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Teens learn music production through Christian program in … – The Columbus Dispatch

Tyler Smith hopes to be able to use music to reach other people with the message of God’s love.
Smith, 16, sat in a classroom at the Central Ohio Youth for Christ City Life Center in Franklinton on a recent afternoon, answering questions from his music teacher, Luke Chiocca, and getting tossed candy in return.
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The music production class had started six weeks before and was intended to help bring access to music to children and teens who may not typically be able to learn things like music production, editing and more.
It is an extension of the mission of Youth for Christ and the City Life Center, to reach children in need with the gospel. As part of that, students may have conversations about Christianity or it could be integrated into activities.
“Music has a way of expressing yourself,” said Chiocca, a volunteer with the class who has been writing music for years and does live sound professionally. “A lot of people aren’t able to learn it properly because of money. I think it’s something that should be for everyone.”
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The room — equipped with microphones, laptops with sound editing programs, a keyboard, a piano, a guitar and more — had been sitting there for a few years but had been mostly unused until Chiocca joined earlier this year, said Ann Partlow, after-school director at the center, which also hosts cooking classes, a basketball program and a pottery course for middle and high school students.
“A lot of students express themselves through music,” Partlow said. “With rap and poetry and spoken word and making beats you get to express yourself.”
Many young men who attend programs at the center have struggled with mental health issues. Smith said he has been working through some social anxiety, and being able to express his emotions through music has helped him.
‘Serving the universal church’:Catholic seminary in Columbus gets warning, probation from national accrediting agencies
“Music is one of my passions,” he said. “Now I know how to actually use the sounds and what actually sounds good together and what doesn’t.”
The class was offered for the first time this fall. Officials at the center hope to offer it again in January and eventually expand it to include more advanced skills courses as well as internships and opportunities for students to shadow professionals.
‘A desire to give back’:Automotive program for at-risk students expanding to Clintonville
Partlow hopes students will be introduced to different skill sets and careers that can be done without a college degree. More generally, she hopes they feel a sense of belonging at the center, where the religious nonprofit runs after-school programs for at-risk youth. The programs include classes, like music production, as well as Bible study, mentoring, open gym time and homework help.
“We try to create this positive community kids can be a part of,” she said.
Maurice McGinnis, 16, has been attending the center for about five years and wants to write music professionally when he grows up.
“Music’s the main thing I love doing,” he said after using his phone to play a mix of sounds he put together for the class on a computer. “I can write my own music and turn it into something good.”
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During the six-week class, Smith worked to create a spoken word song set to piano music. The song is about the night he accepted Christ into his life, and he hopes to share it with those who ask him about his journey.
“I just want people to understand how I did it,” he said.
Smith was talking with a mentor at the center a few years ago, discussing how he’d been feeling down lately and his search for “internal happiness.” The mentor asked what internal happiness meant to Smith, who said it was accepting Christ.
‘Let us pray’:Possible merger between Steubenville and Columbus dioceses to be discussed among bishops
The two prayed together, the man read Smith a verse of the Bible and the young man officially accepted Christ, right then, Smith said.
“Ever since then, my life’s been going up more,” Smith said.
[email protected]
@DanaeKing

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Pro Tools Intro: new free DAW opens up the industry-standard music … – MusicRadar

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Plus, 2022.9 update adds ARA 2 Melodyne support and Aux I/O for easy audio routing to and from other software and hardware
Having made various aborted attempts to launch a free version of Pro Tools – the most recent being the now-discontinued Pro Tools | First – Avid is now having another crack at it with the release of Pro Tools Intro.
Available for download now, this has the advantage of being built on the same code base as the new Pro Tools 2022.9, meaning that it should be easier for the developers to keep it up to date. 
When Pro Tools | First was discontinued late in 2021, Avid said that the product had become “unviable”, but with Pro Tools Intro more closely tied to its big brother, we’re hoping that this new free offering will be here to stay.
In terms of specs, Pro Tools Intro gives you eight audio tracks, eight instrument tracks and eight MIDI tracks. Unlike in Pro Tools | First, there’s AAX support – so you can run compatible third-party plugins – and Pro Tools Intro uses the standard .ptx session format.
Pro Tools Intro ships with 35 Avid plugins, including a channel strip, compressor, EQ, filters, reverb and delay. You also get the AIR Xpand!2 virtual instrument, which includes more than 2.500 presets.
Other specs include four Aux tracks, one master track, four simultaneous inputs and outputs, up to 192kHz sample rate recording and playback and support for any Core Audio, ASIO or WASAPI-compatible interface.Pro Tools IntroAs well as being offered as a standalone download, Pro Tools Intro also comes baked-in to all Pro Tools 2022.9 installations, meaning that, if your paid subscription or trial version of that software expires, you’ll still have a DAW that offers basic functionality. We should also mention that Pro Tools Intro can be installed and used without the need for a physical iLok (though you’ll still need an iLok account for software authorisation).
Moving on to the new features in Pro Tools 2022.9, there’s now direct integration with Celemony’s Melodyone thanks to the support for the ARA 2 protocol. This means that the Melodyne interface is now docked within Pro Tools, speeding up your workflow.
ARA 2 support applies to all versions of Pro Tools, including Intro, with the Artist, Studio and Flex editions all shipping with Melodyne 5 essential, a feature-limited version of the pitch and time manipulation software. If you have a higher-level version of Melodyne already installed, this will automatically show up within Pro Tools.Pro Tools 2022.9The other big addition in 2022.9 is Aux I/O, a macOS-exclusive feature that enables flexible routing of audio to and from Pro Tools to other software and hardware. You can easily stream your Pro Tools audio directly to Zoom, for example – great when someone needs to review a mix in realtime, remotely – or record audio in from or to another music production application. This could make Aux I/O a great addition for the increasing numbers of people who like to work across multiple DAWs.
Discussing the Pro Tools 2022.9 update, Francois Quereuil, Vice President, Product Management for Audio and Music Solutions, Avid, said: “Music creators of every skill level will heighten their artistic potential and accelerate their productivity thanks to the innovation now available inside our newest Pro Tools update.
“We’re working hard to delight the entire creative community, and this is one of our most exciting recent releases for them, with users now taking command of amazing new capabilities right inside their Pro Tools experience to push the boundaries of their music production workflows further than ever before.”
You can compare all the versions of Pro Tools now on the Avid (opens in new tab) website. The price of a subscription plan starts at $10 a month for Pro Tools Artist.
Don’t miss the latest deals, news, reviews, features and tutorials
I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 
MusicRadar is part of Future plc, an international media group and leading digital publisher. Visit our corporate site (opens in new tab).
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ASU WR Andre Johnson produces rap beats, joining Sun Devils … – Cronkite News

