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The Secrets of Dance Music Production Book – For All Skill Levels …  Attack Magazine
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A Hampton County, South Carolina emergency medical services (EMS) worker who was charged with domestic violence earlier this year has now been accused of hurling racist epithets at a co-worker. Earlier this week, my news outlet was provided with a recording of a dispute between two EMS workers – a…
A Hampton County, South Carolina emergency medical services (EMS) worker who was charged with domestic violence earlier this year has now been accused of hurling racist epithets at a co-worker.
Earlier this week, my news outlet was provided with a recording of a dispute between two EMS workers – a male and a female – which purportedly took place several months ago. As the dispute escalated, the male accused the female – who was attempting to leave the scene of the incident in her vehicle – of trying to “frame” him regarding some text messages.
At this point, the male voice exploded into a torrent of hateful, racist expletives – including the repetitive use of an especially egregious slur against blacks.
“F*ck your n*gger-loving ass,” the male voice captured on the audio file. “You’re just a n*gger-lover. N*gger-loving whore, bitch. F*ck you!”
Here is the segment of the recording containing the slurs. Be warned, though. As you can tell from the above-referenced quote the recording is exceedingly graphic …
(Click to listen)
(Via: Provided)
According to multiple sources familiar with the situation, the voice on the recording belongs to 41-year-old Charles Michael Long, Jr. of Hampton, S.C. – who was arrested two months ago by agents of the S.C. State Law Enforcement Division (SLED) on a second degree domestic violence charge.
According to a probable cause affidavit accompanying the warrant for his arrest, on June 2, 2022 Long kicked his victim in the hip following a “heated altercation.” He then attempted to prevent her from accessing her phone, according to the affidavit.
“The offense was committed in its entirety in front of a 12-year-old juvenile,” the affidavit (.pdf) added.
Long’s arrest was announced by SLED on August 23, 2022. At the time, he was listed as a “former” Hampton County EMS worker – meaning he had been terminated prior to the arrest becoming public – however he was reportedly rehired by the agency less than a month later.
According to my sources, the recording which contains the racist epithets was made last December.
This news outlet is investigating the circumstances surrounding both the recording and Long’s rehiring by Hampton EMS following his domestic violence charge – which is still pending.
Hampton EMS is led by its director, Chris Altman, who reports to the county administrator, Rose Dobson-Elliott.
According to reporter Michael DeWitt of The Hampton County Guardian, Hampton’s EMS is “nationally-certified” and has received the state’s highest level of accreditation. Its responders are “capable of handling any life threatening situation, including cardiac arrests.” The agency is also said to be active in the community – providing EMS training to school officials among other services.
Hampton County receives an estimated 3,000 calls for emergency medical assistance each year and its EMS agency was recently praised by county councilman Roy Hollingsworth for providing “first rate emergency services to the citizens of Hampton County.”
Located in the southern tip of South Carolina, Hampton County has become a household name nationally given its role as the backdrop for the ‘Murdaugh Murders’ crime and corruption saga, a sprawling maze of alleged criminality tied to one of its most powerful, prominent families.
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(Via: FITSNews)
Will Folks is the founding editor of the news outlet you are currently reading. Prior to founding FITSNews, he served as press secretary to the governor of South Carolina. He lives in the Midlands region of the state with his wife and seven children. And yes, he has many hats – including that Minnesota Twins’ lid pictured above.
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There will be many great deals on music software this Black Friday and Cyber Monday. Here’s our advice for grabbing the best ones, finding the biggest discounts and adding some great plugins to you studio for less
Black Friday and Cyber Monday – this year taking place on November 25 and 28 respectively – have become essential events for grabbing bargains in time for Christmas. Indeed the whole weekend has become focussed on deals being done on as many products as possible, with Black Friday covering just about everything and Cyber Monday aiming itself more at users of tech gear, smaller gifts, computers and software. This is particularly relevant to this feature as we’re looking at music instrument plugins and whether you really should take advantage of this year’s Black Friday plugin deals.
