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Ni-Cu mineralization occurs within a 5 to 15m thick zone of magmatic sulphides that is at least 600 by 800 metres long that remains open in all directions
Sudbury, Ontario–(Newsfile Corp. – November 28, 2022) – Transition Metals Corp (TSXV: XTM) (“Transition”, “the Company”) is pleased to report assays from the drilling completed this fall at its Maude Lake Property located 10km north of Schreiber, Ontario (Figure 1). The drill program was completed this September and consisted of 3 NQ size diamond drill holes for a total of 561 metres. The drilling targeted an approximate 300×500 metre VTEM conductor, (see news release dated Sept. 12, 2022) interpreted based on work completed this summer by the Transition team to be an offset down dip extension of mineralization exposed at surface. Figure 2 is plan map of the drilling while Figure 3 is a geological cross section. Table 1 presents significant results and Table 2 lists collar coordinates and orientation information. Highlights are as follows:
20.01 metres averaging 0.50 % Ni Eq*, including 4.00 metres averaging 0.90 % Ni Eq* in hole ML-22-01, and 1.17 metres averaging 2.54 % Ni Eq* in Hole ML-22-02
Significant intervals of high tenor Ni-Cu-Co and PGM mineralization were intersected in all 3 holes
Mineralization occurs near base of a large mafic intrusion, measuring approximately 1,000 metre wide, up to 500 metre thick, and extends for at least 2.5 kilometres to the southeast
An interpretation of the VTEM data suggests that the mineralized zone may extend below the 150 metre observed detection limit of the survey supporting a thesis that the intersected mineralization continues at depth
Transition CEO Scott McLean commented, “The drilling confirms the presence of a continuous looking zone of high tenor nickel and copper sulphide mineralization accumulating near the base of a large mafic intrusion. Given the size of the intrusion and the observed geophysical response, we feel that this mineralized zone has a considerable amount of room to grow.”
Table 1: 2022 Significant Drilling Results – Maude Lake Project
Note: The reader is cautioned that the assays reported above may not be representative of mineralization across the entire Maude Lake Property. The length reported is the sample length and is not necessarily the true width of the mineralized zone.
Table 2: Hole coordinates and orientation information, Maude Lake Project
All three holes collared in gabbro, intercepting mineralization at or close to target depth in a pyroxenitic/altered phase, located near the contact of the gabbro with a granodiorite intrusion. Mineralization consists of fine to medium grained sulphide blebs and disseminations that transition into interstitial to net-textured suphides, interspaced by narrow intervals of semi-massive to massive sulphides. Some fracture-controlled chalcopyrite dominant mineralization is observed in footwall underlying the contact.
The best mineralized intercepts correspond to higher zones of conductivity modelled from the VTEM system. The Company is now working to survey completed holes with a time domain borehole EM system which should provide better definition of the extent of the targeted conductive trend below the 150-200 metre effective penetration depth of the VTEM system. Additional geophysical inversion models and petrographic studies are ongoing, with the planed inclusion of a targeted ground EM geophysical survey.
The Maude Lake property consists of staked mining claims on crown land that cover approximately 1,398 hectares in the Pays Plat Lake, Lower Aguasabon Lake and Priske township/areas that were optioned to the Company in 2019. The property lies within the traditional territory of the Pays Plat First Nation.
Qualified Person
The technical elements of this press release have been reviewed and approved by Ben Williams, P.Geo. (PGO), a Qualified Person as defined under National Instrument 43-101.
Data Verification, Sampling Procedures & QA/QC
The Company follows rigorous sampling and analytical protocols that meet or exceed industry standards. Core samples are stored in a secured area until transport in batches to the ALS facility in Sudbury, Ontario, Canada. Sample batches include certified reference materials, blank, and duplicate samples that are then processed under the control of ALS Laboratories, an independent lab located in North Vancouver, B.C. The quality system used by ALS Laboratories meets all requirements of International Standards ISO/IEC 17025: 2005 and ISO 9001:2015. Platinum, palladium, and gold values were determined together using standard lead oxide collection fire assay and ICP-AES finish. Base metal values were determined using sodium peroxide fusion and ICP-AES finish. Silver values were determined using an aqua regia digestion and an AAS finish. In the case of over limits, Au is determined by fire assay and gravimetric finish, and for Pt and Pd are determined by fire assay and AAS finish.
About Transition Metals Corp.
Transition Metals Corp (TSXV: XTM) is a Canadian-based, multi-commodity project generator that specializes in converting new exploration ideas into discoveries. The award-winning team of geoscientists have extensive exploration experience which actively develop and test new ideas for discovering mineralization in places where others have not searched, often allowing the company to acquire properties inexpensively. Joint venture partners earn an interest in the projects by funding a portion of higher-risk drilling and exploration, allowing Transition to conserve capital and minimize shareholder’s equity dilution.
Cautionary Note on Forward-Looking Information
Except for statements of historical fact contained herein, the information in this news release constitutes “forward-looking information” within the meaning of Canadian securities law. Such forward-looking information may be identified by words such as “plans”, “proposes”, “estimates”, “intends”, “expects”, “believes”, “may”, “will” and include without limitation, statements regarding estimated capital and operating costs, expected production timeline, benefits of updated development plans, foreign exchange assumptions and regulatory approvals. There can be no assurance that such statements will prove to be accurate; actual results and future events could differ materially from such statements. Factors that could cause actual results to differ materially include, among others, metal prices, competition, risks inherent in the mining industry, and regulatory risks. Most of these factors are outside the control of the Company. Investors are cautioned not to put undue reliance on forward-looking information. Except as otherwise required by applicable securities statutes or regulation, the Company expressly disclaims any intent or obligation to update publicly forward-looking information, whether as a result of new information, future events or otherwise.
Neither the TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in the policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this release.
Further information is available at www.transitionmetalscorp.com or by contacting:
Scott McLean
President and CEO
Transition Metals Corp.
Tel: (705) 669-1777
Figure 1: Location of the Maude Lake Project

To view an enhanced version of this graphic, please visit:
https://images.newsfilecorp.com/files/2766/145890_1aa15235b4e95b46_004full.jpg
Figure 2: Plan map of completed diamond drill holes and conductivity Target. The map shows the location of the cross section A-A’ in Figure 3

To view an enhanced version of this graphic, please visit:
https://images.newsfilecorp.com/files/2766/145890_1aa15235b4e95b46_005full.jpg
Figure 3: Composite vertical cross section with trench sampling and drilling results. See Figure 2 for location of section.