When he is not on the football field for Arizona State, receiver Andre Johnson focuses on music and hopes to start a career as a rap producer. (Photo by Chris Gardner/Getty Images)
Heading into Friday’s Territorial Cup showdown against Arizona, Andre Johnson has 14 catches for 120 yards and a touchdown this season. (Photo by Brooklyn Hall/Cronkite News)
TEMPE – Andre Johnson doesn’t think “passion” is the right word to describe his relationship with music, but it’s certainly close.
The junior receiver at Arizona State has been producing and releasing rap beats on YouTube for almost a year now under the alias Dreddayy.
“I’ve always liked music a lot,” Johnson said. “I never was following music around, but I feel like I’ve always just had a knack for finding a beat, noticing melodies and everything.”
The first beat he ever produced took just a few minutes, and it happened while casually messing around on GarageBand with some friends, who immediately agreed that he had the skills for it.
Now, Johnson’s production process is a lot more elaborate. He’s invested in using FL Studio, a professional beat-making software, and has his own signature producer tag, which announces “Guess what day it is?” at the start of each track.
Johnson is studying music production and business at ASU, and he’s set a personal goal of releasing two albums within the next five years. However, his listeners shouldn’t expect anything to happen during football season.
“I’ve been too locked into the season and everything, (so) I haven’t really made anything for the last couple of months,” said Johnson, adding that he turned down potential collaborators this summer because they wanted to make music too close to the start of fall camp.
“During the offseason, I was making a lot in the studio – in my room, that’s what I call the studio,” he said.
Johnson is hitting the right notes on the gridiron, too. He had the best Pro Football Focus run-blocking grade out of all receivers in the FBS last year for ASU.
Heading into Friday’s Territorial Cup showdown against Arizona, he has 14 catches for 120 yards and a touchdown this season. Johnson is known for being a deep threat, but he also caught a critical 2-point conversion in the fourth quarter of ASU’s Nov. 5 comeback attempt against UCLA.
His teammates appreciate his talent for both catching passes and producing music. Arizona State junior receiver Giovanni Sanders said teammates in the locker room will occasionally freestyle over Johnson’s “smooth” beats.
From rivals to teammates to co-workers: D.J. Foster, Scooby Wright join forces as sideline reporters
Johnson draws inspiration from rap producers like London On Da Track, Zaytoven and Metro Boomin, the latter who he described as the “greatest producer in the game right now.”
While being a receiver and a rap producer are obviously different pursuits, Johnson said the biggest similarity between football and music is intricacy.
“The attention to detail is really apparent in both, as far as getting to your route depth, the way you catch the ball, even with your hand placement – all that stuff you have to do as a receiver,” he said. “When it comes to tuning 808s and placing hi-hats right into a spot, it has to be on beat.”
Johnson joins a long list of athletes who have pursued music and sports simultaneously. Hall of Famers like Deion Sanders and Kobe Bryant did it in the prime of their careers, and Shaquille O’Neal, more than a decade after retiring, still takes gigs under the name DJ Diesel.
Johnson isn’t the first ASU football player to do it, either.
Gus Farwell, an ASU backup quarterback in 1996, has performed internationally as an opera singer, and performed on Nov. 4 at ASU Gammage with former teammate and college roommate Jake Plummer in attendance.
Like Johnson, Farwell knows what it takes to pursue music and football simultaneously. His first time singing opera in public came at a Universal Studios talent show while in California for Arizona State’s Rose Bowl appearance in 1997.
And in March of 2020, while living in Barcelona, Spain, Farwell’s voice caught the world’s attention when he sang from a balcony as residents of the city applauded medical workers during the early days of the COVID-19 pandemic. A video his daughter took went viral, and Farwell ended up singing for 65 consecutive nights.
“The performance side, the football side; it’s great to be able to sort of live in both worlds,” Farwell said.
More recently, former ASU quarterback Manny Wilkins, who threw for more than 3,000 yards in 2017 and 2018 for the Sun Devils, also found a niche as a rap artist, producing music under the name 5IVE.
After a short stint with the Green Bay Packers, Wilkins made performing rap his priority, although he hasn’t given up entirely on his football future.
“My mindset has been very focused on music, to get great at this, and to hone in on it,” Wilkins told Green Bay’s WFRV in 2020. “But I do know that, if my phone rings, to go play football. That’s what I do.”
Wilkins’ music career blossomed thanks to a friendship he has with Canadian rapper and producer PARTYNEXTDOOR, who is signed to Drake’s OVO record label.
Meanwhile, Johnson, who was raised in Arizona and graduated from Tolleson Union High School, is focusing on building his rap pedigree with other Phoenix artists.
Major cities such as Houston, Atlanta and Los Angeles have established rap subcultures and sounds that are unique to each.
Johnson hopes to help develop a signature hip-hop sound in Phoenix.
“I kind of want to be one of the guys that comes out and puts Arizona, at least on the map, for more artists to come out and show what they can do,” he said.
Gannon Hanevold expects to graduate in December 2022 with a bachelor’s degree in journalism and mass communication and a minor in music. Hanevold has interned as reporter with Phoenix New Times.
Brooklyn Hall expects to graduate in May 2023 with a bachelor’s degree in sports journalism. Hall spent a summer working on the production team for the Amarillo Sod Poodles.


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FL Studio announce Black Friday deals with up to 25% off the DAW – DJ Mag

You can also pick up a discount on the ALL Plugins Edition of FL Studio 
FL Studio has announced a handful of Black Friday deals with up to 25% off the popular DAW.
The FL Studio Producer Edition — aka the “all-in-one virtual studio” music production software, which comes with a comprehensive set of professional tools — is discounted from €199 to €149 and offers you lifetime free updates.
There is also the chance to grab a discount on the ALL Plugins Edition of FL Studio, which comes with all native plugins including Gross Beat, Harmless, Harmor, Toxic Biohazard, and Transient Processor. The Black Friday bonus also includes ’90s synth UVI Digital Synsations, VINAI’s XTT, Pumper 3, distortion unit FireCharger, and the MVibratoMB. This edition is discounted from €499 to €399, including lifetime free updates.
Head to the FL Studio shop to pick up the deals here. The discounts run until Wednesday, 30th November.
Ableton has also announced a 20% Black Friday deal on Live 11, Push, and Packs. Live 11, will be available at the reduced price of €63 for the Intro version, while Live 11 Standard and Live 11 Suite are available for €279 and €479, respectively. 
Earlier this year, Novation introduced its new controller range called the FLKey. Designed to work specifically with FL Studio, the FLKey is similar in design to the popular LaunchKey range that’s been popular for Ableton users for a few years. 
In the second episode of our Beat From Scratch series, rap producer R14 makes a melodic UK drill beat from scratch in FL Studio at Signature Studios in London. Using a sample from Struis, the London producer — who has worked with artists including Unknown T, Digga D, CB, Potter Payper, M24 and more — takes us through his MIDI programming, including drums and 808s programming. Watch the episode here.
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Music Women* Germany and Sony Music Germany Announce … – Sony Music

Five winners to receive personal coaching at Sony Music Germany’s Circle Studios
Top 15 applicants will be added to new roster for Sony Music Germany labels and artists
26.08.2022, Berlin – Sony Music and Music Women* Germany (MW*G), the nationwide umbrella organization of all music women* and female-identifying and non-binary individuals have announced today the winners of the Female* Producer Prize. Founded by Music Women* Germany (MW*G) in partnership with Sony Music, the Prize aims to support female producers in Germany who often lack visibility and support in the country.
An internal analysis of the Top 100 Single charts in Germany showed that fewer than 2% of the producers involved are female*. In total, more than 170 professional female producers applied and were assessed by a jury panel including Sarah Schneider, Head of A&R Columbia Germany; international music producer, music producer, composer, sound engineer and co-founder of sheWrites, Charlie McClean, Herbie Crichlow (producer and five times Grammy-winner)and board member of MW*G and initiator of the DIANA AI Songcontest, Jovanka v. Wilsdorf. 
The five winners will now be coached by renowned producers such as MelBeatz during a one-day workshop on September 9th in Sony Music Germany’s Circle Studios and be awarded with a prize. The Top 15 will also be added to a newly created roster for Sony Music Germany labels and artists looking to diversify their recording sessions.
The Female Producer Prize was first announced in March 2022 and aims to promote female producers across the country.
Sarah Schneider, Head of A&R Columbia Germany: “A short glimpse at the charts shows how underrepresented female producers are. It is important to raise awareness on this issue and create more role models for aspiring female producers. We were astounded by the number and high quality of the applications we received. Launching this prize allows us to further our commitment to support future stellar music producers. Congratulations to all five finalists!”
Jovanka v. Wilsdorf, Member of the Board of Music Women Germany: “With this award we want to set a sign for the great female* music producers out there. In doing so, visibility and support go hand in hand for us, because we’re tired of hearing: “We would have loved to work with a female* producer, but there aren’t any.” Let´s make a change!” 
Five Female* Producer Prize Winners 2022 
Novaa: Producer, songwriter and an exceptional Berlin based artist. She produces her own tracks as well as for well-known acts such as Keke, Fløre, Amanda Tenfjord, LEA. She is also a mentor at the Female Producer Collective, based in Berlin.
“The Female* Producer Prize is important to me because it’s important for the representation of female and non-binary producers* in the music industry,” said Novaa. “I hear way too often that people already want to work with female or non-binary producers*, but there aren’t any. I’m tired of all these statements. We exist, and there are even a lot of us. This award stands for me to create more space for all the great, talented and hard-working female or non-binary producers, as well as for all the amazing, fierce female* producers to come.” 
Jenny Gerdts: Music producer, songwriter and multi-instrumentalist, she helps bands and artists of different genres reach the next level in their careers. Since 2021 she is herself a lecturer music production at the HfMT Cologne and empowerment is very important to her. 
“This award is a great way to make ALL female music producers visible,” said Gerdts. “I hope that many of us will apply here and that a great portfolio of diversity can emerge. I would love to be a part of that. The more female participants* there are, the more motivation will be sprayed and young female musicians* will hopefully be encouraged to venture into music production. I would like to finally work with more women.” 
GOTOPO: Colombian-Venezuelan producer and artist based in Berlin, she is already causing a sensation with her productions before the release of her debut album. Her highly energetic “indigenous-futurist” sound is unique. Her first single production has been featured on international stations like BBC6, and the festival season kicks off for her with a slot at Melt 2022.  
“Artist or producer? Both sides of my artistic have always been inseparably important to me, and the Female* Producer Prize is a wonderful way to raise awareness in the industry and among the public,” said GOTOPO. “We women are not stereotypical talents: We’re capable of much more than we’re given credit for. My current goal is to build bridges from Europe to America (North/South) through collaboration.”  
Maxi Menot: She studied classical music, composition and music production in Frankfurt, Barcelona and Mannheim. Since then, she has worked as a producer and composer with various projects in the field of film music as well as artists inside productions and album recordings. She is also co-founder of the great Female Composers Collective TRACK 15.  
“During my training at the Pop Academy (in Baden-Württemberg) to become a producer, I had neither female fellow students nor female lecturers,” said Menot. “I felt out of place, had no confidant or mentor. Afterwards, I experienced that I was less trusted as a producer, that I often didn’t get the chance to prove myself. The award gives us credibility – the crucial leap of faith you need to take the next step in your career. With my band, I’m currently working on the next album, which will be released at the end of the year.” 
Nora Medín: Music producer, multi-instrumentalist, DJ and songwriter with Austrian-Moroccan roots. She collaborates with artists such as Jugglerz, Kelvyn Colt or Roger Rekless, as well as on music for brands like 032c x Snipes, Dior, O2, Parship. or Veuve Clicquot and is co-founder of the producer duo nextofdin.  
“I’m very proud of my career and hard work and I’ve also never been told that something shouldn’t be possible for me,” said Medín. “I’ve been attending female writing sessions a lot lately and found it wonderful to experience what it’s like to work under pure female energy – only then did I realize that I’ve been missing that. I was lucky enough to grow up in a family and among brothers with absolute equality and entitlement in every way. Now I want to make a statement and show the world what fierce producers are among us.”
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2022 Latin GRAMMYs: Rosalía Wins Latin GRAMMY For Album Of The Year For 'Motomami'
Rosalía won the Latin GRAMMY for Album Of The Year at the 2022 Latin GRAMMYs, for her album 'MOTOMAMI.'
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MoFi has been using digital all along, a scandal in the audio … – The Washington Post

