm because of your EQ plugins.
The EQ allows you to adjust the left and right channels independently through its L/R mode. Of course, you can also change it to mid/side processing for a wider and more dynamic vocal mix.
Each side allows you to affect seven bands whose frequencies can be altered anywhere from 20hz to 20kilohertz. There is also output on each channel.
Overtone GEQ not only balances the frequencies but also applies harmonic enhancement. It has seven modules, each affecting a different band, to create a rich, harmonic sound. It was designed to allow audio engineers to apply quick EQ shape adjustments together with adding a bit of harmonic richness to the audio material (mainly mixes and sub-mixes due to a comparably high load this EQ puts on a CPU).
NOVA is a parallel dynamic equalizer that uses the familiar layout of a parametric equalizer. Each band also includes a full-featured dynamics section, allowing the processor to cover an impressively-wide range of applications. Whether you need to add density to a master track, make drums sound more crispy, or fix sibilance in a perfect take, NOVA has an elegant answer.
TDR Nova is an excellent mixing and mastering equalizer for newcomers and experienced users. The built-in spectrum analyzer and the equal loudness functionality make it very intuitive. The most impressive thing about TDR Nova is how easily it transforms from a simple parametric EQ into a super-precise dynamic equalizer.
PTEq-X is a digital emulation of 3 famous vintage passive program equalizers, with all the characteristics of the original hardware, plus some circuit improvements and additional features to increase its versatility.
The PTEq-X replicates all the features of the original hardware, as well as improves on some of the circuits and adds additional features to increase its versatility. It is intended to be used as a studio equalizer for tracking, mixing, and mastering inside hosts that support VST or AU Plug-Ins.
T-De-Esser is designed to be simple and easy to use, while still giving you the ability to adjust the processing to your liking. The plug-in starts working when you turn the knob, and you can choose how intense you want the effect to be.
There are four frequency bands available, so you can target the harshness and sibilance depending on where they're coming from.
While this plugin is a simplified version of the company's premium de-esser, this thing is so effective and useful you may find that you never need to upgrade (…unless of course, you want to).
We appreciate how effortless the plugin is to use, as there are only a few tweakable settings on the interface. These settings comprise intensity, depth, and pitch. The "pitch" setting is great, as it lets you target three separate frequencies, making this unassuming free de-esser more flexible than you might anticipate.
Get Perfectly Balanced Vocals Every Time Right Here <<<
After you've picked the appropriate frequency range, turn the depth knob to the point where you have the perfect amount of de-essing for your track. If you start to hear that your vocal sounds too lispy or that the de-esser is getting rid of too many high frequencies, you can use the plugin's 'soft' mode.
Lisp is one of the few de-essing plugins available for your digital audio workstation that works regardless of the input level and requires no frequency setting. Simply set your reduction amount and Lisp will automatically detect the "ess" sounds in your audio track, turning them down with highly transparent results.
Some of the first de-esser plugins that come to mind are the Lisp De-Esser and the Classic De-Esser. Both plugins are level-independent sibilance processors with plenty of unique controls, including sensitivity, attack, release, reduction amount, sibilant range, stereo mode, and processing mode.
A free vocal pitch tuner is simultaneously the best vocal plugin and also the hardest plugin to find. Autotune and Melodyn are the heavy hitters in the world of premium pitch corrections, but there is a sizable lack of free alternatives.
But MAUTOPitch allows for all of the most popular features of standard pitch correction, including formant adjustments and pitch correction. Doubling down on these features also allows you to adjust the depth of pitch modulation and the speed at which the plugin corrects the tuning of the vocal or instrument.
There is the added parameter for global tuning adjustments and base tuning to help created thicker, double-tracked vocal stacks that still sound in-key.
The onboard effects allow you to nestle the affected vocal underneath the raw audio while also giving formant shifting features and an added width parameter that allows you to widen your vocal.
The global tuning knob allows the plugin to lock into the key of the song so that it knows exactly which notes to be adjusting and which ones to leave on every vocal.
Graillon 2 is a powerful vocal modulation plugin to have in the vocal chain that lets you shape your voice any way you want — add different harmonic voices, octaves, bit-crushing, etc. The free version gets you the essential Pitch-Shift and Pitch Correction modules of the plugin, perfect for dialing in a robotic vocal or something similar to the “classic” Auto-Tune sound.
Graillon 2 has many great features, one of which is that it can take MIDI input. This means you can make your vocal performance follow the pitch of specific MIDI notes, resulting in a more vocoder-like sound. There is also a knob called "Smooth" which controls how quickly the pitch correction starts working. If you want a robotic sound, set it to "Fast", and if you want a more natural sound, set it to "Slow".
Occasionally, you may want the quickest and simplest option when you're wanting great vocals. This could be because you want to hear the desired effect through the plugin, or because you're doing ad-libs where precision isn't as vital. Maybe you just want to sound like Daft Punk and need that hard-tuned Auto-Tune sound.
Voloco's vocal tuning can get you there relatively quickly. The team behind the mobile app of the same name developed Voloco, which has a super-basic user interface (key, scale, and pitch correction amount) that will make you sound like Travis Scott within seconds.
What makes this plugin stand out from the rest of the free alternatives is its simple user interface. With only a few parameters to be altered, this plugin gives little room for user error which makes it an easy recommendation for newer producers.
The middle sphere on the interface indicates the original vocal, and the more you apply the effect you will see peripheral lines begin to expand from around the original sphere. These are indicative of the doubled vocal takes, so it's easy to see how helpful the visual representation of the effect can be when dialing in how much you want of it.
Keep Up With Izotope's Latest Updates Here <<<
Heavy-handed applications of the plugin will create a detuned and phased-out vocal that may be pleasing for some genres. But when used in subtle amounts, this effect can help thicken up a vocal by giving the illusion of double tracking during the recording process.