To view an enhanced version of this graphic, please visit:
https://images.newsfilecorp.com/files/2766/145890_1aa15235b4e95b46_006full.jpg
To view the source version of this press release, please visit https://www.newsfilecorp.com/release/145890
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21st century music production is becoming increasingly dominated by machine learning plugins and smart algorithms. Let’s see how AI has integrated into modern mixing
Now well into the 2020s, we’re awash with ways to make release-quality music at home, via user-friendly DAWs, expansive sample libraries and fine-tuning mix plugins. But, despite access to tools that enhance audio and tackle the mixing and mastering process solo, these disciplines still call for some hefty prerequisite knowledge. 
While learning the intricacies of music production is something we’re always keen to promote on MusicRadar, companies like Zynaptiq and iZotope noticed that for the many time-devouring processes, the application of AI could not only provide footbridges over the numerous pitfalls of production, but also solve issues that human beings found a challenge. 
“The terms ‘AI’ and ‘Smart’  are really primarily used for marketing purposes, which is useful as the terms convey the product idea very clearly on a level of intent,” Denis Goekdag, Zynaptiq’s CEO explains to us. “You can read it as ‘we aim to make a better solution that takes some of the burden of your task off of you by means of state-of-the-art statistics software tech from the field of artificial intelligence’. 
Software can do things analogue never could
This helps clarify, too, that the software doesn’t aim to reproduce analogue gear or old-school workflows etc, which was all the rage before companies like Zynaptiq started pushing the use of AI/smart stuff from 2012 onwards. Software can do things analogue never could, and allows imagining solutions that were simply unimaginable even just 20 years ago.”
Today, the release of production software which houses deep-seated machine learning or features a handy AI assistant, pulling the strings, is something of an everyday occurrence. Take Sonible’s widely beloved Smart plugin suite. 
This popular range spans many mixing applications, each of which are finely tailored to intelligently hone in on particular audio issues. Among their wares, the extraordinary Smart: EQ 3 and the content aware Smart: Limit, each of which are directed by deep-coded virtual thought processes to fulfil their aims. 
Alexander Wankhammer, Sonible’s CMO and co-founder, explained to us how the company first took their fleeting first steps into AI. “Our first software product ‘Frei:Raum’ was released in January 2015. It already had the option to automatically correct the spectral deficiencies of a signal by observing its spectral and temporal characteristics. 
Any system that is capable of performing tasks normally requiring human intelligence can per definition be called an ‘AI-based system’
At this time, we were mainly using ‘classical’ statistics-based machine learning algorithms, though later updates of our Smart: Filtering technology started to incorporate deep learning (deep neural networks).” Alexander elaborates on deep learning, and tells us that this is typically what people are referring to when discussing AI, confirming Denis’s assessment: “Any system that is capable of performing tasks normally requiring human intelligence can per definition be called an ‘AI-based system’ –  no matter if some other machine-learning-based approach is used to solve a certain task.” 
Alexander goes on to tell us how the deep learning algorithms within Smart: EQ 3 are actually programmed. “[Smart: EQ 3] uses a system that is mainly trained by huge amounts of data. In the case of Smart: EQ 3, the system learned to transform ‘bad data’ (eg signals with spectral deficiencies) into ‘good data’ (eg signals with a nice spectral balance). 
To do so, we used deep learning (in our case a specialised convolutional neural network architecture) and presented a spectro-temporal representation of the bad data to the input of the network. We then defined the ‘good data’ as the target for the network’s output. By doing this thousands and thousands of times, the network learned how to correct problems in bad data samples. Once a network has been trained, it’s basically a black box doing its thing.”
This same principle of intensely hammering the algorithms into shape beforehand lay at the heart of Zynaptiq’s stable. Denis Goekdag explains: “The network might learn to output ‘CAT = TRUE’ when it is presented with a picture of a cat, and ‘CAT = FALSE’ if the picture presented to it contains no cat (but maybe a beer glass). 
Labyrinthine neural networks can effectively target problems that human brains would struggle to isolate
In simplified terms, you would train the network to achieve this by showing it 1 million cat pictures (and stating that these pictures should result in TRUE being output), and 1 million pictures without a cat (which should give FALSE as output). At Zynaptiq, we use pattern recognition in many of our products; in source separation products like Unmix: Drums, for example. It is used to figure out which parts of the input spectrum are drums, and which aren’t.” From such technically straightforward beginnings, labyrinthine neural networks can be forged, which can effectively target problems that human brains would struggle to isolate. 
Both Sonible and Zynaptiq’s intelligent tools have been undeniable trailblazers when it comes to the widespread understanding of how AI-assistive technology can dig deeper, more quickly, into mix issues. Recent, solid, releases from the likes of Oeksound, Baby Audio and Soundtheory have all taken their cues from their respective stables – leaning on painstakingly programmed models in their role as the ultimate time-saving, mixing problem solvers for this generation of producers.Platforms: Mac/PC | Price: £107 | Buy (opens in new tab)
At the summit of Sonible’s respected Smart series, sits Smart: EQ 3. This perceptive software carefully considers a sound or full mix’s characteristics, and effectively EQs it to perfection. Its intelligent cross-channel processing allows it to understand how multiple channels are affecting each other.Platforms: Mac/PC | Price: £169 | Buy (opens in new tab)
One of our favourite plugins of recent years, soothe2’s sharp mix detective work allows it to be considered within the bracket of ‘intelligent’ in our view. Scanning your mix, soothe2 isolates problematic resonances and gives them the boot, and saves time laboriously notching the EQ by hand. Platforms: Mac/PC | Price: £49 | Buy (opens in new tab)
Sitting on the boundary between ‘meticulously programmed’ and ‘intelligent’, Mixroom takes a look at the picture of your sound on a per-channel basis or the master bus, and applies clever EQ filters to help bring out your track’s oomph. The ability to import reference tracks for it to try and emulate is a useful touch, too.  Platforms: Mac/PC | Price: £95 | Buy (opens in new tab)
The ultimate go-to for vocal manipulation, iZotope’s Nectar 3’s 12 vocal processing modules, unmasking controls and super intelligent Vocal Assistant will set EQ nodes and scrub out plosives and sibilants. The Unmask function lets the plugin scan the whole mix and push out intrusive frequencies from any other channels affecting the vocal’s clarity.  Platforms: Mac/PC | Price: £180 | Buy (opens in new tab)
One of the clearest examples of the benefits of AI in music production, Adaptiverb adapts its reverb-creating algorithm to the source audio, and smartly preserves the definition and clarity of the mix, applying its reverb subtly and with more nuance than a traditional application would. Genius – particularly its Bionic Sustain Resynthesizer
Platforms: Mac/PC | Price: £150 | Buy (opens in new tab)
Another EQ game-changer. The nearly self-aware Gullfoss takes complete control over your mix and uses five controls to enhance and sculpt your mix. Via its computational auditory perception, Gullfoss listens and prepares the audio to isolate what aspects of the mix are competing for attention, and there’s little it can’t fix.Platforms: Mac/PC | Price: £171 | Buy (opens in new tab)
While pre-determined algorithms form the foundation of many of today’s most perceptive mixing plugins, often their capabilities can be expanded by the learning engendered by new data. An interesting example of an adaptive, self-refining algorithm can be found in iZotope’s Neutron 4. The company’s premiere mixing suite features a gamut of algorithms designed to continually refine what they suggest to the user. 