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Mike Esposito still won’t say who gave him the tip about the records. But on July 14, he went public with an explosive claim.
In a sometimes halting video posted to the YouTube channel of his Phoenix record shop, the ‘In’ Groove, Esposito said that “pretty reliable sources” told him that MoFi (Mobile Fidelity), the Sebastopol, Calif., company that has prided itself on using original master tapes for its pricey reissues, had actually been using digital files in its production chain. In the world of audiophiles — where provenance is everything and the quest is to get as close to the sound of an album’s original recording as possible — digital is considered almost unholy. And using digital while claiming not to is the gravest sin a manufacturer can commit.
There was immediate pushback to Esposito’s video, including from some of the bigger names in the passionate audio community.
Shane Buettner, owner of Intervention Records, another company in the reissue business, defended MoFi on the popular message board moderated by mastering engineer Steve Hoffman. He remembered running into one of the company’s engineers at a recording studio working with a master tape. “I know their process and it’s legit,” he wrote. Michael Fremer, the dean of audiophile writing, was less measured. He slammed Esposito for irresponsibly spreading rumors and said his own unnamed source told him the record store owner was wrong. “Will speculative click bait YouTube videos claiming otherwise be taken down after reading this?” he tweeted.
But at MoFi’s headquarters in Sebastopol, John Wood knew the truth. The company’s executive vice president of product development felt crushed as he watched Esposito’s video. He has worked at the company for more than 26 years and, like most of his colleagues, championed its much lauded direct-from-master chain. Wood could hear the disappointment as Esposito, while delivering his report, also said that some of MoFi’s albums were among his favorites. So Wood picked up the phone, called Esposito and suggested he fly to California for a tour. It’s an invite he would later regret.
That visit resulted in a second video, published July 20, in which MoFi’s engineers confirmed, with a kind of awkward casualness, that Esposito was correct with his claims. The company that made its name on authenticity had been deceptive about its practices. The episode is part of a crisis MoFi now concedes was mishandled.
“It’s the biggest debacle I’ve ever seen in the vinyl realm,” says Kevin Gray, a mastering engineer who has not worked with MoFi but has produced reissues of musicians such as John Coltrane and Marvin Gaye.
“They were completely deceitful,” says Richard Drutman, 50, a New York City filmmaker who has purchased more than 50 of MoFi’s albums over the years. “I never would have ordered a single Mobile Fidelity product if I had known it was sourced from a digital master.”
Record labels use digital files to make albums all the time: It’s been the industry norm for more than a decade. But a few specialty houses — the Kansas-based Analogue Productions, London’s Electric Recording Co. and MoFi among them — have long advocated for the warmth of analog.
“Not that you can’t make good records with digital, but it just isn’t as natural as when you use the original tape,” says Bernie Grundman, 78, the mastering engineer who worked on the original recordings of Steely Dan’s “Aja,” Michael Jackson’s “Thriller” and Dr. Dre’s “The Chronic.”
Mobile Fidelity and its parent company, Music Direct, were slow to respond to the revelation. But last week, the company began updating the sourcing information on its website and also agreed to its first interview, with The Washington Post. The company says it first used DSD, or Direct Stream Digital technology, on a 2011 reissue of Tony Bennett’s “I Left My Heart in San Francisco.” By the end of 2011, 60 percent of its vinyl releases incorporated DSD. All but one of the reissues as part of its One-Step series, which include $125 box-set editions of Santana, Carole King and the Eagles, have used that technology. Going forward, all MoFi cutting will incorporate DSD.
Syd Schwartz, Mobile Fidelity’s chief marketing officer, made an apology.
“Mobile Fidelity makes great records, the best-sounding records that you can buy,” he said. “There had been choices made over the years and choices in marketing that have led to confusion and anger and a lot of questions, and there were narratives that had been propagating for a while that were untrue or false or myths. We were wrong not to have addressed this sooner.”
Mastering engineer Brad Miller founded MoFi in 1977 to cater largely to audiophiles. The company boomed during the 1980s, but by 1999, with vinyl sales plummeting, the company declared bankruptcy. Jim Davis, owner of the Chicago-based Music Direct, a company that specializes in audio equipment, purchased the label and revived MoFi. During the recent vinyl resurgence (vinyl sales in 2021 hit their highest mark in 30 years), MoFi’s specialty releases sell out quickly and can be found on secondary markets at much higher prices.
Marketing has been a key element of the MoFi model. Most releases include a banner on the album cover proclaiming it the “Original Master Recording.” And every One-Step, which cut out parts of the production process to supposedly get closer to the original tape, includes a thick explainer sheet in which the company outlines in exacting detail how it creates its records. But there has been one very important item missing: any mention of a digital step.
The company has obscured the truth in other ways. MoFi employees have done interviews for years without mentioning digital. In 2020, Grant McLean, a Canadian customer, got into a debate with a friend about MoFi’s sourcing. McLean believed in the company and wrote to confirm that he was right. In a response he provided to The Post, a customer service representative wrote McLean that “there is no analog to digital conversion in our vinyl cutting process.”
Earlier this year, MoFi announced an upcoming reissue of Jackson’s 1982 smash “Thriller” as a One-Step. The news release said the original master tape would be used for the repressing, which would have a run of 40,000 copies. That’s a substantially bigger number than the usual for a One-Step, which is typically limited to between 3,500 and 7,500 copies.
Michael Ludwigs, a German record enthusiast with a YouTube channel, 45 RPM Audiophile, questioned how this could be possible. Because of the One-Step process, an original master tape would need to be run dozens of times to make that many records. Why would Sony Music Entertainment allow that?
“That’s the kind of thing that deteriorates tape,” Grundman says.
“That’s the one where I think everyone started going, ‘Huh?’ ” says Ryan K. Smith, a mastering engineer at Sterling Sound in Nashville.
The MoFi controversy has not just exposed tensions between rival record makers, but it has also heightened a rift between Fremer and Esposito.
For decades, as LPs were replaced by CDs and iPods, Fremer, now 75, was a lonely voice pushing to keep them alive.
“Michael’s considered the guy, like the guru, so to speak,” says Dale Clark, 54, a photographer and longtime record collector in Ohio.
But Fremer, now a writer for the online magazine the Tracking Angle, has been bickering with Esposito for months. He was furious that MoFi invited Esposito to Sebastopol and wrote an email to Davis on July 17 to protest.
“You have lost your minds,” Fremer wrote. “Mistakes happen that can be corrected. In this case you have chosen to elevate [an inexperienced non-journalist] to work your way out of a predicament instead of a seasoned journalist and I’m not referring necessarily to me. I could name a half dozen others.”
Esposito never claimed to be a journalist.
He’s a record geek who grew up in foster homes after his father was murdered when he was 11. (His mother, he says, has had drug and alcohol problems.) Over the years, Esposito, who didn’t finish high school, has sold sports collectibles and started a chain of mattress stores. In 2015, he opened the ‘In’ Groove in Phoenix. His regular videos, in which he unboxes reissues and ranks different pressings, have made him a popular YouTube presence, with about 40,000 subscribers. He says he felt he owed it to his customers to pursue the MoFi tip.
“I sell to the people I sell to because they trust me,” Esposito, 38, told The Post. “And if they don’t trust me, they can go anywhere else and buy those records.”
Esposito wants record companies to do a better job labeling recording sources. Some already do. Intervention and Analogue Productions provide details on records or their websites; so does Neil Young.
“The problem is ‘analog’ has become a hype word, and most people don’t know how records are made,” Esposito says. “And you can very factually say this record was sourced from the original analog master tape, and you’re not lying. But that doesn’t disclose to the consumer what’s going on between the beginning of it and the final product.”
There were no ground rules laid out for Esposito’s July 19 visit. He paid his airfare, and Wood met him at the airport. In the car, Wood confirmed what Esposito had reported in his video.
“They didn’t come off to me as if they were trying to hide anything,” Esposito says.
At MoFi’s headquarters, Esposito looked at tapes and machinery the company uses to master its records. He also saw vintage packaging and advertising materials for past releases, including mock-ups for Beatles reissues. Then he took out his Panasonic camcorder and asked Wood if it was okay for him to set up and do an interview with the three mastering engineers he had met. No problem, they said.
The result is about an hour-long conversation that is equally fascinating and confusing. Esposito is not a trained interviewer, and engineers Shawn Britton, Krieg Wunderlich and Rob LoVerde are not trained interviewees. At times, the conversation is stilted and meandering. There are also occasional moments of charm as they connect about their shared passion for music.
Whatever Esposito’s approach, there is no doubt that without him, MoFi’s process would have remained a secret. The engineers, who had stressed the use of tape and working “all analog” in the past, didn’t hesitate to reference the company’s embrace of Direct Stream Digital technology.
Davis, the owner, not only didn’t invite Esposito but also didn’t learn about the visit until after Wood had extended the invitation. He tried to get to Sebastopol for the tour but said that a long line at a rental car check-in left him arriving at MoFi headquarters only after Esposito was finished.
By then, the damage was done. Last week, Wood was asked whether he regretted the interview with the engineers. He broke down.
“I regret everything, man,” he said.
Davis also did not appreciate the interview. Music Direct’s stereo equipment business brings in revenue of more than $40 million a year, and MoFi earned about $9 million last year. But the record company has just a handful of full-time staffers and no crisis-management plan. He doesn’t blame the engineers for what happened
“I mean, it was not a well-thought-out plan,” Davis says. “Let’s put it that way.”
The fallout of the MoFi revelation has thrown the audiophile community into something of an existential crisis. The quality of digitized music has long been criticized because of how much data was stripped out of files so MP3s could fit on mobile devices. But these days, with the right equipment, digital recordings can be so good that they can fool even the best of ears. Many of MoFi’s now-exposed records were on Fremer’s and Esposito’s own lists of the best-sounding analog albums.
Jamie Howarth, whose Plangent Processes uses digital technology to restore sound and whose work has earned praise for Neil Young and Bruce Springsteen reissues, wishes MoFi had come clean years ago and proudly told its customers that their prized records sounded best because of the digital step. He understands why it didn’t. It was terrified of being attacked by analog-or-bust audiophiles.
“One of the reasons they want to excoriate MoFi is for lying,” Howarth says. “The other part that bothers them is that they’ve been listening to digital all along and they’re highly invested in believing that any digital step will destroy their experience. And they’re wrong.”
Wood says that MoFi decided to add DSD not for convenience but because its engineers felt they could help improve their records. He remembers hearing MoFi’s reissue of Santana’s “Abraxas” in 2016. “My mind was blown when we got the test pressings back,” he said.
Wood says MoFi takes great care in capturing the digital file. It won’t simply accept a link from a record company. If a master tape can’t be couriered to Sebastopol, MoFi will send engineers with their equipment to capture it. Having a file allows them to tinker with the recordings if they’re not pleased with a test pressing and make another. He says he is disappointed in himself for not being upfront but that, from here on out, MoFi will properly label its recordings. A revised One-Step card has already been crafted for upcoming releases featuring Van Halen, Cannonball Adderley and the Eagles.
And Randy Braun, a music lover, Hoffman message board member and lawyer in New York, hopes that, in the end, the MoFi revelation will prove what he’s been saying for years: that the anti-digital crowd has been lying to itself. “These people who claim they have golden ears and can hear the difference between analog and digital, well, it turns out you couldn’t.”
Alice Crites contributed to this report.