Acon Digital Multiply is a free chorus effect with a unique twist. Each simulated voice is processed with a phase-randomizing filter, avoiding unpleasant comb filter effects.
The effect can be used to replicate the sound of several performers playing the same tones simultaneously, to create a wider spatial image, or to generate special effects for sound design. Multiply can replicate up to 6 vocal layers and both the pitch and volume of the voices can be modulated.
The integrated equalizer consists of low cut, low shelf, high shelf, and high cut filters that can be applied to the effect signal. The integrated pre-delay section makes it possible to create modulated and diffuse echo effects.
Krush's bit crushing and downsampling algorithms give it a crispy, digital taste, while its drive stage and analog modeled resonant filters add warmth. A modulation section lets you quickly add extra life to the sound by modulating any parameter.
Krush produces a sound spectrum that ranges from the dirtiest digital effects to crunchy modulated colors, including all the classic and weirdest bit-crushing effects.
Krush is a very versatile plugin since it addd warmth, distortion, fuzz, and even a bit-crushing effect, and it allows for A/B testing which means you can compare two different settings to see which version of the vocals sit best in the mix.
Vocal saturation plugins truly are the secret sauce to making a powerful, tighten, and emotional vocal mix. Of all the plugins on this list, Saturation will be the biggest help in accomplishing the results you want in your next vocal production.
Firstly, saturation tames back the vocal's dynamics in the same way a compressor might. This allows for a slightly more even-sounding recording which is easier to mix in with the rest of the elements of the track
Secondly, saturation and distortion excite the frequencies and create harmonic content making the vocal recording feel thicker and more powerful. When overused, saturation can also alter the tonality of a vocal, giving a harsh and chunky garage-punk quality that sounds great on ad-libs, vocal FX, and even entire stacks.
BPB Saturator offers two types of saturation, Tube and Tape, which can be applied simultaneously to the vocal. The main difference between tube and tape distortion is that tube distortion excites the mid frequencies to create a warmer and more rounded tonality and tape distortion excites the higher frequencies to introduce more bite and clarity to the audio in which it's being applied.
To get the most out of this tool, forget anything you know about distortion. At first, Temper may not make a lot of sense. It uses a phase distortion algorithm to do things most clipping tools can't. But once you get used to it, you'll see how powerful it can be.
The three controls – Curve, Drive, and Saturation – dictate the flavor of distortion. The Drive knob ranges from -10 to 10. With the gain at zero, there is no distortion. If the gain is set to any other number, the plugin applies a distortion based on how the Saturation and Curve controls are set. The Cutoff control sets the frequency of the low-pass filter, and the Resonance emphasizes certain frequencies. Temper also adds some harmonic excitement.
The human voice is incredibly dynamic but having such wide discrepancies between your vox channel's peaks and troughs will lead to an unpredictable and poor mix. That is where compressors come in handy (especially on vocals).
But not every compressor is created equal and not every one of them is worth the megabytes they occupy on your hard drive.
Luckily, the MCompressor from Melda offers more functionality and better tonality than most premier-level compressors and is an amazing addition to any producer's arsenal.
You have all the standard settings like attack, ration, threshold, release, and more. But you also get lookahead features, sidechain input monitoring, custom settings, and expansions. You can even alter the routing and adjust the gain control.
Learn How To Sidechain Like Daft Punk <<<
I'm not lying, this compressor packs some serious heat and it's wild that it's completely free
To ensure your are sounding their best in your mix, you need to compress them. For a great free compressor that does an amazing job on , check out DC1A by Klanghelm.
Achieving great sounding is easy with DC1A's two knobs; input and output, along with four buttons for compression characteristics. This compressor works from gentle leveling to excessive pumping – perfect for compressing all styles.
To be frank, I'm still floored that this reverb plugin is a freebie. This is a great free reverb that can do all the usual things a reverb does and so much more.
The actual reverb is authentic, lush, and realistic meaning whatever the place you want to place your vocal in, this reverb can handle it with ease. And the complete control over the decay time, width, feedback, and more makes dialing in the settings a breeze.
But where this free reverb plugin truly shines is through its massive decay tails, heavily affected modulation capabilities and killer presets. Long story short, this reverb is a Swiss army knife when it comes to creating vocal atmospheres, reverb reverses, atmospheres and more.
OldSkoolVerb is a vocal reverb plugin that uses an algorithmic reverberation for professional streaming, sound, and music production applications. This plugin uses a “classic” stereo reverb algorithm which is simple yet effective and produces a clear spatial image that blends well with the mix.
OldSkoolVerb provides a wide range of parameters that allow you to create different types of reverb, from plate reverb to room reverb to hall reverb. OldSkoolVerb works best with non-percussive and soft-attack sounds like vocals, piano, and pad sounds. However, you can get good results with percussive sounds by using a narrow "plate" range of settings.
There's nothing quite like a great-sounding reverb to liven up a vocal performance. The TAL-Reverb-4 is perfect for that.
Its design is easy to understand and use. The three main knobs let you adjust reverb size, diffusion, and delay amount. You also have two additional knobs for modulation rate and amount, as well as a low and high cut equalizer to shape your reverb sound. Finally, use the dry and wet knobs to adjust how much reverb is applied.
The reverberation characteristics are diffused with a hint of the ‘80s. The echo sound is warm, organic, and analog – making your vocals shimmer deep in everything from small to large room reverbs.
A good free delay can be hard to find. Many delay plugins, including even paid delay plugins, might do a single thing well but are completely unusable for any other situation.
Freq Echo from Valhalla does it all and does it all well. Whether you're looking for cascading and modulated vocal delays or a tight slapback delay, this thing can handle it with ease.
And the ability to sculpt the delayed frequencies is a powerful feature as well. Sure, many other delay plugins have similar features, but it never hurts to have access to it on this one too.
The most basic three controls are pretty straightforward. The damp control is a low-pass filter and works in conjunction with the resonance control. The plugin adds some odd harmonics and noise to the delay, so this is the ‘vintage’ part of the delay although you can’t control how much of this is added.
Note that none of the delay time controls have numerical values – they can only be viewed by the knob's position. This will take some getting used to, but eventually, you'll be able to do it by ear.
This is a "name your price" VST/AU delay plugin with a warm, lively sound. The interface is clean and it has all the features! It seems to work well without any bugs but it feels like a work in progress. The drive sound is harsh, there are no value readouts on the knobs and only a handful of presets.
Dive Into More In-Depth Delay Tutorials Here <<<
Cocoa Delay is a free and open-source software program. If you're feeling generous, you can donate any amount of money to them. If you're a programmer type, you can check out their code on GitHub.
Managing Editor at Magnetic Magazine – Former Marketing Manager at the Hyperbits Masterclass – Writer, Content Strategist, Music Producer, and Record Label Manager 

source

When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.
Looking for a great budget PC for music production? There’s value to be found at the entry level, as these choices prove
If you’d have told someone 20 years ago that you could carry an entire music studio on a phone, or that some of the biggest recordings of this era were made using little more than some readily available, inexpensive software, then you’d have probably attracted some funny looks. But the best budget PCs for music production – both desktop and laptop – can serve up enough power and performance to enable anyone, of any skill level, to start music production.
In this guide, we’ll show you some of the best budget PCs for music production, as well as offer advice on the things to look for when you start your buying journey. You can find comprehensive buying advice at the bottom of this guide.
As it turns out, there are plenty of options for anyone looking for a budget PC on which they can record and produce music. We’re seeing more and more ‘mini’ PCs enter the market, boasting enough power to suit many music applications, and we were so impressed with the Geekom Mini IT8 that we’d happily recommend it as a portable, powerful option to consider. Elsewhere, the Dell Inspiron 15 is still a sound choice, even after all these years, balancing price and performance into a single, well-crafted package.There’s a growing market for these tiny desktop PCs, and on paper it’s not hard to see why. At around the size of roughly five pieces of bread stacked on top of one another, the Geekom Mini IT8 has near-perfect spec for any budget-conscious producer. 16GB of RAM means you can manage some pretty hefty sessions, while 256GB solid-state storage (expandable up to 1TB) is superb for the price. 
We’d perhaps have reservations about how it would cope under serious duress; a sad fact about PCs is that processors under serious pressure produce serious heat, and therefore require cooling. But at this price, and with this level of portability, it may be the perfect machine for anyone starting their music production journey. Many a producer has started their career tinkering with a Dell Inspiron 15. The Inspiron hits that classic sweet spot of price and performance, and is arguably the best choice for cost-conscious producers looking to get a machine that will grow with them as they progress. 
The baseline model, with 8GB RAM and Ryzen 5 CPU will be fine for most, but if you can afford the bump up to 16GB of RAM or the superior Ryzen 7 processor then we’d advise you do just that. Either way, you could do a lot worse than the Inspiron. While there are other options on this list that have more power, there aren’t many that will be as simple to use, and as nice to interact with, as the Microsoft Surface Laptop Go. As a step above the base Surface Go range, the Surface Laptop Go features a familiar interface and is simple to use. Performance isn’t the best, but for simple beat-making or on-the-go recording, it’s a solid option. 
Admittedly, it’s only really able to call itself a ‘budget’ music production PC if you go for the base spec; add in extra RAM or storage to make it more capable as a production machine and the price soon adds up. But overall, it’s a solid option we could see appealing to either older or younger users who don’t want the faff of using a machine that requires constant tinkering with in order to extract its best performance.While it won’t win any design awards, or become the centrepiece of your chic new studio space, the HP Essential Tower is a highly capable, very well-priced PC that will serve you well for basic music tasks.
The Essential Tower has 8GB of RAM, which is fine for most tasks you’ll throw at it, while there are plenty of USB ports and even an SD card slot on the front to allow for additional storage. It might not be pretty, but we can see it being more than capable enough for plenty of people. Oh, and the addition of a mouse and keyboard in the bundle means you’ll only need a monitor to be up and running.If the new PC in your life is meant to serve multiple purposes, i.e. home-working, internet browsing or video calls, yet needs to be capable of a sneaky Maschine session as well, then the Lenovo IdeaCentre is a decent option. It boasts a sensible spec-sheet for the price and features a nice, clean design too, so it won’t look out of place in a home office set-up. 
It’s not the most powerful beast, for sure, but if you’re only dabbling with music-making then it’s a great option. Another old favourite, the Acer Aspire range of desktop PCs are mass-produced, sure, but have been propping up the production escapades of budding producers for years now. Simple and familiar enough to use, but with enough grunt to handle most tasks in a production environment, the Aspire is a solid choice for most. 
The base model comes with 8GB DDR4 RAM but is user-expandable up to 32GB, so you could quite feasibly give it a big boost if you’re finding it sluggish.As with others on the list, you’ll see there’s a trend away from the monolithic mega-sized desktops of the past. As the technology has developed, manufacturers have been able to shrink their offer to deliver the power you’ll need in a box big enough to act as a stand for your monitor. The Acer Revo RN96 is one example, packing enough RAM (with space for more) and a decent amount of storage into a relatively small desktop unit. 
Admittedly, the Intel i3 CPU isn’t exactly a speed merchant, but will be enough to keep up with most tasks you can throw at it.Huawei’s Matebook laptops are seen in some circles as cost-effective MacBook competition, so we were expecting big things from the Huawei MateStation. Despite the daft name, it largely lives up to its billing as a solid entry-level PC for music production thanks to sufficient RAM, a sensible CPU and plenty of connectivity options. 
It’s also nicely designed and compact, unlike some desktop PCs, meaning it won’t dominate a small studio space. Would be nice to have the option of user-upgradeable RAM, but the 8GB on offer will be fine for anyone starting out in production. Why you can trust MusicRadar Our expert reviewers spend hours testing and comparing products and services so you can choose the best for you. Find out more about how we test.
When you are looking to buy a budget PC to produce music on, you need to be aware of a few key specifications you should be looking out for. Don’t be distracted by flashy RGB lights, or a 4K screen; with music production, it’s all about performance and storage. Performance comes in the form of how long it takes to export an audio file, or how long you’ll be waiting for a plugin to load. Storage, on the other hand, is arguably more important as it dictates how quickly your PC can write your tracks ‘to tape’ and then, subsequently, how quickly it can re-access that audio when it needs to.
Breaking it down a bit; your PC’s RAM is the short-term memory of your computer. On it, the audio you’re using in a session is stored so your digital audio workstation (DAW) can access it quickly. The bigger the RAM, the larger and more complex the DAW sessions you can run. At the budget end of the price spectrum, you should be looking for upwards of 8GB as a minimum, although with some PCs you may be able to upgrade this yourself. In our experience, upgrading the RAM is the simplest and quickest way to breathe new life into an ageing production machine too.
Storage also refers to the storage volume. It used to be every PC had a hard disc drive (HDD) although these are being succeeded by faster – albeit more expensive – solid-state drives (SSD). These drives offer much faster data transfer rates and, with no moving parts to break, are more reliable than the older models. If you can get a PC with an SSD within your budget, you should.
It’s important also to consider the connectivity available to you with your PC. While many older peripherals, like USB MIDI keyboards and controllers, still rely on older USB ports, there’s a growing trend towards employing USB-C connectors. 
In this guide, we’ve tried to offer up some suggestions of great affordable PCs for music production, including both laptops and desktops. In keeping with the budget tag, there may be compromises in some places, but overall any of the machines here will do a sterling job of getting you recording, editing and mixing in no time at all.
Find out more about how we test music gear and services at MusicRadar.
Don’t miss the latest deals, news, reviews, features and tutorials
Chris Corfield is a journalist with over 12 years of experience writing for some of the music world’s biggest brands including Orange Amplification, MusicRadar, Guitar World Total Guitar and Dawsons Music. Chris loves getting nerdy about everything from guitar and bass gear, to synths, microphones and music production hardware.
MusicRadar is part of Future plc, an international media group and leading digital publisher. Visit our corporate site (opens in new tab).
© Future Publishing Limited Quay House, The Ambury, Bath BA1 1UA. All rights reserved. England and Wales company registration number 2008885.