The Mix Assistant also uses ‘Inter-plugin Communication’ to speak to other iZotope plugins being used on other tracks in a mix, to understand what they’re specifically doing to the respective frequencies and tones of those channels. This helps Neutron 4 take the reins and intelligently adjust each track’s levels, bringing focus to the sounds that should be foregrounded and hiding those that need to recede into the mix. Platforms: Mac/PC | Price: £95 | Buy (opens in new tab) 
One of the modern mastering engineer’s most trusted tools, Ozone 9 can automatically create EQs that match the frequency spectrum of your project, as well as intelligently handle loudness levels on the fly. Aside from its advanced brain, Ozone 9 also provides a huge array of fine-tuning options for the skilled engineer. Platforms: Mac/PC | Price: £450 | Buy (opens in new tab) 
A suite of three high-powered AI mastering plugins from the innovators at Zynaptiq. The three plugins – Unfilter (opens in new tab), Intensity (opens in new tab) and Unmix: Drums (opens in new tab) – rectify EQ, beef up the loudness and clarity as well as underline your drums respectively. Manual control is available too, but you’ll be impressed by the suite’s ‘auto-magic’ abilities. Platforms: Mac/PC | Price: £179 | Buy (opens in new tab)
With its intelligent and very discerning attack and release settings, DynOne knows how to make the best from your mix from the get-go. Leapwing’s smart dynamics controller also puts five bands of quality parallel compression at your fingertips, as well as transparent and adjustable filters to tame your track.Platforms: Browser-based | Price: £14 per month | Buy (opens in new tab)
Should you want to turn over your mix entirely to an AI-mastering engineer, then you can do a lot worse than the skillful eMastered. Developed in tandem with a community of Grammy-winning engineers, the platform allows users to upload reference tracks to more precisely build a mastered final product with impact.Platforms: Mac/PC | Price: £7 per track | Buy
Cloudbounce uses its internal algorithms to assess the best EQ fixes and final dynamic balance for your track. Cloudbounce also allows users to dial in aspects such as volume, brightness, warmth and bass by hand, as well as choosing the appropriate genre to tailor the master to. It’s now available as a standalone desktop app.Platforms: Browser-based | Price: £7.50 per month | Buy (opens in new tab)
One of the major names in online mastering. LANDR is driven by its sophisticated Synapse AI engine. Synapse is hugely adept at deciding how to EQ, compress, enhance and define anything you throw its way. Launched in 2014, LANDR continues to grow its membership – and its capabilities – with each passing year.Platforms: Mac/PC | Price: £7.45 per month | Buy (opens in new tab)
An acclaimed collection of uniformly smart tools that are designed to handle such processes as noise removal, voice deepening, auto-EQing, reverb removal and de-clipping. Accusonus’ swiss army knife of sonic sculptors provide a perfect control centre for audio repair, with the Audio Clean-Up Assistant granting a top-down view of its wares.  Platforms: Mac/PC | Price: £95 | Buy (opens in new tab)
Perhaps the closest to being the ultimate example of AI-as-audio engineer. RX9 is well-equipped to both judge and fix even the muddiest, messiest and most low-res audio. With a whole armada of smart plugins in its stable, the Repair Assistant is continually on hand to give instant feedback on what’s been detected, and action needed. It’s not been stumped yet.  Platforms: Mac/PC | Price: £19.97 a month | Buy (opens in new tab)
Adobe’s Audition CC applies the same remarkably ambidextrous approach that the company previously applied to images (via Photoshop) to audio. Audition offers multitrack, spectral and waveform displays of your source audio, and the current incarnation brings DeReverb and DeNoise plugins. These can cleverly suss out how best to apply themselves to the audio.
Platforms: Mac/PC | Price: £120 | Buy (opens in new tab)
Excelling at its sole objective of removing the audio from audio served up to it, Accentize’s Voice Gate uses its artificial neural network to determine any and all human speech in the audio and, well, eradicate it. Accentize are keen to update their algorithm, so if you come across any vocal-sounds that Voice Gate hasn’t detected, feel free to email them to refine their algorithm further! Platforms: Mac/PC | Price: £107 | Buy
The debut AI product of Sonibile, Frei:Raum detects disturbing resonances and frequency notches, and cleverly gets to work correcting them, while its deep EQing abilities enable it to swiftly compensate for bad room acoustics or dialogue recording hiccups. Frei:Raum sets a precedent for intelligent, ever-learning plugins that Sonible continues to push. Platforms: Mac/PC | Price: £550 | Buy (opens in new tab) 
Also known as the ‘Un’ series, Zynaptiq’s Unveil, Unfilter and Unchirp present smart ways to get rid of resonance, roll-offs and poorly encoded audio amongst other things, enhancing and sprucing up whatever is thrown their way. Driven by a desire to improve at what they do, Zynaptiq’s audio restoration suite is a reliable future-proof audio-repair arsenal.
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Read More of The EQ Series: Part 1 • Part 2 • Part 3
In the last editions of this Emotional Intelligence (EQ) series, we looked at the two components of Personal Competencies: Self-Awareness and Self-Management. This week we move into the first of the two Social competencies, referred to as social awareness.