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From a Queens House to a Manhattan Studio With $400000. Which … – The New York Times

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The Hunt

Seeking a pied-à-terre approximating “the nicest hotel room possible,” a couple scoured the West Side. Here’s what they found.
Shortly after their marriage almost six years ago, Ayan Chatterjee and David Krause bought their first home together: a two-story brick townhouse from 1920 in Ridgewood, Queens, which they fully renovated.
As time went on, the two “had the itch to get out of the city,” Mr. Chatterjee said, and began traveling to the Catskills. “At some point, when you hit your 30s, every weekend in the city isn’t so fun anymore.”
The couple, both now 35, had enjoyed renovating the Queens house, so they bought a fixer-upper farmhouse in Greene County, three hours north, for around $250,000. They added a chicken coop and a pool.
“It is a beautiful house, but it is primitive and needs a lot of work,” Mr. Chatterjee said. “The minute you open up walls, you discover problems.”
They call their contractor their “upstate dad” — he comes to the rescue when anything goes wrong.
[Did you recently buy or rent a home in the New York metro area? We want to hear from you. Email: [email protected]]
Back in the city during the pandemic, the couple felt trapped in their townhouse, with its small concrete patio. “That was our only breath of fresh air,” Mr. Chatterjee said.
His job as a producer at MSNBC was fully remote, and Mr. Krause, a founder of a vegan skin-care company, Alder New York, had always worked from home. So they sold the Ridgewood house and moved up to the Catskills with Levi the dog, getting a hotel room whenever they visited the city or when Mr. Chatterjee went to his office. They found it interesting to try hotels in different neighborhoods — but exhausting to live out of suitcases.
So last winter, the couple checked out the Manhattan rental market, even as they heard horror stories about soaring rents. One day, surfing online, Mr. Krause mistakenly clicked on the “for sale” listings and found some surprisingly low prices. For a small pied-à-terre, buying seemed a better deal than renting. “It didn’t need to be more than a place to sleep and shower,” he said.
The couple could afford up to $400,000 for the equivalent of a hotel room of their own. They sought a West Side location — an easy walk to Mr. Chatterjee’s office in Rockefeller Center and to Penn Station, for the train upstate.
They knew they would get no more than a studio in a co-op building. The so-called one-bedrooms in their price range were typically studios with some kind of makeshift sleeping area.
For help, they contacted a friend, Sumi Vatsa, an associate broker at Compass, who had sold their Ridgewood townhouse. “It was about making it the nicest hotel room possible,” Ms. Vatsa said.
Among their options:
No. 1
Midtown West Alcove Studio
This alcove studio was on a high floor in a 1930 doorman elevator building, facing west with a glimpse of the Hudson River. The main room was 280 square feet and had a walk-in closet. The asking price was $340,000, with monthly maintenance of almost $1,100, which covered Wi-Fi.
No. 2
Chelsea Studio With Modern Kitchen
This studio, in a 1928 elevator building, had a living area of around 175 square feet, with a foyer and a closet. The updated kitchen had a dishwasher and garbage disposal, but no oven. The price was $389,000, with maintenance in the mid $900s.
No. 3
Theater District Ground-Floor Studio
This studio was on the ground floor of a 1924 building with a doorman, elevator and roof deck. The main room was around 210 square feet, with a closet and a Murphy bed. The price was $399,000, with maintenance in the low $500s.
Find out what happened next by answering these two questions:
Which Would You Choose?
Midtown West Alcove Studio
Chelsea Studio With Modern Kitchen
Theater District Ground-Floor Studio
Which Did They Choose?
Midtown West Alcove Studio
Chelsea Studio With Modern Kitchen
Theater District Ground-Floor Studio
A New Plan: After a mouse infestation at her West Village rental, a single mother needed a better home for her family, which includes a son with autism. Could she find it downtown?
A Comfortable Pied-à-Terre: A couple based in the Catskills could afford up to $400,000 for a place to stay when in the city. Here are the options they found.
Converted Industrial Spaces: After an impulsive move from California, a New York newcomer tested her $1.8 million budget in Manhattan’s loft-filled neighborhoods.
 That Country Feel: When AJ Dewberry began his search for a new home in Atlanta, he knew what he wanted more than anything else was ample outdoor space.
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How Lipless Uses His Own Voice In His Productions (And Why You … – Magnetic Magazine