source

As aggressive and face-melting as glitched-out music can be when you hear it live in the club, the production side of it requires painstaking attention to detail. There simply aren't any cutting corners when it comes to making amazing glitches in genres like Glitch Hop, Trip Hop, Dubstep, and other genres of bass music. 
Nobody knows this better than Kyral X Banko —a duo native to Colorado—and longtime friends and members of Mersiv's MorFlo Records.
Their latest single, a headbanging anthem named "Juggernaut," is a masterclass in these types of glitches and should be considered the gold standard for anyone looking to implement such styles and edits into their own productions. And to celebrate the release of this smashing single, we invited the boys on to share their top five tips on making better glitches. In this article, they dive into just how game-changing one specific approach can be, their favorite plug-ins to make awesome glitches, and more.  
But before we dive into the high-level glitch tips, take a listen to their latest single so you have a reference point for the knowledge they're about to drop. 
The vast majority of our sound design and relentless pursuit of developing our ‘signature sound’ has come from a method that we learned from Mr. Bill in a masterclass he did in Boulder, CO called ‘Mudpies’. 
Basically, this is a style of sound design that involves setting up a very intentional set of macros in an instrument rack (Operator, Wavetable, Serum etc…) & then creating a MIDI clip with a bass progression or even just one long midi note. You then set up an audio track just beneath that midi channel to ‘resample’ the audio that comes from adjusting the macros that you’ve set up while recording/converting the ensuing madness into audio, where it is more easily workable/editable. 
We will usually put the MIDI clip on a loop so that you can basically record an infinite amount of new random variations and noises. You can definitely catch us starting many sessions with multiple hours of mudpies, and then bouncing the (often very long) audio file for future use, typically labeling them by ‘instrument type’ and ‘key/bpm’. 
The best way to use this technique is to drag in any given ‘Mudpie’ clip and slice it so that you’re only using tiny sections that end up being amazingly unique little pieces of audio. In summary, the ‘Mudpie’ technique made the entire process of sound designing SO MUCH more fun vs. spending hours and hours trying to find that ‘perfect’ sound or tweaking the same knobs over and over in a VST. 
This completely changed the game for us, & the possibilities with this technique are truly endless. Hats off to Mr. Bill.
Output's Portal Plug-In Is Their Favorite Tool For Granular Glitches
From here, there are a number of next steps that we take with the bounced Mudpies. 
The first thing we’ll usually try is resampling the same audio, but this time running it thru a granular plugin (our go-to is Portal) to get even more filler sounds to create a wonky aesthetic/space in the mix. The reason we use the same mudpie/audio for this is the resulting sounds/fx will mesh perfectly with the bass sounds since they came from the same exact audio clip. 
The best thing to do with these ‘granular/fx’ type Mudpies is to repeat the same process of exporting the resulting audio and labeling them something like ‘D# FX Portal Mudpie’ so that you can continue to stack up a bunch of these and use them for future projects. 
We love using these for intros/bridges/outros as well to really create a living/moving atmosphere in our tracks.
Another useful thing to try out to get wonky glitchy sounds is to run your entire finished (or almost finished) track thru a plugin like Glitch 2 which we use a lot. 
This will give you even more weird artifacts and blips to use and pepper into your production and will continue to add to your arsenal of cohesive sounds since again, it is all coming from resampling the same audio and will therefore sound very consistent throughout.
We definitely focus very heavily on the drums/percussion in our tunes to really guide and move the track & provide a solid foundation for all the melodic / bass elements to sit on top of. 
For Ableton Live users, one thing to try out that we do very often is to use the ‘Beats’ warp mode and select the little arrow pull-down menu, and then choose the single arrow that points to the right. This will essentially make the transient of any given drum sound much shorter or ‘choked’ and will lend to a more glitchy/unique drum pattern as opposed to having all of the percussion sounds (like hi-hats or cymbals) be the same sample. 
Really try to focus on making your drums unique and weird! It’ll help your whole track feel more interesting throughout.
Lastly, and this is also specifically for Ableton users, we have gotten really into using the ‘Texture’ warp mode on samples to get some really cool stretched-out glitchy sounds on things like vocals or snares (any sound will yield some cool results though). 
Be sure to really mess with the Flux and Envelope sliders in Texture mode & have fun with this one!
Managing Editor at Magnetic Magazine – Former Marketing Manager at the Hyperbits Masterclass – Writer, Content Strategist, Music Producer, and Record Label Manager 

source

It’s fall, the leaves are changing in the northern hemisphere, pumpkin spice lattes are back, and there’s a macOS update you should… probably not install yet.
And in a few weeks, it’ll all be better… after some headaches for developers. There’s nothing alarming here, just the usual routine.
In case you haven’t already heard from newsletters and Twitter and whatnot, Apple has again made changes that cause issues with the operation of certain plug-ins, either OS-wide or in Apple’s own DAWs (Logic/GarageBand/MainStage). Major named/integer updates like this are installed manually, not automatically. So mostly this is a warning to take your time, and avoid that big “Upgrade Now” button for Ventura. The usual applies – a few weeks will be enough time for plug-in makers to patch their software, and you can watch for an all-clear.
Security updates are patched to macOS 12 automatically, so there’s no urgent need to update to macOS 13. Spotlight and search are expanded in this version, though those features are available from third-party utilities. And all of Apple’s apps get refreshed if you’re a user of those. The big changes are in the form of Stage Manager, a new window manager/app switcher, the first major changes to System Settings since its debut in OS X, and improved graphics plumbing and Continuity for using iPhones as webcams. It’s also nice to see some new accessibility features in this version. See Apple’s overview. But none of this requires you to rush out and update now; an upcoming collaboration toolset is even delayed until later this year.
The bigger issue will likely be folks buying new machines with Ventura pre-installed. That’s doubly true, because the issue some audio plug-in developers report is with installing plug-ins – so updaters may see fewer issues than new hardware purchasers.
A lot of stuff works, your mileage may vary, but it’s as always a bad idea to update a critical machine in the middle of a project or show, and a good idea to wait some weeks and then double-check compatibility with the tools you use most.
Pro Tools Expert and Sweetwater each posted compatibility guides:
Apple macOS Ventura Audio Compatibility For Audio Plugins And Hardware [Pro Tools Expert]
macOS 13 Ventura: Compatibility Guide [Sweetwater]
Those guides are of somewhat limited use, though, in that a lot of the listings are limited to being placeholders for missing information or saying developers are validating.
Macworld has a guide to which computers can run Ventura, looking at this the other way round:
Check if your Mac can run macOS Ventura and get all the new features [Macworld]
Also worth checking: there are changes to security elevation for USB and Thunderbolt devices:
How to manage Thunderbolt & USB security in macOS Ventura [AppleInsider]
And, uh, yay:
Fix Wi-Fi & Internet Connection Problems in macOS Ventura [OS X Daily]
Some highlights of plug-in makers suggesting you hold off, either from those guides or direct appeals:
I almost put Native Instruments on this list (habit?), but they say at least some of their stuff is working.
What I can say is, at least some developers I’ve talked to have encountered issues that required further changes for installers or plug-ins to work properly – not just needing more time to run validation tests. (That is, some stuff does break.) It seems at least this OS is just limited to more plug-in issues, though; I’ve not seen any hardware complaints.
And some devs worked hard and patched things in a hurry – shout out to Valhalla:
We've updated the Valhalla plugins for macOS Ventura compatibility! https://t.co/dc8Zb3jJWH pic.twitter.com/mnWYSzS0yh
With hosts, the news is better – Ableton, Reason Studios, and Steinberg each report compatibility with Ventura, for instance – in addition to Apple. (Note that Steinberg for instance still says they’re testing; that goes for almost everyone.) DAWs are of course little comfort if you’re concerned about keeping all your plug-ins working, which you should definitely be thinking about.
Yes, it would be nice if Apple improved its process for making changes to how AU plug-ins work, how they interact with other OS changes, and how validation in Apple’s hosts is updated with new OSes.
And yes, ongoing dissatisfaction with Apple and Steinberg is part of what is motivating plug-in developers to look at new, open formats like LV2 and CLAP. But meanwhile, they do work very hard to keep our stuff working.