We’ve got tips on getting deals, advice on how to plan your Black Friday strategy and even details on getting some early software discounts right now. However, the way you buy music software plugins is changing fast, so first up we’ll give you a quick rundown of what you might expect when it comes to buying plugins and getting deals this Black Friday. 
Many music software companies – Native Instruments, UVI and SSL to name just three – offer subscription services for their plugins. Here you pay a monthly fee – usually between £/$5 and £/$25 – and get an entire suite of software in return. While these services are aimed more at pro users, they are a great way to sample entire bundles of software, although you’ll lose them when you stop paying the subscription. Subscription services have now become such big business in the music software world that we would expect and hope for some special subscription packages to be made available over Black Friday weekend (and especially on Cyber Monday).
The next best way to buy music software plugins is in bundle form. Like a subscription you might get an entire suite of software – like Arturia’s V-Collection (opens in new tab), Native Instruments’ Komplete (opens in new tab) or Waves’ Gold Bundle (opens in new tab) – but this time you pay a one off, but larger, fee. There’s no need to worry about any further monthly payments though – you own the software for good – and the price is always a much better deal than buying all the software titles individually. Again, expect to see big discounts on software bundles come November 25th. 
Finally, of course, you can buy individual music software plugins, which you’ll also find great deals on over Black Friday weekend, and this has its advantages: it’s less cash outlay and less ‘plugin bloat’ – that is having a lot of plugins on your computer that you may never use. 
So, let’s have a quick rundown of six great reasons to buy music software this Black Friday, what you might expect to see reduced, plus some top tips for getting the best deals. Getting a discount is obviously your main aim for November 25th – 28th and why we all love a Black Friday deal. We’ve covered the three main ways of buying music software plugins above but one other general rule is the more you buy, the more discount you will get – but do remember that dreaded plugin bloat. We’ve got some of the best Black Friday deals you can get now – plus some we’d like to see – below.
When buying music software plugins, it’s very easy to believe there will be a better deal around the corner as some companies do offer fantastic deals all year round. But Black Friday and Cyber Monday will usually generate the biggest discounts as there are more people buying for Christmas, so companies can afford to be that bit more generous. You could wait for New Year deals but you might be disappointed. We’ve found that in recent years especially, the better bargains are usually on Black Friday and Cyber Monday. 
Some retailers might be offering combination deals of software and hardware. This means you can enhance your studio in other ways, perhaps with a recording microphone or pair of studio headphones thrown in as part of the deal. Our advice here is to make sure you check the return policy of the site – most trusted sites have great customer relations here – so if you get over excited with too many purchases, you can get a refund down the line.
You might not have thought about giving a piece of software as a Christmas present. However, any producer will tell you that ‘just one more plugin might make all the difference’ with the latest tracks they are working on. Give a gift of music making with a choice bundle of effects or a great synth this Christmas (but bag a great deal on it a month before).
You might have been thinking about adding plugins to your home studio but been put off by the price or the uncertainty of trying something new. Well now is the time to leap in with both feet! As well as great bundle deals, there will always be individual deals on software, or even ‘buy one get one free’ deals. And talking of ‘free’…
Some stores, as we shall see below, might even be offering free plugins – you really can’t get a cheaper deal than that!We already know of a number of great software deals. Waves has kicked off its early bird black Friday event early with 60 killer plugins from as low as $24.99 (opens in new tab). IK Multimedia currently has a number of good Cyber Season offers and free software deals running (opens in new tab). And if you are a guitarist or just in need of guitar software, Positive Grid does some great titles including BIAS and Peak and they are currently discounted ahead in their official Black November sale (opens in new tab). 
Certainly not confirmed but here are some bargains we’d love to see: Steinberg’s Cubase is one of the best and longest standing DAWs for making music, but at nearly £/$500 for the full version we’d love to see a smidgen of discount. How about it Steinberg? Arturia’s V-Collection v9 is a huge set of 33 synths and keyboards. €599 isn’t a lot to pay considering what you get, but if you don’t ask for a discount, you don’t get! Finally, East West’s Forbidden Planet is a trip off world for creating soundtracks with a sci-fi twist. $399 is not a lot to pay to leave the earth, but reduce it by a few dollars and it’s one we’d definitely take. 