Lipless' unique sound has brought him many star-studded opportunities.

The fact of the matter is, most music producers all have access to the same tools. They can buy the same synths, learn the same hardware, and use the same production tricks.
For those brave enough to try, singing on your own tracks can add a level of nuance and individuality that is literally impossible for any other producer to replicate. 
Take Lipless for example, whose latest single on Colorize is a masterclass in using your own voice to make a phenomenal track that stands out from the sea of noise getting released every day. So let's find out how he makes it all happen…
Before we dive into how artists like Lipless use their own voices to make amazing music, it's important to understand the emotional weight and potential of doing so. 
The production is spot on and well worthy of the acclaim it's received, but imagine the track below if the vocals were removed.
By going the extra mile and including his own vocals and songwriting acumen over the top, Lipless was able to create a truly amazing single that stands out, even from the rest of the incredible catalog of music Colorize has released. 
Listen a few times so the power of the vocal really can sink in and support the single here, then let's dive into how Lipless works his magic.
I think there are a few different answers for this, but for me, I think it’s because it brings something different to the table. 
It’s always been easiest to just make a track around a vocal sample or a top line that someone else sings on, but there is something about producers that also implement their own vocals on a song that makes things feel very authentic and artistic. 
I think Calvin Harris is a great example of that.   
I think the hardest thing about that is actually believing you’re good enough. We musicians are incredibly good at self-doubt and having irrational fears of rejection. 
I remember when the first track with my vocals was released, I scoured through social media wanting to see what people were saying about the vocal, people didn’t even know it was my vocal at that point, so their opinions would have been unbiased. 
Luckily I didn’t find anything discouraging and I’ve become more and more confident with every release. I’m not
The very first song that I used my own vocal was ‘Lips’. 
That track was very much Zhu-inspired, and I wanted to write something that was very intimate and sexy that worked over a dark, deep bass line-driven production. 
The theme ‘Lips’ came to mind and felt like an easy theme to write something intimate around. It was very different from the style and vibe that I do now which is a more laid-back and indie feel. 
I’m not really one to take professional lessons or sit and watch tutorials, so mostly I listen to other artists that inspire me and my vocal style and try to deconstruct what they do. 
I have also been lucky enough to work around Kaskade and some other excellent producers, writers, and vocal engineers and pay close attention to what they are doing in the studio. I’m talking about guys that are 10-20 years my senior and have decades of experience. 
I’ve been able to learn from the best. I’m not the best singer out there, but I know my way around a DAW and a studio well enough to make myself sound half-decent.
Well for the way I treat my own vocals, my go-to plugins are Melodyne (for tuning), Fabfilter ProQ 3 (Dynamic EQ), Fabfilter ProC 2 (Compressor), Soundtoys Echoboy (Delay), Soundtoys Decapitator (Saturation), Kush Audio Clariphonc (for some nice clarity and air) and a variation of the Valhalla reverb plugins. 
Those are usually my go-to, but I like to switch them up. 
Need Free Alternatives For Producing Vocals? We Got You
Less is More! I know it sounds cliche but it’s the truth. It’s taken me a number of years to understand this properly but I get it now. 
At first, I would just over-process everything and then try to fit an already busy vocal over an overly busy music production. It taught me how to be ok with stripping things back and taking out elements that are completely unnecessary. 
Vocals work so much better when they have room to breathe. 
And that even transcends into songs that don’t have any vocals. Pick your main elements and let them have space to breathe. Let the listener grab on to just a few key elements and don’t overwhelm them with too many sounds all fighting for attention. The same goes for mixing. 
Managing Editor at Magnetic Magazine – Former Marketing Manager at the Hyperbits Masterclass – Writer, Content Strategist, Music Producer, and Record Label Manager 

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DNR invites public comment on Whitewater WMA master plan … – MN DNR

December 2, 2022
The Minnesota Department of Natural Resources invites people interested in the Whitewater Wildlife Management Area to share their thoughts on a draft update of the WMA’s master plan, which will guide management of the popular hunting, fishing, and wildlife-watching destination in southeastern Minnesota.
“Public input is important as we update this plan,” said Jaime Edwards, Whitewater WMA supervisor. “The last update to the plan was in 1977, and we want this update to reflect current public values and attitudes about how the land should be managed into the future.”
The following events have been scheduled:
The draft master plan update is available for review on the DNR website. Comments on the master plan update can be made through Monday, Jan. 9 by:
Whitewater WMA’s 28,000 acres provide habitat for a wide variety of wildlife species, but there have been many changes since the plan’s last update in 1977. Public use has changed, invasive species and climate change present new management challenges, and more native plant communities need to be restored and enhanced, among other changes.
The updated master plan will be used to guide management of the Whitewater WMA’s wetlands, forests, blufflands, prairies, grasslands and agricultural lands. It will include management goals, objectives and strategies for the WMA throughout the next 10 years.
Whitewater WMA hosts an estimated 500,000 visits annually. It is particularly popular with wild turkey hunters in spring, and deer and small game hunters in autumn. More information and maps of the area can be found on the Whitewater WMA page of the DNR website and the WMA finder.

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Presonus Sphere is the music production service you didn't know … – All Things Gear