CDM is a home for people who make and play music and motion.

Get news and special deals from us in your inbox weekly:

Opt in to receive news and updates.

You have successfully joined our subscriber list.



Made by Create Digital Media, GmbH in Berlin

source

The music industry is a dynamic place. More accessible recording technology and the rise of platforms such as TikTok have helped lower traditional barriers, but the rise of streaming services have transformed profit-sharing. Historically common record and distribution deals are becoming more rare. And, with interest in social media virality and self-promotion growing, billboards, commercial spots, and traditional contracts have increasing competition.
If you are considering a music degree, it’s important to know what these changes will bring and what job prospects may await you after graduation. CU Denver’s Music & Entertainment Industry Studies (MEIS) program aims to prepare students for the modern world of music by taking a forward-facing and inclusive approach to music education.
Within the College of Arts & Media (CAM), the Music & Entertainment Industry Studies program offers students a unique approach to music education and a variety of degrees. Students can choose from four distinct undergraduate areas of study: music business, music performance, recording arts, and singer/songwriter. Each degree represents a cornerstone of the music industry, which allows students to carve out their own niche with the help of a specialized curriculum and experienced faculty.
Music business is a self-explanatory field of study that focuses on this industry’s business side. Students will be prepared for a quickly changing field by studying finance, law, publishing, concert promotion, music production, and management.
The music performance degree focuses on preparing graduates to be professional musicians. With cutting-edge music styles and industry-specific curriculum, this degree works well with a variety of creative and commercial pursuits, and is suited for any number of specializations (guitarists, bassists, vocalists, keyboardists, percussionist drummers, and more).
Recording arts allows you to take a deep dive into audio engineering in a contemporary music/entertainment context. Students will be taught by expert faculty, use state-of-the-art recording equipment and software, and build professional-level portfolios along the way.
The singer/songwriter program is more than just a study of contemporary musicianship. This field of study fosters a collaborative and community-based approach. Successful industry professionals guide students and connect them to Denver’s rich music scene. This degree helps students cultivate the skills to succeed as singers, songwriters, and accompanists.
For the graduate level, two programs are offered: an MS in Media Forensics and an MS in Recording Arts. Media forensics prepares students for a myriad of roles in forensic audio, video, and image analysis through topics such as audio/image enhancement and authentication, speaker recognition, computer forensics, and criminal and civil litigation. Recording arts expounds on the undergraduate degree, while refining sound recording, aesthetics, multi-track recording, digital signal processing, and more.
There is no lack of music colleges in the U.S., with roughly 1,800 spread throughout the nation. However, there’s an issue that plagues most, if not all of them.
These schools call themselves music schools, but they focus on Western classical music… a curriculum that was developed 120 years ago and has remained almost immovable.”
—Mark Rabideau, Associate Dean, College of Art & Media 
While there is certainly a need for classically trained musicians, the music industry has a much wider and international reach. Confining students to a relatively narrow and well-defined curriculum deprives them of the extremely diverse and rapidly growing music culture that exists today.  
That is where CU Denver’s MEIS program steps in. Rabideau emphasizes that the core mission of MEIS is repositioning creativity at the center of our students’ training and asking the question, “Whose music matters?” Rabideau believes that through centering creative education in MEIS, everyone’s music does.  
In this, MEIS aims to minimize systemic exclusion, which is historically commonplace within the music industry. While MEIS certainly still offers core courses in music history and theory classes, the coursework is largely framed around helping students address the issues they face through contemporary approaches to music.
What our students are really interested in is being part of today’s music scene.”
—Mark Rabideau, Associate Dean, College of Art & Media 
It’s all about helping students find their voice and individual creativity. Whether that’s through music business, recording arts, performance, or songwriting, MEIS offers a relevant way forward for the next generation of music professionals.  
The music industry has a projected 4% growth through 2031, which matches growth averages across most industries. These are the most common jobs (along with median pay) landed by music college graduates as of May 2021:
This role exists to manage artistic talent, help them find new opportunities, and shape the business behind their act. Planning, organization, directing, and negotiating are all essential skills for an artist manager. Artist managers will help book gigs, plan projects, organize record releases, direct tours, and more.
While higher education music teaching is a varied field, this role often focuses around teaching a specific skill or instrument. Alternatively, teachers can specialize in music history or theory. For this role, at least a master’s degree is required and often a PhD or DMA.
As a recording engineer, you’ll be responsible for many technical recording components, including the overall sound recording and mixing and mastering the project to audio perfection. You’ll deal with analog and digital audio, microphones, signal flow, compressors, and more. 
While varied in scale, this field performs music and sings for live audiences and recordings. They perform a variety of genres, such as classical, pop, R&B, hip-hop, jazz, and rock. They also audition for a range of positions in organized music (i.e., orchestras, choirs, bands, and other types of music groups).
A session musician backs up or performs on another artist’s project on a short-term basis. You’ll get to work with a variety of genres, sounds, and styles, and may get to join a band on tour.
Composers are often thought of in the classical music sense. However, this job can be done in a variety of mediums including film, TV, and video games. Alternatively, composers can write and arrange recorded or live music. Composers need to have a deep understanding of music theory, and mastery of multiple instruments. Additionally, they need the technical know-how to record their compositions (for example: music notation).
A music producer is knowledgeable in the business and creative side of music, and works in conjunction with musicians and record labels. This role runs recording sessions, arranges compositions, manages instrumentation, and guides the mixing/mastering.
Accomplished author, artist, entrepreneur, and educator Mark Rabideau, DMA, is an international figurehead in the music and arts. He aims to reimagine how artists and institutions can thrive within the contemporary marketplace, recentering creativity in all that he does.
Mark currently serves as the Associate Dean for Faculty and Student Affairs and is an Associate Professor for the College of Arts & Media at CU Denver.
Learn more about CU Denver’s music education opportunities and how you can build your career in this high-demand industry today.  
NEED ADDITIONAL INFORMATION?

Contact us to learn more about how much programs cost, how to apply, and when you can start any of CU Denver’s music programs.

Written by Dan Ruzich, University Communications
© 2022  The Regents of the University of Colorado, a body corporate. All rights reserved.
Accredited by the Higher Learning Commission. All trademarks are registered property of the University. Used by permission only.

source

Menu
TULSA, Okla. — The Tulsa Police Department is investigating after statements made by officers during its Citizen’s Police Academy last week.
An attendee from the training gave 2 News Oklahoma audio in which an officer can be heard calling the 2020 protests against police brutality “fun” for Tulsa officers.
“Because we’re driving around going ‘Here’s some, come get them, SWAT boys,'” the officer says in the recording. “Like spanking a bunch of unruly kids.”
The Citizen’s Police Academy is a free, 13-week program meant to show citizens to the operations, protocols and procedures of the Tulsa Police Department. The session recorded and provided to 2 News is from Oct. 18, 2022.
The police department released a statement Tuesday saying the situation is under investigation:
The supervisor involved has been placed on Administrative Restrictive duty, according to Tulsa Police Chief Wendell Franklin. Franklin said other police personnel may have been present for those comments and will be held accountable if the investigation finds they failed in their duties.
pic.twitter.com/zwWTas7GDt
— Tulsa Police Department Chief Franklin (@TPD_Franklin) October 25, 2022

Here is a full transcription of the audio:
This is a developing story. Check back for updates.