A quick summary of social awareness is the ability to rapidly and accurately recognize the emotions and perspectives of others, and apply that understanding to your interactions with them. To do this, we rely on our ability to empathize, allowing us to relate to all the various people we encounter, regardless of our differences. To use a radio metaphor, our skills in this area enable us to become a high-powered stereo receiver capable of picking up the frequency of whatever someone is broadcasting, no matter how faint the signal may be. Whether this comes naturally to us or not, there are techniques that we can all use that build our skills and intuition, allowing us to get a read on people and calibrate our dealings accordingly.
Next week we will move into the last of the four EQ components: Relationship Management.
Eric Bartosz is the founder of BAR40 and the author of the internationally acclaimed and bestselling book ‘BAR40: Achieving Personal Excellence.’ He lives in Center Valley with his wife Trish, daughter Riley and pug Piper, is an adjunct MBA professor at DeSales University and serves the community as an Upper Saucon firefighter, a board member of Big Brothers Big Sisters of the Lehigh Valley and a local race organizer. Eric is a 20+ year runner and racer and can often be found logging miles on the Saucon Rail Trail.

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Mildred F. Guerrero (1934 – 2022) Mildred F. Guerrero, 88, of Hellertown, died Thursday, Dec. 15, 2022 at Holy Family Manor, Bethlehem.
Charles Gordon Peck (1946 – 2022) Charles Gordon Peck, 75, of Upper Saucon Township, passed away Tuesday, Dec. 13, 2022 at home with his loving wife by his side.
Mildred J. (Arndt) Bright (1930 – 2022) Mildred J. (Arndt) Bright of Bingen went to be with her Lord and Savior on Tuesday, Dec. 13, 2022 at Atria Senior Living Center, Bethlehem, under Hospice care.
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Home CHAIRMAN JCP DIRECTS TO MAKE THE AUDIO RECORDING OF THE JCP PROCEEDINGS OF 28.07.2022 AVAILABLE ON THE OFFICIAL WEBSITE OF SUPREME COURT OF PAKISTAN.
The version issued by the Public Relations Officer of the Supreme Court of Pakistan (“SCP”) under the instructions of Hon’ble Chief Justice of Pakistan/Chairman, Judicial Commission of Pakistan (“JCP”) has been disputed by two Hon’ble Judges of the SCP, namely, Mr. Justice Qazi Faez Isa and Mr. Justice Sardar Tariq Masood. A resulting controversy has therefore arisen in the print and electronic media. In these exceptional circumstances the Hon’ble Chairman JCP has been pleased to relax the restriction under Rule 5(4) of the JCP Rules, 2010 and has directed for the audio recording of the JCP proceedings of 28.07.2022 to be made available on the official website of the SCP. The audio recording from time slot 1:29:45 to 1:38:08 contains the statement by the worthy Attorney General for Pakistan that the matters under discussion should be deferred to frame the appropriate rules. He did not assess or reject the merits of any of the High Court Judges proposed for appointment to the SCP. As a result, 5 members of the JCP supported the deferment of the meeting as reported in the Press Note of 28.07.2022.
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As the number of cybersecurity attacks continues to rise, so does the demand for the talent to protect against them. In fact, there are more than 700,000 open cybersecurity positions in the U.S. alone—and the occupation is growing more than twice as fast as the overall rate across the country’s economy, data from CyberSeek shows.
These positions are tough to fill for a variety of reasons, including a lack of understanding among corporate leadership about the type of talent that’s needed to protect their assets—plus a lack of education and awareness about the threats that exist today. What’s preventing cybersecurity professionals from landing these jobs, on the other hand, is inadequate training, certifications, or skill sets. 
While cybersecurity professionals have multiple ways to enter the industry—like taking upskilling courses, doing self-study, or even taking the time to learn new skills on the job—earning a master’s degree is a charted path to take to land high starting salaries in the field. Graduates from top-ranked cybersecurity programs can expect to make six-figure starting salaries between $100,000 and $200,000.
“Security has always been well-paying and it really comes down to scarcity—both in the number of professionals and in the required skills,” Mike Hendrickson, Skillsoft’s vice president of tech and development, previously told Fortune. “With today’s limited pool of security professionals, organizations need to make their offers quite attractive, both in compensation and opportunities for professional development.”
Students from the top cybersecurity master’s program in the nation, as ranked by Fortune, often see their salaries double after graduation. The University of California—Berkeley saw students entering the program during the 2020–21 school year self-report salaries of $104,100 while their peers who were graduating during that same period reported salaries of $200,000—almost twice as much.
“Our UC Berkeley online master’s in cybersecurity allows students to not only develop technical expertise in cybersecurity, but also essential skills in communications, product development, customer success, and business,” Rebecca Andersen, UC Berkeley senior director of student and alumni career development, previously told Fortune. “This allows our students to step into leadership roles within the cybersecurity field and attain significant salary increases as they make these career shifts.”
UC Berkeley grads also go into cybersecurity leadership roles. Graduates with a master’s degree in cybersecurity earn an average salary of $214,000, not including bonuses; the median salary is $200,000, according to a UC Berkeley salary survey of alumni. Some graduates who are now executives, such as chief information security officers (CISOs), chief information officers (CIOs), and chief technology officers (CTOs), make more than $300,000.
“The CISO roles are going to be more over the $250,000, $300,000 [salary mark], closer to $400,000, depending on the company and the size of the organization,” McHale says.
At Yeshiva University (Katz), which Fortune ranks as having the No. 2 online cybersecurity master’s program, graduates make $112,000 median base salaries right after graduation, and $126,000 one year post-graduation. Yeshiva’s cybersecurity curriculum aligns with high-paying industry certifications, like Certified Information Security Manager (CISM) and Certified Information Systems Security Professional (CISSP), which can help professionals land $150,000-plus salary packages, according to Skillsoft’s 2022 list of the top-paying IT certifications.
“There are lots of great programs around the country,” Paul Russo, dean of the Katz School of Science and Health, tells Fortune. “I just happen to think we have the right combination of tech and teaching talent to help students rise to the top in the job market.” The program also focuses on real-world threat modeling, and practice with ransomware, endpoint detection and response, Amazon Web Services, and Splunk.
Western Governors University, which Fortune ranks as having the No. 3 cybersecurity master’s program in the U.S., also reports six-figure salaries for its graduates. The master’s degree allow graduates to take on cybersecurity leadership roles with potential earning power of $135,000, Mike Morris, WGU’s College of IT associate dean and director of academic programs in cybersecurity, tells Fortune. Plus, more than 16% of tech grads from WGU report starting salaries of $150,000 and up.