There’s tons of great music production software out there, but it can sometimes be hard to piece together your perfect workflow. Once upon a time, your DAW really only had the bare bones necessary to produce high-quality music — meaning that you had to turn to other developers for all your plugin needs, or rely on outboard gear. These days, however, it’s much easier to get an end-to-end music production solution that removes the need to search high and low for all your favorite plugins. One of the latest of these bundles is Presonus Sphere.
Calling Presonus Sphere a bundle, however, is perhaps a bit misleading. Sure, it bundles together all the software you’ll need to write and produce music — but you don’t have to pay an arm and a leg for it like you might have in the past. Instead, you access it on a subscription basis. Not only that, but it’s a portal to a large and growing online music production community, with tutorials and education on top of that.
It’s a strong offering from Presonus. Once focused solely on production hardware and the software required to make that hardware run, Presonus is positioning itself as the go-to for all your music production needs. Sphere is a perfect example of why.
I’ve been diving into what Presonus Sphere has to offer to get a better sense of whether or not it’s truly worth the money. Here’s everything you need to know about the service.
At the heart of Presonus’ music production aspirations is Studio One, the company’s DAW. Over the years, Studio One has seriously grown up — and it’s now a full-fledged, high-quality workstation that can be as easy or as full-features as you want it to be.
Studio One is currently in its fifth version, and it has added a number of great features to help make producing music easier. For example, Studio One 5 now has a Score Editor, which leverages the company’s experience with Notion, and makes it easier to manage your MIDI instruments and what they’ll play.
Generally, Studio One is a world-class DAW, and unless you’re tied down to one of its competitors, it’s well worth considering for your main DAW.
Speaking of editing scores, Sphere also comes with Presonus’ world-class score-editing software, Notion, too. Notion is currently up to its sixth iteration, and it’s now a mature and well-designed product that any composer or musician can wrap their head around.
There are a number of features that are new in Notion 6. For example, you can now drag to respace measures and systems, plus there are new Soundiron instruments built into it, and video window controls, which lets you more easily score to a film or video. And, Notion now works seamlessly with Studio One, including the entry-level Studio One Artist. And, you can continue writing your score using the iPad app, which makes scoring on the go easier than ever.
One of Notion’s big strengths is the fact that it has an excellent sample library that lets you get a good feel for how your score will sound as you’re composing. These samples were recorded by the London Symphony Orchestra at Abbey Road Studios.
Of course, Presonus isn’t just providing the workstation for music creation — it also provides all the tools you’ll need to complete a project. That includes dozens of effects, plugins, and instruments that you can use to create your next masterpiece.
Really there are tons of effects to choose from, and they span every aspect of what you would want. You’ll get a series of compressors, EQs, time-based effects, and more. Some of my favorites include the analog delay and the Fat Channel Brit Comp.
When it comes to instruments, there are some great ones to choose from too. You’ll get access to Presonus’ Presence XT Piano, Strings, and more. It’s a solid selection, and pretty much everything you’ll need.
If you’re into using samples in your music creation, you’ll find plenty to dig through here too. Sphere comes with over 80 sample packs, spanning acoustic instruments like guitars and drums, to electronic loops, to weird sound effects. There’s far more than you’ll ever need or use — the only criticism is that it could take some digging to find that perfect sound.
Perhaps one of the best things about Sphere has nothing to do with the production tools — it has to do with the huge community that you’ll have access to. Sphere allows users to communicate with other members, collaborate on projects, ask for feedback, and more. It’s a great way to hone your skills as a musician or producer, work with others, and just get more ears on a project.
You might assume that Presonus Sphere comes at bank-breaking monthly rates, but in fact, it’s quite affordable. You’ll get everything mentioned for $14.99 per month — not bad at all. Alternatively, you could pay $164.95 for a year — which equates to around $15 in savings.
Interested in getting Presonus Sphere for yourself? You can do so straight from the Presonus website.
Christian de Looper was born in Canberra Australia, and since then has lived in Europe and now lives in sunny California. When he’s not tinkering with the latest music gear, Christian is devouring news on new consumer technology.
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Secret recording played at trial shows Oath Keepers allegedly … – CNN

Secret recording played at trial shows Oath Keepers allegedly …  CNN
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NFL Kickoff 2022: Fox Sports To Debut New Studio For Fox NFL … – Sports Video Group

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Friday, September 9, 2022 – 1:11 pm
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Sunday marks the start of the 29th season of the NFL on Fox, and, to mark the occasion, the network’s popular pregame show, Fox NFL Sunday is getting a new home.
Fox Sports is set to unveil a new Studio A at its facility at the Fox Studios Lot in Los Angeles. The large, two-story space features a big anchor desk, offers multiple shooting locations, and leans heavily into LED and augmented-reality graphics and imagery with 5,130 sq. ft. of LED wall and floor panels.
“The practical set is absolutely stunning,” says Zac Fields, SVP, graphic technology and integration, Fox Sports. “It’s very impressive, but I’m a little bit more excited about what we can do with the LED volume. It’s this next evolution of technology that I think everyone in the industry has been working on. It’s super exciting.”
The studio, designed in partnership with Jack Morton Design, features an LED volume consisting of extended-reality (XR) technology. Fox invested in solutions from Vizrt (11 engines) to render all LED monitoring, Unreal Engine (25 engines) to render all AR and the LED volume, and Stype’s Stypeland for camera tracking of Unreal Engine. The set also uses Stype solutions for multi-display across the LED volume.
Fox Sports will debut a new studio at its Los Angeles facility this Sunday during the return of Fox NFL Sunday. (Photo: Fox Sports)
The studio features new cameras from Grass Valley, new lenses from Canon, and a 24-ft. Technocrane. Four cameras on the set can live-track simultaneously within the LED volume.
“I think that this is probably the most technically challenging set we’ve ever built,” says Fields, who has been with Fox Sports since 2000. “In terms of the amount of LED, the way it’s being used in a live environment and the number of graphics-rendering engines and power out there, it has been no small task. It has taken the whole team here to get it where it’s at.”
MORE: NFL Kickoff 2022: Fox Sports Ops Team Preps for Super Bowl LVII, Eyes Busy Fall Season With FIFA World Cup Crossover
Fox Sports has been investing significant effort into integrating Unreal Engine into its studio operations. The broadcaster’s NASCAR set in Charlotte, NC, which opened in 2019, was a major step in Fox’s work in virtual studios. That studio, however used green screen rather than LED. Fields says that, when building the Fox NFL Sunday set, his team favored LED over green screen for the benefit of the talent on the set: Curt Menefee, Terry Bradshaw, Howie Long, Jimmy Johnson, and Michael Strahan.
“I would say that was a big factor in our utilizing LED over green screen,” says Fields. “We’ve been doing green screen for quite some time, and talent get used to it, but, when they’re interacting with anything on the walls, they don’t actually see it. With LED, they do. It’s a little more natural for them, and it’s an easier transition.”
The studio was a long sprint for the Fox Sports team with more than six months and more than 30,000 combined staff hours to get it ready for Sunday’s debut.
“We’ve needed every bit of that time and could have used more in understanding how to work with it,” says Fields. “How do cameras get shot in this environment? How do you light subjects and create real-time shadows on a floor? How do you make scenes efficient so that you can have many different ones, because you know you’re going to expand. I couldn’t put a value on at least being given the amount of time that we had because it is new and works totally different. You can’t shoehorn in things like you might have been able to do in the past.”
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FL Studio Vs Logic Pro X (Which DAW is Best – Logic Pro X vs FL … – DJ Tech Reviews

Home • Audio Software • FL Studio Vs Logic Pro X (Which DAW is Best – Logic Pro X vs FL Studio?)
FL Studio Vs Logic Pro X – which one would you pick? Whether you’re a music producer looking to make some great mixes or a DJ that just wants to get into production, investing in a solid digital audio workstation (DAW) software setup is something every musician should take seriously, regardless of whether they’re only a beginner or have become a master in their craft.
If you’re just starting, and don’t know where to turn, there are a couple of different software options to choose from that can help you put together some incredible music.
These are Logic Pro X Vs FL Studio.
Both the FL Studio and Logic Pro X software options perform exceptionally well for music producers and bedroom musicians as they both offer incredible features that can be used to create professional-sounding music right from the comfort of their homes. But just because both of these software options are good doesn’t mean they’re both good for you and your situation. Both have their very own specific pros, cons, and features.
Though both software platforms are exceptional, one may have more to offer you, personally as an artist, than the other. Which should you pick? Which is the best choice for you?
Here, we’re going to go over both Logic Pro X as well as FL Studio, breaking down what both options have to offer, so that you can best determine which of the two is right for you and your musical journey.
Read this next: Music Production for Beginners: The Basic Set-up 101
Logic Pro X is a Mac-based software program that offers a strong and versatile set of features that work well with virtually any and all types of musical genres out there.
While that much variety can somewhat work against it, leading to a steeper learning curve, what it offers is truly impressive and hard to discount or ignore.
It is a true production heavyweight and arguably the best out there.
Read this next: Ableton vs Logic Pro: Which is best?
The first big feature you can expect to enjoy from the Logic Pro X is its sequencer ability.
Like many other DAWs, Logic’s sequencer allows you to make beats, create basslines, record vocals, and play melodies.
If you’ve been a fan of DAWs in the past, you’ll feel right at home here with how the user interface is set up.
In addition, the Logic Pro X uses something known as a “Cell System”.
This works by allowing you the ability to create smaller loops and ideas before putting them in their separate section. From there, you can put a series of drum loops and melodies together in one section while putting a song together in a whole different section next to it.
This essentially allows you to operate and compose your music in a way that’s not wholly linear, thus not requiring you to commit too much upfront.
Next up, the Logic Pro X’s loops have, and continue to be, an incredibly useful feature that makes it stand out from the pack.
Here, to perform a loop, you only need to drag and drop them onto your sequencer to get something really good going.
This makes it great for producers looking to create a base for composing a song.
When it comes to Logic’s plug-in options, they are fairly extensive. Plug-ins are a software tool that directly connects to whatever system you’re using.
This can range from FX racks to samplers to synthesizer instruments.
As far as the Logic Pro X is concerned, its plug-in features a variety of different instruments and effects. These include various samplers and vintage synth noises, to a veritable suite of FX sounds and drum machine sounds.
This is all while ensuring that each of these sound options can work regardless of the genre of music you plan on playing.
Read this next: Producer Tips (Making Studio Life Simpler)
One of the Logic Pro X’s biggest perks is its incredibly seamless integration with all Apple products and iOS devices.
In terms of remote control access, whether you’re using your Mac itself, an iPhone, or an iPad, you’re going to have complete control over the software’s faders, knobs, and triggers.
The Logic Pro X comes at a set flat price of $200/£175. This price includes all of its features.
One thing that sets the Logic Pro X over the FL Studio is that, while it only has one price option, it is the cheapest of the two while still offering all of the essentials of a DAW.