Trending Stories:
Stay in touch with us anytime, anywhere —

source

Hi, what are you looking for?
By
Published

New Jersey, United States, Dec 12, 2022 /DigitalJournal/ Music production software is used for music composition, digital recording, creating electronic music and other musical applications. The rise in the digital audio content and the proliferation of music-related applications are boosting the demand for the music production software market. Music-making software is more affordable as compared to music creation outfits.
The global Music Production Software Market is expected to grow at a Robust CAGR of 7% during the forecasting period of 2022 to 2029.
Get the PDF Sample Copy (Including FULL TOC, Graphs, and Tables) of this report @:
https://a2zmarketresearch.com/sample-request
Music Production Software Market research is an intelligence report with meticulous efforts undertaken to study the right and valuable information. The data which has been looked upon is done considering both, the existing top players and the upcoming competitors. Business strategies of the key players and the new entering market industries are studied in detail. Well-explained SWOT analysis, revenue share, and contact information are shared in this report analysis. It also provides market information in terms of development and its capacities.
Some of the Top companies Influencing this Market include:
Steinberg Media Technologies, FL Studio, Propellerhead Software, Cockos, Ableton, PreSonus Audio Electronics, Apple, NCH Software, Avid Technology, Magix, Acon Digital, Adobe, Cakewalk
Various factors are responsible for the market’s growth trajectory, which are studied at length in the report. In addition, the report lists down the restraints that are posing threat to the global Music Production Software market. This report consolidates primary and secondary research, which provides market size, share, dynamics, and forecast for various segments and sub-segments considering the macro and micro environmental factors. It also gauges the bargaining power of suppliers and buyers, the threat from new entrants and product substitutes, and the degree of competition prevailing in the market.
Global Music Production Software market segmentation:
The market is segmented based on the type, product, end users, raw materials, etc. the segmentation helps to deliver a precise explanation of the market
Market Segmentation: By Type
Editing, Mixing, Recording
Market Segmentation: By Application
Artists, Musicians, Entertainment, Educatio
Global Music Production Software Market research report offers:
For Any Query or Customization:
https://a2zmarketresearch.com/ask-for-customization
This report studies the global Music Production Software market, analyzes and researches the development status and forecast in North America, Asia Pacific, Europe, the Middle East & Africa, and Latin America. Various key players are discussed in detail and a well-informed idea of their popularity and strategies is mentioned.
The cost analysis of the Global Music Production Software Market has been performed considering manufacturing expenses, labor cost, and raw materials along with their market concentration rate, suppliers, and the price trend. It also assesses the bargaining power of suppliers and buyers, the threat of new entrants and product substitutes, and the degree of competition prevailing in the market. Other factors such as supply chain, downstream buyers, and sourcing strategy have been assessed to provide a comprehensive and in-depth view of the market.
The report answers questions such as:
Contents
Global Music Production Software Market Research Report 2022-2029
Chapter 1 Music Production Software Market Overview
Chapter 2 Global Economic Impact on Industry
Chapter 3 Global Market Competition by Manufacturers
Chapter 4 Global Production, Revenue (Value) by Region
Chapter 5 Global Supply (Production), Consumption, Export, Import by Regions
Chapter 6 Global Production, Revenue (Value), Price Trend by Type
Chapter 7 Global Market Analysis by Application
Chapter 8 Manufacturing Cost Analysis
Chapter 9 Industrial Chain, Sourcing Strategy, and Downstream Buyers
Chapter 10 Marketing Strategy Analysis, Distributors/Traders
Chapter 11 Market Effect Factors Analysis
Chapter 12 Global Music Production Software Market Forecast
Buy Exclusive Report @:
https://www.a2zmarketresearch.com/checkout
Contact Us:
Roger Smith
1887 WHITNEY MESA DR HENDERSON, NV 89014
[email protected]
+1 775 237 4157

Related Reports:
Cloud Kitchen Market 2020-2026 Kitchen United, Rebel Foods (Formerly Faasos), …
Autonomous Luxury Vehicle Market Research and Development Continue to Trigger Ne …
Development of Medical Gases Market On 2020 to 2027 Air Liquide, The Linde Gro …
Latest innovative report on Medical Decision Support Systems for Sepsis Market b …
Know in Depth about Biogeneric Drugs Market Trends, Analysis by Regions, Type, M …
Infection Control Market global Size | Top Players are Ecolab, STERIS, 3M, Abbot …
Cybercrime and Security Market breaking the new grounds and Thriving Worldwide w …
In depth Research of Silicon Carbide (SIC) Market 2020-2026 with Trends, Growth, …
Nasal Strip Market to Witness Robust Expansion by 2025- Top Key players like G …
Cloud Kitchen Market 2020-2026 Kitchen United, Rebel Foods (Formerly Faasos), …0

COMTEX_420702118/2769/2022-12-13T10:22:13

While some of Slack’s private code repositories were breached, Slack’s primary codebase and customer data remain unaffected, according to the company.
Analysis of Google Trends data shows a clear spike in interest over the past month or so, coinciding with the app’s release, both in…
Belgium has relied on a stable of seven nuclear reactors operated by Engie for about half of its electricity needs – Copyright AFP JOHN…
TikTok’s CEO will hold talks with top EU officials in Brussels as the West steps up its scrutiny of the Chinese-owned social media giant.
COPYRIGHT © 1998 – 2023 DIGITAL JOURNAL INC. Sitemaps: XML / News . Digital Journal is not responsible for the content of external sites. Read more about our external linking.

source

Good morning, neighbors! I want to take this opportunity to say a special thank you to today’s sponsor, Stirling Art Studios & Gallery! If you’re interested in sponsoring the Dunedin Daily newsletter, shoot me an email at [email protected].
Now, let’s get to what’s happening in town. Today we’ll cover:
But first, today’s weather:
Mostly sunny and nice. High: 78 Low: 62.
Shoutout to our premier local sponsor:
Looking for original, unique artwork created by local Dunedin artists? Stirling Art Studios & Gallery is home to 12 professional artists honing their craft, while providing original artwork that appeals to collectors, interior designers, and homeowners alike. Located at 730 Broadway in the heart of Downtown Dunedin, their mission is to promote the arts to our community. Visit them here to learn more, or stop by Thursday-Sunday from 11-3 to view them at work and learn about the creative process.
Click here to get your business featured in this spot.
Here are the top stories in Dunedin today:
Dunedin Daily Pic of the Day:
Keep sending those holiday photos to [email protected] for consideration! Please confirm in the email that you own the rights to the photo and that Patch has permission to republish it.

Today in Dunedin:
From my notebook:
More from our sponsors — thanks for supporting local news!
Featured businesses:
Events:
For sale:
Housing:
You’re officially in the loop for today! I’ll see you soon.

Get more local news delivered straight to your inbox. Sign up for free Patch newsletters and alerts.