“Graduates are ready to assume cybersecurity leadership positions with major companies, government agencies, consultancies, and start-ups,” he adds. “In terms of salary impact, a master’s degree has been proven to help the earning potential of cybersecurity professionals.”
Some top graduate programs don’t report six-figure salaries, but still show a jump in base salaries after earning a master’s degree. Indiana University–Bloomington, for example, reports mean base salaries for its cybersecurity grads at $77,400, which is a 44% increase over what they earned prior to enrollment. Fortune ranks Indiana as having the No. 4 cybersecurity master’s program in the U.S.
Indiana’s cybersecurity risk management program takes a more broad approach to the field, and students in this program take core courses in computing, law, and business. They also get help studying for the CISSP certification, which has the potential for higher income earnings. 
“This broad exposure and career assistance helps students chart their own unique paths in the field of cybersecurity,” Apu Kapadia, director and chair of the Cybersecurity Risk Management Program at Indiana, tells Fortune. 
Check out all of Fortune’s rankings of degree programs, and learn more about specific career paths.

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Dylan Tallchief offers workflow-boosting services to electronic music producers
Having previously created the famous Excel drum machine, Dylan Tallchief is now working on another music technology project, and this one might have big practical benefits for your DAW workflow.
Jukeblocks is a freely accessible website that not only creates song templates for you, but is also capable of converting FL Studio project files into Ableton Live ones, and vice versa.
Generating a new template is as simple as selecting a genre (pop, EDM, house etc) and clicking a button. An algorithm then gets to work and creates a song arrangement for you – each one it spits out is unique – complete with suggested tracks (kick, clap, synth, etc) and sections. 
This can then be downloaded and imported into your DAW. You can download FL Studio, Ableton Live, Reaper and LMMS project files, or choose MIDI if you’re using a different piece of music production software.
Once you’ve got the project file loaded up, the idea is that you can fill it up to create a track, adapting it as necessary. We can see big practical benefits for beginners, who may not know much about how tracks in different genres are typically structured, and for anyone else who wants a quick starting point for a project.
The project conversion element of Jukeblocks is also automated – just select an Ableton Live or FL Studio file or drag it straight into your browser and it’ll be converted to the other format. 
It’s worth noting that this newish feature is very much a work in progress – current limitations are detailed on the site – but it could still be very useful if you work across both DAWs or produce in either FL Studio or Ableton Live and want to collaborate with someone who has the other piece of software.
As things stand, all of Jukeblocks’ services are free, though you’ll have to register to get full access. 
Find out more on the Jukeblocks (opens in new tab) website.
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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WEATHER ALERT
Ben Kennedy, Washington Bureau Chief
Published: April 22, 2022, 5:49 PM
Ben Kennedy, Washington Bureau Chief
WASHINGTON – House Republican leader Kevin McCarthy told fellow GOP lawmakers shortly after the Jan. 6 Capitol insurrection that he would urge then-President Donald Trump to resign, according to audio posted by The New York Times and aired on Rachel Maddow’s MSNBC show.
“I asked him personally today, does he hold responsibility for what happened? Does he feel bad about what happened? He told me he does have some responsibility for what happened, and he needs to acknowledge that,” McCarthy said.
The recording was released by The New York Times a part of their upcoming book “This Will Not Pass”.
In the book, reporter’s Jonathan Martin and Alexander Burns write McCarthy told fellow Republicans “I’ve had it with this guy”, and planned to urge Trump to resign.
“The only discussions I would have with him is that I think will pass, and it would be my recommendation you should resign,” McCarthy said.
This contradicts previous statements by McCarthy saying “The New York Time’s reporting on me is totally false and wrong”.
My statement on the New York Times pic.twitter.com/PWi2WkoWzh
As to who made the recording and leaked it, Wyoming Congresswoman Liz Cheney who can be heard on the tape, denies it was her.
“Are you hearing that he might resign? Is there any reason to think that might happen,” Cheney said.
McCarthy replies, “I’ve had a few discussions My gut tells me no. I’m seriously thinking of having that conversation with him tonight. I haven’t talked to him in a couple of days.”
President Joe Biden addressed the recordings during his trip to the West Coast on Friday.
“This ain’t your father’s Republican party, no a joke, all you have to look at what is played this morning that the tape that was released. This is MAGA party, these guys are a different breed of cat,” Biden said.
ABC News does report that Trump and McCarthy did talk after the audio recordings were released. Sources say that Trump was not particularly upset with McCarthy because he believe it shows that he still has a grip on the GOP.
Both Trump and McCarthy have not spoke publicly about those audio tapes yet.
Copyright 2022 by WPLG Local10.com – All rights reserved.
Ben Kennedy is an Emmy Award-winning Washington Bureau Chief for Local 10 News. He has more than a decade of reporting experience nationwide.
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Home › Technology›New Products
iZotope is introducing Neutron 4, the latest update to its suite of eight audio production plug-ins, at NAMM Show 2022.
By Mix Staff
Published: 06/03/2022
Anaheim, CA (June 3, 2022)—iZotope is introducing Neutron 4, the latest update to its suite of eight audio production plug-ins, at NAMM Show 2022.
Neutron’s Mix Assistant is now modernized into the new Assistant View. Powered by machine learning, the new version listens as soon as audio is played, producing a reference starting point and taking the user to an intelligent control center.
The new Unmask Module discovers and fixes masking issues by making space between two competing tracks, balancing bass and kick, or allowing vocals to shine over the mix. With the new Target Library, the tone of a track may be dynamically matched to a sample or stem with assistive tone-matching technology.
Neutron 4 also brings back a slice of iZotope plug-in, Trash, reportedly a fan favorite, allowing users to distort and destroy audio and discover new extremes.
Also included are utility plug-ins Visual Mixer and Relay to help plug-ins talk to each other, plus Tonal Balance Control 2 to view levels as a user mixes. All plug-ins included with Neutron 4 feature Apple M1 native silicon compatibility.
Also just released, Music Production Suite 5 Universal Edition includes the new Neutron 4 mixing suite, plus immersive reverbs Stratus 3D and Symphony 3D by Exponential Audio and six new effects plug-ins from iZotope’s partner, Brainworx, to the latest generation of the bundle.
With 52 plug-ins included at launch, Music Production Suite 5 Universal Edition includes a variety of tools, from creative effects and sonic shaping to assistive mixing, vocal production, intelligent mastering, repair and balancing.