Once known as the “Fruity Loops” of the DAW world, FL Studio has managed to grow and evolve, becoming a full-blown audio software that can easily hold its own with the best of them.
It really is a serious piece of studio production kit and has been around since 1997.
Unlike Logic Pro X, FL Studio operates on all computer platforms and is known for having a very simplistic and easy-to-use interface that is very beginner-friendly.
It does slightly veer off into being a more electronic-based genre software, however, because the said genre is so extensive, it can be argued that it makes that genre truly excel as a result.
Read this next: DJ vs Producer? (Or Do You Need To Be Both)
Probably the biggest thing going for the FL Studio (or at least one) is its vector-based user interface (UI). Whereas the Logic Pro X offers a lot at the expense of an interface that has a bit of a learning curve, FL Studio prides itself on a user-interface setup that is incredibly easy to use with a highly versatile set of different effects available.
Though it used to be PC-only, the DAW has managed to cross platforms recently, becoming compatible on Mac, making it a compelling buy no matter your computer preference.
FL Studio’s sequencer, on its own, looks much like your standard linear timeline. It is only when you add in its mixer, however, do things start to excel.
Not only do you have access to the expected mixing and mastering functions that come with a mixer, but you are also given a list of additional features.
These include things like side-chain compression, advanced automation, and latency compensation.
Not only that, but you also have something known as “Piano Roll”, which is, not only just a standard MIDI addition but can be used to offer and assign different automation actions to different instruments and sequences available.
The FL Studio software has with it an impressively extensive playlist variety.
The DAW software has a browser that offers a flexible and detailed overview of the different sequence elements, helping with different fine-tune adjustments and experimenting you may do on a particular sound arrangement or composition.
Read this next: Pioneer DJ VM-70 Monitor Speaker: A Win-Win for DJ and Producers?
Though not quite as extensive as what the Logic Pro X has to offer, FL Studio’s plug-in options shouldn’t be readily or easily dismissed. Even if it’s not to the same level, you’re still getting a pretty big bang for your buck.
Particularly for EDM and fans of the electronic genre, you’re getting a pretty nice setup.
This is most clearly seen via its overall sonic array as well as the fact that it is VST compatible. You also are offered a ton of presets, many of which have hints of electronic sound tied to them.
And if you aren’t a huge fan or DJ of electronic music, you can always tweak things out with the EQ and sound compression, helping you cater to whatever genre you’re interested in.
FL Studio’s DAW comes in several differently priced options, all of which have increasingly added-on options.
Read this next: Serato Studio: Whats It All About Then?
When it comes down to which of the two is best, you must know what you are looking for and what is important to you.
From an objective standpoint, I’d have to give the win ultimately to the Logic Pro X.
While the FL Studio offers a lot in its favor – particularly with its user interface and wide, cross-platform capabilities – they ultimately lose out to the high-end sonic capabilities, extensive and varied sound sequencer, and overall competitive price of the Logic Pro X.
Still, if you’re a beginner that needs an interface that isn’t quite as daunting, you’ll benefit a lot from the FL Studio.
It may not beat the Logic in terms of its sequencer or sonic capabilities, but the difference is hardly significant and can be shifted more in FL’s favor if you’re a fan of EDM and electronic music.
The only place where it ever truly “loses” to the Logic Pro X is in the price, and that’s only because the FL Studio DAW has so many options that have such a large range.
If you’re going to just start, getting the software at the $99 option isn’t too bad.
At that point, once you know what’s what, you can consider either upgrading to the next tier edition (if you’ve got a PC) or switching over to Logic Pro X (if you’re using a Mac).
Read this next: 8 Best DJ Software Options
It’s important to realize that, regardless of what type of performance you plan on putting out (whether it be DJing or just music producing) it’s important that you’re using a DAW to help move things along via the different sounds and sequences available.
By checking out one of these two beginner options, you can optimize your music performance so that, no matter how experienced you are, you’re able to put out something truly impressive to your audience at large.
Dexter has worked in the music business since the early 1990s. He has been a keen tech writer for many years and is still regularly involved in promoting prominent electronic music events in Ibiza and the UK.
Dexter also specializes in managing and growing digital marketing platforms for leading international DJs, event brands, and venues.
He relocated to Croatia from Ibiza six years ago but has continued his industry involvement whilst living on the electronic music party Island of Pag.
Alongside music, Dexter is a cat nut and a through-and-through family man!
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How To Make AMAZING Chords & Chord Progressions WITHOUT … – YouTube

How To Make AMAZING Chords & Chord Progressions WITHOUT …  YouTube
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Listen to audio of L.A. council members making racist, crude remarks – Los Angeles Times

L.A. councilmembers’ leaked audio reveal racist conversations on Mike Bonin’s son, Oaxacans in Koreatown, George Gascón and Mark Ridley-Thomas.
In this surreptitiously recorded conversation from October 2021, Los Angeles City Council President Nury Martinez — while speaking with Councilmembers Kevin de León and Gil Cedillo as well as Los Angeles County Federation of Labor President Ron Herrera — made racist remarks and insults about various elected officials.
Martinez focused in particular on Councilmember Mike Bonin, who is white, and Bonin’s young son, who is Black. At one point, Martinez called Bonin a “little bitch” and referred to his son as “Parece changuito,” or “like a monkey.” She also said Bonin’s son had misbehaved on a parade float and needed a “beatdown.” But that is just one aspect of the leak, which has sent shockwaves through City Hall and led to widespread disgust and outrage.
The conversation focused heavily on the councilmembers’ frustration with maps that had been proposed by the city’s 21-member redistricting commission.
It remained private for nearly a year, until a leaked recording in recent days, just a month before a pivotal city election. It was posted on Reddit by a now-suspended user. It is unclear who recorded the audio, who uploaded it to Reddit and whether anyone else was present.

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Appeals court halts special master review of documents seized at … – CNN

Appeals court halts special master review of documents seized at …  CNN
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Native Instruments announces Komplete 14 featuring iZotope and … – RouteNote

Image Credit: Native Instruments
Native Instruments has announced Komplete 14. The new iteration of the music production software will be released on September 27, 2022.
The latest version of the music production bundle will include Kontakt 7, iZotope Ozone 10 Standard, and so many new software additions, reports Gear News.
However, Kontakt 7 will be added to the package in October.
This new version of NI’s flagship sampler will come with 11 new sample libraries and 30 included expansions!
Though released individually earlier in the year. Playbox uses randomization and chord generation with its sample library to inspire creativity.
Then, Choir:Omnia features the sounds of a 40-piece vocal ensemble.
Lores utilizes organic instruments and hand-played articulations. 
Piano Colors explores the limits of a piano’s sonic expressiveness by applying modulation.
Other additions to Komplete 14 include Sequis, Ashlight, and Action Strings 2.
Additionally, brand new installments include the Session Guitarist and Session Bassist series, and new expansions.
Komplete 14 Ultimate now includes more than 137,000 sounds in total!
A short while ago, Native Instruments entered a joint venture with iZotope and Plugin Alliance – becoming Soundwide companies.
Now, Komplete 14 features iZotope Ozone 10 Standard which will be released next week.
Furthermore, plugins from the huge catalogs of Plugin Alliance and Brainworx are also included in Komplete 14. These include bx_Oberhausen, Knifonium, bx_Crispytuner, LO-FI-AF, bx_Console Focusrite SC, bx_Console N, and more.
Native Instruments Komplete 14 comes in four sizes.
The entry-level Komplete 14 Select will be available for $199 and it includes over 25 products. 
Komplete 14 Standard will be $599 and features over 120 products such as Ozone 10, Kontakt 7, and Playbox.
Komplete 14 Ultimate ($1199) and Collector’s Edition ($1799) come with over 200 and more than 250 included products respectively.
All versions are available for pre-order now and will be released on September 27, 2022.
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Fender CEO talks PreSonus acquisition and the future of recording … – MusicRadar