source

When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.
Make touch-screen music on the move, with devices from Apple, Microsoft and Samsung compared and contrasted
If you want to make music on the move, then buying one of the best tablets for music production could be the way to go. There are many options, at just as many price points, so there should be something for you no matter what your budget. Most music production tablets for can run the best music applications out there, including complete sequencers to arrange music, synths and other instruments like guitar and piano emulations. They are also powerful enough to handle software from some of the biggest names in the music production business, including Korg, Steinberg, Arturia, IK Multimedia, Moog and Fabfilter.
Tablets utilise touch-screen interfaces, so you can drag, drop and create sounds with the touch and swipe of a finger. They also offer much more screen real estate compared to your phone, and so make the whole music creation experience that much more fun and intuitive.
However, entering the tablet world for music production can be a slightly daunting experience, so we have created this buyer’s guide with all the advice you need, plus reviews of the latest and best tablets for music production.
There are two main tablet types – Android and iOS – that run music production apps. A third type runs the full version of Windows. These devices are not always included in tablet round-ups as they are essentially laptops with touch screens – known often as 2-in-1 devices. However, as they deliver all the PC music making software power you need, and all within a touch-screen environment, we have included them in our round-up here. 
Below, we discuss all three operating systems and which you should choose for music making. We have also listed our top music production tablet picks across all categories, alongside advice on using a tablet versus a laptop and desktop computer.
As we explain in the buying advice section below, you should choose a tablet on portability versus power – the music making functionality you can expect compared to the weight and size of the tablet. However there’s also the operating system the tablet uses to consider. This can be a divisive subject with many die-hard advocates lauding each system, so we’ll divide our advice up accordingly. 
The Windows systems – aka touch screens that effectively double as PC laptops – have been dominated by Microsoft’s Surface Pro, which is certainly an expensive option if you just want to use a tablet. The latest Surface Pro 8 looks set to maintain that trend, with lovely design tweaks and new functionality. If you have the budget then you can spend a lot on the top end version of this, or you could opt for the cheaper tablet-only option (minus the keyboard) and upgrade later. 
For iOS devices, Apple’s iPad Pros really shook things up in the world of mobile music making when they were released a year ago. As ever, things change fast in the world of iPad releases, but we’re still going to recommend the larger 12.9 Pro as our iPad of choice for music producers. It is not only (joint equally) the most powerful iPad you can buy, but also boasts the sharpest screen. 
However rather than the equally powerful iPad Pro 11-inch getting second place, the new iPad Air is stealing its thunder. This has all the M1 power within a super compact design, so is probably the best iPad for musicians in terms of portability versus power. It has a lovely, compact design with an M1 chip to deliver the music muscle you need.
That leaves Android devices, and they simply don’t come much better than the Samsung Galaxy Tab S8 Ultra. Its massive 14-inch screen will wow you and is perfect for touch music making, if not portability. If you are an Android fan and have deep pockets to empty of cash and fill with one of the bigger tablets in our tests, then look no further. Apple’s M1-based iPad Pros have been with us a year but are still the most ‘pro’ tablet around. You can easily equate the power and experience of using the iPad Pro 12.9-inch to that of the 13-inch MacBook Pro, all packed into a ridiculously thin tablet device with a stunning XDR touchscreen. 
And it’s the M1 chip that makes this and the new iPad Air our top choices for music making. The M1 chip has been causing a stir within Apple’s computers, including the new Mac Studio, aforementioned MacBook Pro, iMac and Mac Mini, with even a base-model 8GB of RAM proving to be very decent for music making. 
With the iPad Pro you get this 8GB as standard and it doubles to 16GB if you choose the 1TB or 2TB options. However, all this power doesn’t come cheap. Go for the top-dollar 2TB option and you’re looking at a couple of thousand all in, the same price as a fully-loaded 1TB 16GB iMac, also with an M1 chip. 
You want a beautiful, static 24-inch screen or a beautiful, mobile 13-inch touchscreen? Apple doesn’t make it easy to choose between desktop and iPad, no, but if you are in the market for a tablet for music making, there’s nothing slicker and more powerful out there than the 12.9-inch Pro. The latest iPad shunts others out of the way into a very commendable second place behind Apple’s top machine. We’d recommend this iPad Air to people who were interested in the iPad Pro, but perhaps don’t need all of its bells and whistles. 
The Air has the same Apple M1 chipset as the Pro, so it’s just as powerful – the 8-core CPU promises a speed boost of up to 60 percent in comparison to the previous model. In fact there was little that we could throw at the Air that challenged it. This makes it vastly superior to the previous model and it’s rare to see such a step change between versions.
iPad Air’s two key differences over the Pro are that it doesn’t have as much storage space and its screen is smaller (and uses a slightly different technology, though this is not that noticeable in use). However, that smaller screen also makes it a more portable option for mobile music making – and remember that is what we’re here for – so you could easily argue that the iPad Air strikes the perfect balance between power and portability.The Samsung Galaxy Tab S8 Ultra clearly has Apple’s top machine in its sites, not just in terms of sheer power but also screen real estate. In some ways it supersedes Apple’s finest (in screen size at least) and it is certainly the top of our Android tablet picks for music production. 
The Samsung Galaxy Tab S8 Ultra has the biggest screen of any tablet in our buyer’s guide, at a massive 14.6-inches. This makes it a dream to make music on – you really feel like you can touch those notes. However, you really should consider the point of buying a tablet for music production in the first place, and that is that you probably want to make music anywhere and everywhere, so such a large screen – not to mention its weight – could be less practical to take out and about. One nice touch, though, is that you get an S Pen stylus included – while with most iPads you have to buy an Apple Pencil separately.
What the Samsung Galaxy Tab S8 Ultra also delivers is power, thanks in no small part to the top-end Snapdragon 8 Gen 1 chipset. We also have to mention the great speakers – you’ll want to listen back to your music, and these really do deliver a great sound considering the compact size.
In some ways, the Samsung Galaxy Tab S8 can be seen as an even bigger iPad Pro – it’s just that it runs the Android OS. Whether that suits you is, of course, a personal choice, but we’ve put it beneath the iPad Pro and Air simply because Apple’s OS is that bit slicker and does offer more apps for music producers. But for Android fans who want the best available option and aren’t on a budget, this is the tablet to buy.If you are a Windows fan and music software user then tablets don’t come much more refined than the daddy of them all, the Microsoft Surface Pro. Like the Lenovo below, this is more laptop than tablet, a 2-in-1 device that doubles as both. You can buy it without the keyboard, although we consider that a must-have accessory. It will therefore be weightier on both your pockets and wallet but, as the keyboard is detachable, you can run the device just as a tablet while out and about.
With the eighth incarnation, we get some much needed improvements and a completely modernised design. The biggest feature for musicians is the inclusion of Thunderbolt 4 which should keep it relatively future proof in terms of adding music production peripherals. This comes at the expense of USB-A though, so check your connectivity needs before buying
Even with its design changes – like thin bezels and rounded edges – Surface Pro 8 is still very much recognisable as part of Microsoft’s famous line of tablets. Yet it also acts and feels like a new generation, with some of the fastest hardware that’s ever been seen in a Windows tablet. This all makes it the best Surface Pro we’ve ever seen, despite losing some legacy ports. 
Of course, all of these additions and enhancements come at a price – a lot more than its predecessor, the Surface Pro 7, and you can expect to pay well over £2k if you really up the specs. Yet Surface Pro 8 really is the update we’ve been waiting for and a truly powerful Windows tablet for musicians.The iPad Mini utilises the same 6-core A15 bionic chip as found in much of the iPhone 13 range. It also makes sense that this chip is the main focus of the iPad Mini as it’s Apple’s ‘phone chip’ and of course the Mini is closest in size to an iPhone you can get. (In a similar way the M1 chips are Apple’s ‘computer’ chips, so it makes sense they go in the iPad Pros.)
Comparing the two performance-wise is, according to some, like comparing chalk and cheese. The M1 definitely wins out in the power stakes, but this iPad Mini will still be powered up long after a Pro’s battery life dwindles away. Either way the A15 will outperform the chips in the rest of the non-Pro iPad range, so the new Mini is the most powerful non-M1 iPad available. We can certainly recommend it for music making on that score alone.
It will also suit pockets, both financially and physically, more than the Pro – and you’ll be tempted, as we were, to upgrade to the new 256GB version for a reasonable extra $150/£150. The USB-C connectivity will also help add music peripherals, so this is a fantastic music producer’s entry into the iPad family. Here we get an iPad that delivers all the power but perhaps not the glory of our top rated Apple, and it’s really up to you whether that bothers you. Some might say that the close-to-13 inches that the full-on iPad Pro offers is too much, especially if you want to make music on the move. And if that’s you, you’ll get all of the best bits of the iPad Pro world here at a much more down to earth price. 
That said, you can easily add another grand to the asking price by spec’ing up the 11-inch iMac Pro to the 2TB option (which also doubles the RAM to 16GB). You’ll end up with the most powerful compact iPad there is, albeit for more than you’d pay for a basic 13-inch MacBook Pro. 
So as we’ve hinted at in the buying advice below, it’s all about the screen size. If you don’t need it, go for the Mini, the newer Air or this smaller iPad Pro. You will get all the power you need for music making, without showing off about it with 12.9 inches.Lenovo is the only brand here to have a foot in two different OS camps – Windows and Android – not surprising as this model is a tablet straight from the company’s Yoga line of laptops (we look at one such Windows model below). 
As you might have guessed from the name, the Lenovo Yoga Tab 13 has a 13-inch screen, so just a tiny bit bigger than the largest Apple iPad Pro. It’s a display that’s big and bold and one that makes using music apps (and others) a breeze. But like all the larger screen tablets here, you’ll have to decide whether bigger is better when it comes to mobile music making.
Lenovo Yoga Tab 13 has one or two standout features including a built-in kickstand for propping it up without needing a case. You can also use it as a second screen for a computer or laptop, but perhaps its standout feature for musicians is its large speaker which delivers a great sound.
Power is decent, although you might want to upgrade to the larger storage option. Because of those extra features, the Yoga Tab 13 isn’t the cheapest tablet, but is much more affordable than many of the other devices here. It is therefore a good proposition if you’re after a solid Android device with some useful extras.To say that the standard iPad is languishing in last place for Apple music producers is not really the true picture as it still represents a great buy – it’s just the others have had their power souped up or other specs tweaked. With the 9th gen iPad, though, cost is undeniably a key target for Apple to keep down, so it’s the best value iPad – by some way – but also the least powerful.
Nevertheless there are good points. It comes with 64GB capacity as a base level – the 32GB on the previous generation had been looking too weedy for too long – which should be enough for most musicians to own a decent suite of apps. The 10.2-inch screen is neither the biggest nor smallest either. And the price? Well next to the Pro this is obviously a steal, but in the world of Apple and music making, you want the biggest and best, and even though this is a third of the price of the Pro, we know which we’re saving for. Lenovo’s ThinkPad X1 Yoga is the latest refresh for the company’s flagship laptop and is the most expensive, although we also rate cheaper machines in the X1 Yoga range, and the Android Yoga Tab 13 above. As it features a touch-screen in its 2-in-1 design it is also a tablet, albeit heavier and more expensive than others in this round-up. It runs Windows so will take on the most advanced music production applications, and the addition of Intel’s 11th-gen Tiger Lake processors means it will run them with ease.
ThinkPad X1 Yoga comes loaded with connectivity for additional music peripherals. You get two USB Type-A ports in addition to the two Thunderbolt 4 USB Type-Cs, as well as an HDMI 2.0. The display is outstanding, a 16:10 touch screen – great for software that is optimised for touch. You might want to up the memory to 16GB and storage to 512GB from the standard spec (which is half this), but then you are adding to an already high price tag. 
We’ll make no bones about this being more laptop than tablet, but if you want the touch screen portability of tablet music making on top of a Windows OS, they don’t come much more powerful. Just be prepared to lay out some cash. Choosing a the best tablet for music production gives you all the advantages of making music anywhere, alongside the latest touch operating experiences. However, before you buy, do consider that some tablet options – particularly highly spec’d options from Apple and Microsoft – can cost the same as a laptop or even desktop machine. So weigh up whether that touch experience and a few grams saved in weight are really what you want for music production. You may find, for example, that the initial thrill of being able to ‘touch your music’ is outweighed by clunky touch interfaces and your music making fingers being too big, so do try out the experience before you buy. 
If you have decided that the tablet experience is the one you want, the main things to consider are how much you want to spend, and what operating system you want – with Apple’s iPadOS, Android and Windows being the main options. Then choose according to what matters to you – the screen size, weight, or power for example. 
For music production, the screen size is perhaps the most crucial consideration and of course you should choose this according to what you are happy working with – and can afford. Obviously most of us would choose the bigger options, but remember to balance out portability here, as the whole point of choosing a tablet over a desktop machine is the ease of music production away from home. Bigger screens usually also mean more weight – all things to ruminate over when you are making music on the go.
Why you can trust MusicRadar Our expert reviewers spend hours testing and comparing products and services so you can choose the best for you. Find out more about how we test.
This is the big choice you will have to make when it comes to buying a tablet for music making. While we can’t make this one for you, it may be that your existing music production set-up – if you already have one – or indeed the phone you use have already made the decision for you. If you have a Mac for music making then the iOS route is obvious; use a PC then Windows might be your choice. And Android phone users might consider Android tablets, for familiarity if nothing else.
Taking each of the three on its merits, Windows tablets give you the full desktop PC experience in a mobile, laptop-like environment – in fact the 2-in-1 tablet options are essentially laptops with touch screens. These are considered more ‘pro’ than Android devices but usually cost considerably more, not to mention weighing as much as a laptop. Windows tablets certainly run a gamut of music production software titles – all of the big ones – but the applications aren’t always optimised for the touch experience.
Android, like iOS, is all about touch and mobility. These are optimised for use on the move, and there are many great music making applications – from fun to full-on and professional – that will give you all the tools you need for mobile music production. While we’re talking Android, Amazon’s slates use a version of this OS and are great for entertainment, but not so powerful for work or creativity, which is why we’ve not included any in this roundup.
Apple’s iPads give you the best of the Apple desktop experience in a mobile, touch environment, and have probably the greatest line-up of more professional music making applications out there. That said, you are paying more for them – the iPad range is the most expensive – and it doesn’t yet run the daddy of DAW packages, Logic. Yet. We say ‘yet’ because with many iPads in the range utilising M1 chips, there are rumours that Logic on an iPad could be around the corner which, in many producer’s eyes, would make the iPad the number one choice for music making, end of.
If you’re hoping to get serious work done on a tablet then an iPad Pro, such as the iPad Pro 12.9 (2021), would be a good option. This has a big screen, lots of power, and supports a keyboard add on. For an Android alternative, consider the Samsung Galaxy Tab S8 Plus, which has similar selling points. And for PC users, the Microsoft Surface Pro is essentially a laptop PC.
Find out more about how we test music gear and services at MusicRadar.
Don’t miss the latest deals, news, reviews, features and tutorials
Andy has been writing about music production and technology for 30 years having started out on Music Technology magazine back in 1992. He has edited Future Music, Keyboard Review, MusicTech magazines and currently runs Computer Music which he helped launch back in 1998. He owns way too many synthesizers.
MusicRadar is part of Future plc, an international media group and leading digital publisher. Visit our corporate site (opens in new tab).
© Future Publishing Limited Quay House, The Ambury, Bath BA1 1UA. All rights reserved. England and Wales company registration number 2008885.