Introductory pricing for Neutron 4 is $299 ($399 regular), and for the Music Production Suite 5 Universal Edition is $599 ($999 regular). Anyone who buys or upgrades to the Universal Edition will also receive two flagship product updates in September at no additional cost, according to the company.
Mix Staff
Tags ⋅ IZotope ⋅ NAMM ⋅ neutron 4 ⋅ Plug-in ⋅ Plugin
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This article was published on July 9, 2021
Hot deals courtesy of The Next Web. Hot deals courtesy of The Next Web.
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FL Studio 20 is one of the most advanced digital workstations around, which is why some of the world’s most influential EDM artists have learned and created with this tremendous music tool. Just like the moment a novice producer looks at his first engineering board, the controls of a powerful app like FL Studio 20 can feel incredibly intimidating. Scary, sure…but it doesn’t have to be debilitating.
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After a thorough introduction to the FL Studio interface, users dive in, learning how to efficiently create their own beats and melodies. From multi-track recording, pitch shifting, mixing and more, FL Studio has all the features fresh producers need to craft complex audio soundscapes with full effects, audio sends, sidechain control, advanced automation, plugin delay compensation and more.
The DAW also includes over 80 instrument and effect plugins to create virtually any sound imaginable, with full compression, delay, equalization filtering,phasing, chorus, reverb, distortion, and more.
While the training in crafting a professional beat from scratch is designed for novice producers, even more seasoned dial-turners can get something from this training, learning shortcuts to help get certain tasks done even faster.
The Make Beats on FL Studio 20 for Beginners training is a $200 value, but with the current deal, you can get all this in-depth session experience for a fraction of that price, only $19.99 while the offer lasts.
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Check out the TNW Conference 2022 post-show report →
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NEW YORK, April 11, 2022 /PRNewswire/ — The global music production software market size is expected to increase by USD 296.27 million between 2020 and 2025. The market observed a YOY growth of 2.37% in 2021 and the growth momentum is expected to accelerate at a CAGR of almost 8% during the forecast period. The report provides a comprehensive analysis of recent developments, new product launches, major revenue-generating segments, and market behavior across geographies.
Download a Free Sample Now to know more about the report coverage.
The global music production software market is fragmented due to the presence of numerous players. During the forecast period, the competition in the market is expected to intensify with new product launches, technological innovations, and partnerships. Established players in the market are increasing their focus on the development and introduction of music production software as well as updating the old versions of music production software.
Technavio identifies Ableton AG, Adobe Inc., Apple Inc., Avid Technology Inc., Cockos Inc., Image Line Software NV, MAGIX Software GmbH, PreSonus Audio Electronics Inc., Reason Studios AB, and Steinberg Media Technologies GmbH as some of the major market participants. Although the increasing adoption of DJ software to produce music will offer immense growth opportunities, the easy availability of open-source software will challenge the growth of the market participants. To make the most of the opportunities, market vendors should focus more on the growth prospects in the fast-growing segments, while maintaining their positions in the slow-growing segments.
Purchase our full report to explore successful business strategies adopted by leading vendors and the factors impacting their growth.
Gain confidence by Downloading a Free Sample Report.
Music Production Software Market 2021-2025: Segmentation
The music production software market is segmented as below:
The professionals segment generated the highest revenue in the market in 2021. The segment is driven by the growth of the global film industry. Also, the rising demand for music streaming services is contributing to the growth of the segment. Similarly, by type, the editing segment held the largest share in the market in 2021. The market growth in these segments will be significant during the forecast period.
By region, North America is expected to offer several growth opportunities for market players. The high concentration of popular musicians and music production companies is creating strong demand for music production software in the region. The US is a key market for music production software in North America. However, the market growth in this region will be slower than the growth of the market in APAC.
Technavio presents a detailed picture of the market by the way of study, synthesis, and summation of data from multiple sources. Our music production software market report covers the following areas:
Music Production Software Market 2021-2025: Vendor Analysis
We provide a detailed analysis of around 25 vendors operating in the music production software market. Backed with competitive intelligence and benchmarking, our research report on the music production software market is designed to provide entry support, customer profile, and M&As as well as go-to-market strategy support.
Music Production Software Market 2021-2025: Key Highlights
Related Reports:
Over The Top Market by Content Type and Geography – Forecast and Analysis 2021-2025
Video Managed Services Market by End-user and Geography – Forecast and Analysis 2022-2026
Music Production Software Market Scope
Report Coverage
Details
Page number
120
Base year
2020
Forecast period
2021-2025
Growth momentum & CAGR
Accelerate at a CAGR of 8%
Market growth 2021-2025
USD 296.27 million
Market structure
Fragmented
YoY growth (%)
2.37
Regional analysis
North America, Europe, APAC, South America, and MEA
Performing market contribution
North America at 42%
Key consumer countries
US, China, UK, Germany, and Japan
Competitive landscape
Leading companies, competitive strategies, consumer engagement scope
Companies profiled
Ableton AG, Adobe Inc., Apple Inc., Avid Technology Inc., Cockos Inc., Image Line Software NV, MAGIX Software GmbH, PreSonus Audio Electronics Inc., Reason Studios AB, and Steinberg Media Technologies GmbH
Market Dynamics
Parent market analysis, Market growth inducers and obstacles, Fast-growing and slow-growing segment analysis, COVID 19 impact and future consumer dynamics, 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 :
Executive Summary
Market Landscape
Market Sizing
Five Forces Analysis
Market Segmentation by End-user
Market Segmentation by Type
Customer landscape
Geographic Landscape
Vendor Landscape
Vendor Analysis
Appendix
About Us
Technavio is a leading global technology research and advisory company. Their research and analysis focus 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.
Contact
Technavio Research
Jesse Maida
Media & Marketing Executive
US: +1 844 364 1100
UK: +44 203 893 3200
Email: [email protected]
Website: www.technavio.com/
SOURCE Technavio
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Creating dub delay in your DAW.  ·  Source: Soundtoys
Dub delay is a style of effect that has evolved throughout its use in modern music. The PA system amplifiers and mic mixers of the 1950s and 1960s began to be designed with onboard echo and reverb effects, so it became a standard for vocals and other instruments in Jamaican reggae, dub, and rocksteady soul recordings.
As dub Soundsystem culture grew, the use of these effects become more widespread. Dub delay has since been produced with analogue and digital delay and echo units, from rack gear to guitar pedals. It has become a signature effect with application in many musical styles and also as a sound design tool.