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“I think you need to take away more features, make it simpler and more intuitive and less expensive”
When Fender acquired PreSonus in 2021, speculation quickly turned to what this could mean for Studio One, the company’s popular DAW.
Thus far, it’s been pretty much business as usual – the version 5.5 update, released in January, was very much an evolutionary one – but in a recent interview with MusicRadar, Fender CEO Andy Mooney suggested that the software’s future could be “simpler, more intuitive and less expensive”.
When asked if Fender plans to use PreSonus’s tech to do for recording what it’s done for guitar learning via Fender Play (ie, make it accessible and user-friendly), Mooney replied by saying: “Having dabbled in recording myself, I’ve never found a DAW I didn’t need an MIT degree to actually use. You shouldn’t need to spend more time figuring out how to use a DAW than you do creating.
”So my belief was that we can take the talent and the brand equity of PreSonus and create the equivalent of Fender Play for recording – ie, a product that’s globally accessible and very intuitive to use.”
Whether this theoretical product would replace Studio One or sit alongside it remains to be seen but, given what Mooney has in mind, we suspect it would be the latter.
“The brief, if you like, for an entry-level studio product, would be a digital equivalent of an analogue four-track recorder, right? And in fact, even that’s too complicated because these days with digital, you can have a guitar and then hit one button and you’ll get drums and bass, so you can sit down and just record intuitively.”
If Fender does go down this road, comparisons will be drawn to what Apple did when it bought original Logic Pro developer Emagic back in 2002. Logic has been maintained as the top-tier production software, but Apple used the Emagic team’s expertise to help it create GarageBand, its entry-level DAW, which it launched – with a little help from John Mayer – in 2004.
However, it seems that the recording platform that Mooney has in mind is even easier to use than that.
“The simplest version of Studio One right now has a 150-page owner’s manual, which I have said to the team is 149 pages too many,” he says. “Because you should be able to get out of the box, press one button and you’re off to the races. So that’s, again, a very easy brief, but very difficult to execute. But there has been a gravitational pull by aficionados to just keep jamming more and more features into DAWS when, in fact, I think you need to take away more features, make it simpler and more intuitive and less expensive.”
When this new recording platform will launch and whether it will be offered via a Fender Play-style subscription is still to be confirmed, but Mooney revealed that the German software team that Fender inherited from PreSonus is “working on it right now”.
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I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 
MusicRadar is part of Future plc, an international media group and leading digital publisher. Visit our corporate site (opens in new tab).
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Music production software market size to grow by USD 369.87 … – PR Newswire

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NEW YORK, Nov. 30, 2022 /PRNewswire/ — The music production software market size is projected to grow by USD 369.87 million, progressing at a CAGR of 7.31% from 2021 to 2026. By region, the global music production software market is segmented into North America, South America, Europe, APAC, and MEA. North America is estimated to contribute 42% to the growth of the global market over the forecast period. The significant increase in the adoption of music production software by professionals such as musicians and music production companies will facilitate the music production software market growth in North America over the forecast period. 

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Music production software market: The increase in the adoption of DJ software to produce music drives the growth
Music production software market: Growing demand for digital audio content is the key trend
Download our exclusive report on the music production market covering market challenges, vendor analysis, and growth opportunities
Music production software market: Segmentation Analysis
This market research report segments the music production software market by end-user (professionals and non-professionals), type (editing, mixing, and recording), and geography (North America, Europe, APAC, South America, and the Middle East and Africa).
The competitive scenario categorizes companies based on various performance indicators. Some of the factors considered include the financial performance of companies over the past few years, growth strategies, product innovations, new product launches, investments, and growth in market share, among others. buy the report!
Some of the key topics covered in the report include:
Market Drivers
Market Challenges
Market Trends
Vendor Landscape
Technavio’s library includes over 17,000+ reports, covering more than 2,000 emerging technologies. Subscribe to our “Basic Plan” at just USD 5,000 and get lifetime access to Technavio Insights
Related Reports:
Music Production Software Market Scope
Report Coverage
Details
Page number
153
Base year
2021
Forecast period
2022-2026
Growth momentum & CAGR
Accelerate at a CAGR of 7.31%
Market growth 2022-2026
USD 369.87 million
Market structure
Fragmented
YoY growth (%)
6.52
Regional analysis
North America, Europe, APAC, South America, and Middle East and Africa
Performing market contribution
North America at 42%
Key countries
US, China, UK, Germany, and France
Competitive landscape
Leading Vendors, Market Positioning of Vendors, Competitive Strategies, and Industry Risks
Key companies profiled
Ableton AG, Acon AS, Acoustica Inc., Adobe Inc., Apple Inc., Avid Technology Inc., Bitwig GmbH, Cockos Inc., GoldWave Inc., Image Line Software NV, iZotope Inc., MAGIX Software GmbH, MakeMusic Inc., MOTU Inc., MuTools, NCH SOFTWARE Pty Ltd., PreSonus Audio Electronics Inc., Reason Studios AB, Serato Ltd., and Yamaha Corp.
Market dynamics
Parent market analysis, market growth inducers and obstacles, fast-growing and slow-growing segment analysis, COVID-19 impact and recovery analysis and future consumer dynamics, and market condition analysis for the forecast period.
Customization purview
If our report has not included the data that you are looking for, you can reach out to our analysts and get segments customized.
Table of contents:
1 Executive Summary
2 Market Landscape
3 Market Sizing
4 Five Forces Analysis
5 Market Segmentation by End-user
6 Market Segmentation by Type
7 Customer Landscape
8 Geographic Landscape
9 Drivers, Challenges, and Trends
10 Vendor Landscape
11 Vendor Analysis
12 Appendix
Technavio is a leading global technology research and advisory company. Their research and analysis focuses on emerging market trends and provides actionable insights to help businesses identify market opportunities and develop effective strategies to optimize their market positions.
With over 500 specialized analysts, Technavio’s report library consists of more than 17,000 reports and counting, covering 800 technologies, spanning across 50 countries. Their client base consists of enterprises of all sizes, including more than 100 Fortune 500 companies. This growing client base relies on Technavio’s comprehensive coverage, extensive research, and actionable market insights to identify opportunities in existing and potential markets and assess their competitive positions within changing market scenarios.
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Purdue Extension Master Gardener program to offer virtual basic … – Purdue University

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December 1, 2022
WEST LAFAYETTE, Ind. — The spring 2023 Purdue Extension Master Gardener (EMG) basic training program will begin Feb. 7 as a weekly series of live virtual webinars.
Visit https://tinyurl.com/4mjy5w3z and contact a hosting Purdue Extension educator to obtain an application. The application deadline is Jan. 16, and the training wraps up May 9. An individual registration is $180 and includes a print version of the Purdue EMG manual. The fee for two people sharing a print version of the manual is $280.
Purdue Extension specialists and educators from across Indiana teach the course. Topics include soils, fertility, pest control, invasive species, pesticide safety and alternatives, trees, vegetables, flowers, lawns, and fruit. 
“The Purdue Extension Master Gardener program’s main purpose is to train volunteers to assist Purdue Extension with consumer horticulture education in Indiana communities,” said John Orick, Purdue EMG state coordinator.
Purdue Extension Master Gardener volunteers are required to give a minimum of 40 hours back to the community after completing initial training and passing an exam. Volunteers contributed more than 125,000 hours in 2022, Orick said.
To strengthen connections to county Purdue EMG programs, each hosting Extension educator will hold a required one-hour weekly meeting with participants to dig deeper into how the topic of the week applies to local gardeners.
“Indiana is a long, north-south state,” said Jeff Burbrink, Purdue Extension educator in Elkhart County and Purdue EMG spring program team member. “Our climate and soils vary greatly from Lake Michigan to the Ohio River. We want to be sure that our Extension Master Gardeners can see how these concepts work in their backyard.”
Most Master Gardeners stay involved in the program for years.
“Our local Master Gardeners created the Michiana Master Gardener Association in 1996, in part because they enjoy learning and because they can work on big projects together, like our annual Garden Tour and Garden Expo,” Burbrink said. “They are an amazingly talented group of creative people.”
Writer: John Orick, 765-496-7956, [email protected]
Source: Jeff Burbrink, 574-533-0554, [email protected]
Agricultural Communications: 765-494-8415;
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