source

When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.
Silver is now just $99.99 and if you’re quick you can get the bumper Platinum pack for the same price and only pay $1.69 per plugin!
There’s no doubting Waves’ expertise when it comes to developing music production plugins. The company’s range of software tools delivers solutions for every possible music making scenario. Its award-winning plugins cover everything from reverb, delays and vocal tuners to emulations of the iconic gear at Abbey Road Studios. 
The best way to enjoy Waves plugins is via the company’s bundle deals with which you get a vast selection of plugins for a bargain price which is nowhere near that of buying each one individually. But there’s even better news for Waves fans because in a pre-Black Friday rush of blood to the head, Waves is not only offering both of its Silver and Platinum bundles at their lowest ever sale price, but for 24 hours only you can buy the Platinum for the same discounted price as the Silver!
Let’s say that again. The Silver Bundle, with some 16 amazing plugins, has been reduced by 83% to $99.99 – its best price ever (opens in new tab). But for 24 hours the Platinum Bundle, some 60 incredible plugins, is the same discounted price as the Silver Bundle at just $99.99. That’s 90% off and just $1.66 per plugin (opens in new tab)!
Waves Silver Bundle: Was $599.00, now $99.99 (opens in new tab)
Silver Bundle offers 16 plugins for every aspect of music production, including what we think are the best Waves plugins (opens in new tab). It is a set of classic and creative Waves plugins with three inclusions from the Waves Renaissance range and the classic C1 Compressor and IR-L Convolution Reverb. You also get everyday tools like DeEsser, Doubler, S1 Stereo Imager and Q10 Equaliser plus L1 Ultramaximizer for mastering. This is a great set of tools for anyone looking for quality alternatives to their stock DAW plugins and is now just $99.99 – saving 83%!
Waves Platinum Bundle: Was $1999.00, now $99.99 (opens in new tab)
Platinum Bundle offers an amazing 60 plugins covering the entire range of Waves’ extraordinary suite of plugins. You get the same plugins as in the Silver Bundle plus 44 more classics like the PuigTech EQs and guitar effects like GTR3 Amps and Stomps. Add in some brilliant processing for your sub bass from Submarine and vocal tuning via Waves Tune LE and this one of the best bundles of plugins you can buy and for the best price you will ever get it! Just $1.66 a plugin!
You’ll have to be quick to get these deals. Waves Silver bundle is currently $99.99 (83% off) but we know that the Platinum Bundle offer is set to run out in just 24 hours time, so if you want to grab those 60 plugins for just $1.66 each you’ll have to act fast.
These deals are part of the Waves early bird Black Friday sale with 30 individual plugins also massively discounted (opens in new tab). And yesterday Waves also announced they will be dropping their traditional free plugin as part of this year Black Friday plugins bonanza. Read the full story and find out how to sign up.
Don’t miss the latest deals, news, reviews, features and tutorials
Andy has been writing about music production and technology for 30 years having started out on Music Technology magazine back in 1992. He has edited Future Music, Keyboard Review, MusicTech magazines and currently runs Computer Music which he helped launch back in 1998. He owns way too many synthesizers.
MusicRadar is part of Future plc, an international media group and leading digital publisher. Visit our corporate site (opens in new tab).
© Future Publishing Limited Quay House, The Ambury, Bath BA1 1UA. All rights reserved. England and Wales company registration number 2008885.

source

Judge dismisses Trump’s case challenging Mar-a-Lago document seizure after appeals court ends special master review  CNBC
source

Good morning, neighbors! I want to take this opportunity to say a special thank you to today’s sponsor, Stirling Art Studios & Gallery! If you’re interested in sponsoring the Dunedin Daily newsletter, shoot me an email at [email protected].
Now, let’s get to what’s happening in town. Today we’ll cover:
But first, today’s weather:
Mostly sunny and nice. High: 78 Low: 62.
Shoutout to our premier local sponsor:
Looking for original, unique artwork created by local Dunedin artists? Stirling Art Studios & Gallery is home to 12 professional artists honing their craft, while providing original artwork that appeals to collectors, interior designers, and homeowners alike. Located at 730 Broadway in the heart of Downtown Dunedin, their mission is to promote the arts to our community. Visit them here to learn more, or stop by Thursday-Sunday from 11-3 to view them at work and learn about the creative process.
Click here to get your business featured in this spot.
Here are the top stories in Dunedin today:
Dunedin Daily Pic of the Day:
Keep sending those holiday photos to [email protected] for consideration! Please confirm in the email that you own the rights to the photo and that Patch has permission to republish it.

Today in Dunedin:
From my notebook:
More from our sponsors — thanks for supporting local news!
Featured businesses:
Events:
For sale:
Housing:
You’re officially in the loop for today! I’ll see you soon.