From the pleasing washed-out ambiance created when combined with tonal instruments like vocals, guitars, and keyboards to surreal sounding groove-based passages with drum patterns. Creating dub delay using software can be challenging, so we’ll check out some plugins and different approaches.
You can even create decent dub delay effects with your stock DAW delay and echo plug-ins. All it takes is the right EQ settings. However, some delay plug-ins have HP and LP filters, saturation, or overdrive built in. This gives you the tonal control needed to shape the affected sound.
Swiss audio software company, Togu Audio Line creates a range of plugins based on vintage hardware. Although the TAL Dub X isn’t an emulation of one delay unit in particular, it provides just the right set of parameters for creating almost any type of delay effect.
Its simple, modular design has 2 gain stages, with the ability to drive the input level to produce saturation. The 24db/octave LP filter can be set to pre or post delay, which is useful for tone-shaping.
This is especially handy when working with rhythms, as you can accentuate specific parts of the pattern using the filter and LFO.
The TAL Dub X delay plugin.
Pros:
Cons:
One vintage tape delay plugin to rule them all. Soundtoys are some of the most widely used software plug-ins around, with excellent recreations like the EchoBoy and EchoBoy Jr. With an Ampex modeled tape sound and a wide range of vintage emulations to choose from, Echoboy offers effortless creative control.
Each section of the plugin is designed for detail and depth, making the range of applications you can find for this delicious delay endless. However, you don’t need a plugin this elaborate simply to create dub delays, so it’s a pity that EchoBoy Jr. isn’t sold separately.
The EchoBoy vintage echo plugin from Soundtoys.
Pros:
Cons:
Soundtoys EchoBoy Download
Another sworn-by industry tool, the Waves H-Delay is used across many musical styles, especially on vocals. For a software plugin, it sounds incredibly natural and warm, and the selection of parameters allows you to quickly shape the sound to fit your track.
Useful features like the LoFi switch add character and the knob that links the HP and LP filters is wild when combined with automation. All the controls seem to affect the sound in such a musical way so it’s hard to miss when using H-Delay. Watch the feedback control when using it though, as it’s quite a sensitive beast.
Waves H-Delay.
Pros:
Cons:
Waves H-Series Download
For years, the Dubstation plugin from AudioDamage has been the go-to echo plugin for electronic music producers and many other music styles too. This simple bucket brigade style delay allows you to recreate classic dub delay effects without too much learning curve.
The stripped-down interface makes the user more inclined to dive into automation and sound sculpting, while the loop function is extremely useful for creating rhythms without the feedback going out of control. The less-is-more approach might not be for everyone, but it’s certainly closer to the experience of using hardware delay pedals.
Dubstation 2 is a bucket brigade style delay from Audio Damage.
Pros:
Cons:
Although many software emulations of the famous Roland Space Echo exist, the Audiothing Outer Space is one of the better ones. Outer Space brings the spectacular green machine to your DAW with a good deal of additional parameters.
For starters, it gets the basics right and can reproduce the outlandish delay sounds you’d want from a Space Echo unit. The difference is this plugin expands from the niche appeal of the original and becomes a more comprehensive delay tool. Once you understand the interface, you can shape and create most delay sounds as you would on any high-end delay plugin.
Outer Space is an emulation of the vintage Roland RE-201 Space Echo
Pros:
Cons:
IK Multimedia T-RackS Space Delay Download
FabFilter Timeless 3 Download
Although effects such as echo, delay, and spring reverb were used on guitar for decades, it was when these were applied to vocals that dub delay became more stylistically defined. The subtle but highly recognizable vocal echo used on classics by Sister Nancy and Max Romeo has created a timeless organic feel, sampled and recreated on countless subsequent records.
Jamaican Soundsystem culture grew with the likes of King Tubby, Scientist, Mad Professor, and Lee “Scratch” Perry, and many followed this legacy in their production workflow – seeking to use the mixing desk as an instrument. The warehouse movement in Berlin for one, identified closely with this sentiment as artists like Basic Channel began what is known as Dub Techno today.
Lee “Scratch” Perry at Black Ark Studios
Dub delay also evolved from being a genre-defining effect into a production tool, like many others. The repetitive mechanical feel creates the illusion of ambiance which has been harnessed by some of our favourite artists and producers, especially in dance music.
In the 90s, dub delay was used extensively in trip-hop music, while electronic pioneers like Kruder & Dorfmeister turned it into an art form that others like Thievery Corporation could follow.
When combined with great songwriting, the dream-like quality works wonders on the rhythm track of LCD SoundSystem‘s Oh Baby, or the intro of Barrel Of A Gun by Depeche Mode and also in a modern pop context.
Recreating any hardware effect is always a challenge, particularly with something as organic as dub delay. The key is having the right tools for your purpose and developing an understanding of the capabilities and limitations. This could start with the delay plugin native to your DAW and expand as your obsession grows.
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18 Dec · I bought the Zoom R8 for my big brother several years ago. I hope I win this so I can give him this one instead! 🙂
18 Dec · Well I thought it was funny! 😉
18 Dec · The MC-707 is indeed a ZEN-Core based product, whilst the majority of Roland’s Boutique and Cloud-based emulations of their classic Analog synths and drum machines use ACB. These five drum machines …

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When competition is fair, both consumers and companies win. Learn about our efforts to even the playing field for all developers.
Artists deserve clarity about the economics of music streaming. This site sheds light on the global streaming economy and royalty system.
During Stream On, we explored the power of audio for millions of creators and billions of fans around the world.
When competition is fair, both consumers and companies win. Learn about our efforts to even the playing field for all developers.
Artists deserve clarity about the economics of music streaming. This site sheds light on the global streaming economy and royalty system.
During Stream On, we explored the power of audio for millions of creators and billions of fans around the world.
April 12, 2022
When we launched Spotify Greenroom in 2021, we wanted to connect fans and creators on a deeper level through live listening in the Spotify ecosystem. Since then, Spotify Greenroom has evolved through updates and iterations that have enhanced the live-listening experience. 
Now, as our audio offerings continue to evolve, we are changing the name of Greenroom to Spotify Live—and bringing its live capabilities directly onto the Spotify app. This change reflects our belief in the future of live-audio creators and live experiences being provided to all 406 million Spotify listeners around the globe.