Get more local news delivered straight to your inbox. Sign up for free Patch newsletters and alerts.

source

After twenty-three years of investing in a hundred VC funds and mentoring a good number of professionals who transitioned from principals to partners, I have seen many successful incorporations of new blood into the partnerships. Also, many who failed to stand the test of time.
I have witnessed quite a few very successful funds, some in which I was an investor, where the partners decided to split ways with no explanation other than partners wanting to go their own ways or stating they couldn’t agree on their next step in growing the firm. On other occasions, a new partner confided the disillusionment she/he had after joining the firm and realizing that, in fact, it wasn’t a partnership of equals and that there were a lot of nuances in the relationships among the other partners. 
That grew my conviction that choosing new partners for a VC firm is an important decision that can impact your company for years to come. It takes more than several conversations and testing analytical and business skills.  A deeper and smarter due diligence to gauge the potential partner’s emotional skills is in order.
So, here are my thoughts on choosing a new partner. 
First, it’s all about timing. There is no specific timing to add partners to a VC firm. Some of the most common reasons to look for a partner are:
i) growth of the management firm: many VC funds start only with two co-founders, and as the management firm keeps growing the number of funds under administration, the partners may be looking for new people to cover different regions where they are investing; 
ii) depth and variety of skills in the partnership: the co-founders see the need to add new partners with a different set of skills to show the growth of the firm; 
iii) understanding diversification as a path to profitability: the original partners may want to make the firm more diversified to ensure better returns and to steer away from having a too homogeneous set of partners; 
iv) talent retention: the partners may want to promote those in the firm that have shown the skills needed to become a partner, securing in this way that the best talents are kept in the firm; or 
v) succession plan: some partners may want to begin to slow down from day-to-day involvement, or they are looking for the next generation of leaders for when the moment to step down arrives.
The best partnerships have some key elements:
The path to partnership is not a straight line in which you go from one position in the firm to the next, and then … you become a partner. To become one, you have to demonstrate that you have added value to the firm and that you live by the mission and values of the firm. I’ve known excellent investment professionals who were doing great deals, and yet failed to have the skills of a leader, and they never made it as partners.
So, when choosing a new partner, I would recommend developing a set of KPIs before the new partner is minted. And front and center is the Emotional Quotient (EQ), that is, emotional intelligence skills.
It’s important to understand that emotional skills (EQ) are as relevant -or more- than IQ ones when choosing your next partner. There are a lot of people with excellent financial skills and industry knowledge who lack the minimum abilities to become a leader and build a firm. 
 A few recommendations on how to test if your candidate is “partner-ready”: 
What does it take to be emotionally intelligent?
Armed with these insights, now is the time to assess who can be your next partner.
Susana Garcia-Robles is Senior Partner at Capria Ventures, Senior Advisor at Association for Private Capital Investment in Latin America (LAVCA), and co-founder of WeXchange and WeInvestLatam.
Your email address will not be published. Required fields are marked *
Comment *
Name *
Email *
Website
Save my name, email, and website in this browser for the next time I comment.


Δ
This site uses Akismet to reduce spam. Learn how your comment data is processed.
Get weekly updates on LatAm tech news.
LatamList is the premier English language source for the latest startup, venture capital, and tech news in Latin America.
Get weekly updates on LatAm tech news delivered right to your inbox!

source

RIT has created a new master’s degree in artificial intelligence, geared toward aspiring AI professionals from a variety of academic backgrounds.
Rochester Institute of Technology is offering a new master’s degree in artificial intelligence (AI). The program begins in fall 2023 and enrollment is now open.
The Master of Science degree aims to prepare students from diverse educational backgrounds to become well-rounded AI professionals. Graduates will develop skills in designing, developing, and deploying AI systems, as well as understanding and analyzing AI’s impact on society and policy.
“AI is now extensively used across our society—it has moved out of labs and into our homes and work environments,” said Cecilia Alm, professor in RIT’s Department of Psychology and joint program director of the master’s in AI. “Because of that, industry is looking for well-rounded AI professionals who understand both the algorithms and the impacts these technologies have.”
To meet these demands, RIT is creating a holistic program that is interdisciplinary and has technical rigor. The collaboratively delivered program jointly draws from strengths across the university. It is housed in the Golisano College of Computing and Information Sciences and also leverages faculty expertise from the College of Liberal Arts, College of Science, and Kate Gleason College of Engineering.
“Our graduates will have understanding of AI’s technical-scientific underpinnings, as well as valuable experience with real-world uses of AI,” said Alm. “Students will additionally have opportunities to explore future domains of AI and analyze the societal implications they could have.”
Core courses in the program focus on AI foundations, mathematical methods, ethics, machine learning (including deep learning), and research methods. Students will also select elective courses that tailor their experience to specific domains of AI. While some students focus on longstanding traditions in AI—including machine learning, natural language processing, robotics, or computer vision—others may choose to study areas such as sociotechnical AI analysis and policy or neuromorphic computing.
Students in the AI program will also benefit from experiential learning and gain career-enhancing experience through project-based coursework. In a capstone, or an optional thesis, students will apply their skills to evaluate and investigate a specific area in artificial intelligence.
The new RIT degree program comes at a time when technology companies are seeking highly skilled AI workers, including senior AI software developers, AI design researchers, AI policy analysts, and machine learning engineers. In its Future of Jobs Report 2020, the World Economic Forum predicts that 97 million new artificial intelligence jobs will be created by 2025, as humans and intelligent systems increasingly solve problems together. More than 40 countries have created national strategic plans for AI, as they vie for AI success.
“Due to the growing demand for AI workers across society and industry sectors, this degree is open to people from a wide variety of backgrounds—not just computer scientists and mathematicians,” said Matt Huenerfauth, dean of RIT’s Golisano College of Computing and Information Sciences.
The 30 credit-hour graduate program typically takes two years to complete. In addition to the on-campus program beginning in fall 2023, organizers additionally plan to offer a fully online version of the program starting in fall 2024.
For more information, go to the artificial intelligence Master of Science degree webpage.
January 6, 2023
World’s brightest cybersecurity students will clash at global competition finals Jan. 13-15
The best white hat cybersecurity students will work to phish and exploit their way to a championship trophy at the Collegiate Penetration Testing Competition (CPTC) global finals Jan. 13–15. The event is the culmination of the world’s largest offense-based collegiate cybersecurity competition, hosted by RIT.
December 15, 2022
RIT is first private university to join Innovare Alliance at Griffiss Institute
A new partnership between RIT and Griffiss Institute aims to expand access to high-quality educational training, research, and entrepreneurial opportunities in Upstate New York.
December 13, 2022
ESL GCI wins educational facility design award  
RIT’s ESL Global Cybersecurity Institute won an Outstanding Project Award in the Fall 2022 Learning By Design magazine Educational Facilities Design Awards.
December 12, 2022
Computer engineering becomes part of inaugural program focused on neuromorphic technologies
RIT recently became one of the inaugural academic partners in the BrainChip University AI Accelerator Program. As part of the partnership, RIT’s computer engineering program will receive hardware as well as lecture modules for classes detailing how the novel chips can be programmed and used to provide neuromorphic computing solutions to real-world problems.
Address and Phone
One Lomb Memorial Drive
Rochester, NY 14623
585-475-2411
Copyright © Rochester Institute of Technology. All Rights Reserved.
Land Acknowledgment. Disclaimer. Copyright Infringement. Privacy Statement. Nondiscrimination. Emergency Information.

source

Shania Huffman, graduating with a bachelor’s degree in music production from the School of Media Arts and Studies, is preparing for a career in Los Angeles.
What are your next steps or plans for the future? 
After attending the OHIO-in-LA program this summer, I am planning on moving out to Los Angeles, California, in order to build a solid foundation for the rest of my career in music/media. I’m open to work in film and post sound, and I am hoping to get hired at an independent recording studio. 
What memory stands out from your time at OHIO? 
My first semester here, I remember my best friend visiting from out of town for the first time (she was attending college at OSU). We had talked about her visiting and how fun it would be when I had gotten accepted to OHIO. We went to the Kennedy Museum of Art, we listened to “Cruel Summer” by Taylor Swift, and we went out on Court Street for the first time later that evening. Being a college student was new and the area was still new – I think the newness of it all is what made that day so special. “Cruel Summer” still makes me nostalgic for that afternoon. 
“Ohio University is transformative in more ways than just academically. Don’t miss out on the opportunity to get out of your comfort zone and grow as a person,” Shania Huffman said.
Why did you choose OHIO? 
I chose OHIO because it was the only university I could find in the state of Ohio that offered a four-year bachelor’s degree in music production. 
Who were your favorite professors and how did they make an impact on your life? 
All of the professors in the Music Production track were incredible, but Roger Cooper honestly changed the trajectory of my life by giving me the opportunity to participate in the OHIO-in-LA program this summer. That program fundamentally changed me as a person, and it gave me the opportunity to form a community and explore Los Angeles without the commitment of a long lease and while being surrounded by other like-minded people. I built professional relationships, and my time there constantly pushed me out of my comfort zone. I am forever grateful for his belief in me, and for all of the music production professors believing in me. 
What’s the one thing you would tell a new OHIO student not to miss? 
Ohio University is transformative in more ways than just academically. Don’t miss out on the opportunity to get out of your comfort zone and grow as a person. Go on the programs and do things that scare you, things you never thought you were capable of doing. Have experiences just to say you had them and don’t forget why you’re here.
© 2023 Ohio University. All rights reserved.

source