Spotify Live can now be found both as the stand-alone app listeners and hosts know and love, and as a livestream function in the Spotify app alongside your favorite music and podcasts. Listeners will be able to tune in to live programming on Spotify via the creator’s podcast or artist page, and if they want to participate in the chat or join the host onstage, they can head to the Spotify Live app to do so. 
 
 
 
To start, we’re making live audio in the Spotify app available for select original programming. Independent creators who wish to go live can still do so in the Spotify Live app.
To kick off this exciting evolution of our live-audio offering, we’ll be highlighting our top audio creators through exclusive, first-of-its-kind programming in addition to the full slate of original programming we’ve already introduced.
These events will begin rolling out today, starting with a live edition of Off the Record with DJ Akademiks. You can access these shows directly from the creators’ artist pages to listen live on Spotify. If you want to get in on the conversation or chat with other fans tuning in, then head over to the Spotify Live app for the chance to comment and to interact with other listeners in real time.
Here is just some of the exciting live content coming to Spotify in April and May: 

Already the host of Spotify Exclusive podcast Call Her Daddy, Alex Cooper is now going live with an evening talk show. Starting Wednesday, April 13 at 10 p.m. EST, fans will get to listen live as Alex continues the honest, uncensored conversations from her popular podcast. And for those of you who can’t catch it live, After Hours will be available to stream each week on demand. The “Call Her Daddy” podcast has million of listeners worldwide and was the second most popular podcast globally in Spotify’s 2021 Wrapped.
Late night on Friday, April 15, Spotify will be hosting an exclusive, first-of-its-kind event live from the desert with Swedish House Mafia. Fans in select markets will be able to tune in to the live DJ set on Swedish House Mafia’s artist page as Spotify celebrates their reunion and release of their new album, Paradise Again. Don’t sleep on this one because the only way you’ll be able to listen is live.
The NBA playoffs are just around the corner, and Hasan Minhaj (aka Batman’s latest Riddler) isn’t playing around. Starting in May, during the NBA conference finals, Hasan will break down all the action, bringing his knowledge of the game to other fans with help from a few special guests. More details to come as the NBA playoffs get underway. 
DJ Akademiks is a talk show powerhouse, and now his podcast, Off the Record with DJ Akademiks, is going live on Spotify. Catch him and special guest Waka Flocka Flame April 12 at 12:30 p.m. EST as they discuss the state of music, entertainment, and culture today. And stay tuned for future live shows. 

If you’re tired of your agony aunt’s all-too-reasonable advice, Tana’s Toxic Tips is for you. Starring the internet’s favorite influencer Tana Mongeau, this live show will give Tana the chance to speak directly to fans. The show will premiere Wednesday, April 13 at 9 p.m. EST and will be recorded for on-demand listening. 
Already have your favorite live series penciled into your calendar? You’ll be able to hear all of them straight in the Spotify app. Don’t forget about:
Let the live listening begin! Our Spotify Live lineup starts this evening, but don’t forget to tune in to Swedish House Mafia’s set, live from California, on Friday, April 15. Stay up-to-date on live programming and news by following @SpotifyLive on Twitter and Instagram!
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Warzone 2.0 and Modern Warfare 2 ship with several enhancements to their audio mix. There was a focus on creating more immersive and realistic audio, with the team at Infinity Ward going out into the field to record real-world weapons, cannon fire, and even helicopters.
At the same time, the game boasts a new reverb engine to better simulate the feel of space, improved 3D directionality to better pinpoint enemy locations, and a new sound occlusion engine.
While all that makes for a rich aural tapestry, it can sometimes mean that footsteps — arguably the most important audio cue in-game —  can get lost amid the cacophony.
Fortunately, there’s something you can do about that. Here’s a look at the best audio settings for hearing footsteps in Warzone 2.0 and Modern Warfare 2.
The game provides six different audio mix presets for various audio setups. Here’s a look at what they all do.
While the obvious choice might be Headphone Bass Boost in order to increase the prominence of low frequencies and, by extension, footsteps, it may have the effect of muddying your audio mix further.
That’s because there are a lot of other competing low frequency sounds in Call of Duty. This can be anything from explosives going off near you to a killstreak raining down fury from the skies above.
This means that enemy footsteps may get drowned out, so you never hear them coming until they’re in your face.
Instead, Home Theater is shaping up to be the best pick so far. It makes footsteps stand out more in the audio mix, while ambient noises come in slightly softer. However, one downside is its apparent focus on treble frequencies, so gunfire can sometimes sound a little shrill.
When it comes to fiddling with the volume numbers, a lot of that will depend on personal preference. However, the one thing you want to make sure is set to maximum is Effects Volume. This setting is directly tied to how loud footsteps sound, in addition to other sounds like gunshots.
It can also help to turn down sounds that are not necessary, such as music, dialogue, and hit markers.
The Master Volume will vary according to the setup or headphones you have. Warzone 2.0 and Modern Warfare 2 can get very, very loud, so you’ll want to find a level that still lets you hear clearly without blowing your eardrums out.
Learn more about how to earn every Warzone 2.0 DMZ Faction mission reward, how to use Proximity Chat, and how to escape the DMZ.
READ MORE: Is the Warzone Season 1 battle pass worth your money?
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The Visualizer joins MIDI scripting and more in Image-Line’s latest update
Thanks to the likes of YouTube, Instagram and Facebook, having visuals to accompany your music releases is becoming increasingly important, and that’s why Image-Line has introduced the Visualizer tool to the freshly-minted FL Studio 20.7 DAW update.
Promising to let you create videos for your music, this comes with a library of templates for the aforementioned social media platforms, and enables clicking and dragging of text and other layers. You can create 16:9 (2, 4, 8K), 9:16 (vertical), 1:1 (square) and custom video aspect ratios, while VJs can trigger live video clips and control DMX devices including lights, lasers, smoke machines, strobes and more.
This isn’t the only string to FL Studio 20.7’s new feature bow, though: there are also MIDI scripts, which enable both users and manufacturers to take deep control of FL Studio from any MIDI controller or to remap any existing controller to suit your requirements.
Other enhancements include note envelopes (VFX Envelope allows you to continuously modify note properties of native plugins), improved colour management (you can customise the Piano Roll note colours, for example) and a FLEX General MIDI Library so that you can accurately play back good old General MIDI files.
There are various other tweaks, too, including new edit menu options in the Newtime audio editor and a number of workflow enhancements. 
Find out more in the video above and on the Image-Line (opens in new tab) website. As always, the FL Studio 20.7 update is free for existing users.
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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. 
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