Before the main event of Black Friday, it’s a good idea to have a list of software titles you are interested in – compressors, synths etc – so you can go in and hunt for deals for each one or as part of a bundle. Also check prices of your plugins list pre-Black Friday to make sure the Black Friday deals really are deals. When buying bundles or subscriptions, it is very easy to upgrade to ‘the next one up’ or ‘the next best subscription service’ and find you have a load of titles you’ll never use. Really consider, then, what you need compared to what is on offer. And if you have found an amazing discounted subscription service, check the small print for how long the discount actually lasts. 
Finally, which sites are best? Often buying direct from plugin manufacturer websites or trusted dealers like Plugin Boutique will get you the best deals. Avoid suspicious sites that you haven’t heard of, even if they are claiming huge discounts. Finally, it’s also worth signing up to newsletters from your favourite software developers and online gear retailers now. They will be revealing their big discounts soon, and you might even be able to get in and grab an early deal. 
Don’t miss the latest deals, news, reviews, features and tutorials
Andy has been writing about music production and technology for 30 years having started out on Music Technology magazine back in 1992. He has edited Future Music, Keyboard Review, MusicTech magazines and currently runs Computer Music which he helped launch back in 1998. He owns way too many synthesizers.
MusicRadar is part of Future plc, an international media group and leading digital publisher. Visit our corporate site (opens in new tab).
© Future Publishing Limited Quay House, The Ambury, Bath BA1 1UA. All rights reserved. England and Wales company registration number 2008885.

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Save on Flux plugins until December 6!  ·  Source: Flux
Until December 6, you can save with deals on selected Flux audio processing plug-ins and bundles.
Whether your work is in music or AV post-production, this is a chance to outfit your DAW with quality tools.
French audio developer, Flux, has a history of excellence in software engineering that goes back to the 1990s. Rather than simulating hardware, these plug-ins offer unique innovations specifically designed for creative applications.
If you’re mixing and mastering music, Flux offers some of the most transparent-sounding effects processing with a collection of plug-ins that can be used on individual tracks or buses, as either inserts or parallel processors.
Flux plugins are also excellent for dealing with speech and vocals. With precise tools for dynamics correction, de-essing, and increasing overall clarity and tonal balance.
Discounts on high-end software like this are hard to find, so don’t miss out on this limited-time offer:
Flux Studio Session Pack Download
Flux Mastering Pack Download
Flux Immersive Essentials Download
Flux Pure Limiter v3 Download
Flux Epure v3 Download
Flux Solera v3 Download
Flux Elixir Essential Download
Flux Ircam Verb v3 Download
Note: This article contains affiliate links that help us fund our site. Don’t worry: the price for you always stays the same! If you buy something through these links, we will receive a small commission. Thank you for your support!
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20 Jan · Watching the Tele video of Norman’s and man, Fender shouldve done a whiteblonde black pickguard Jazzmaster too.
20 Jan · They look good. And full props to HB for the lefty version. Nice.
20 Jan · I like the looks of the CAB Jazzmaster, as it has a black headstock, matching headstock dont do it for me. For people who think the price is crazy, Epiphone have chinese LPs in this price range. Times…

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Rogue Amoeba Software’s Audio Hijack 4 has arrived with significant interface improvements, new features, and enhancements. The audio-recording workflow app should be easier for existing users, smoothing and removing quirks that irked us in version 3, and faster to master for novices. Changes and additions enable better audio mastering and mixing while recording, letting you capture a live session as something close to the final version for broadcast or distribution—or maybe even good enough to upload immediately.
Audio Hijack provides a clearly expressed workflow for capturing, modifying, and outputting audio. You set up a “session” to grab audio from any source on a Mac, whether an app, mic, digitizer, or virtual audio device, and route it through “blocks,” workflow units that act upon or visualize the audio. Sessions typically end with a recording block to write processed audio to a disk file or an audio output block that sends the sound to headphones or other listening devices. You can also pipe output to supported live streaming services.
You can split blocks to send audio on multiple paths: you could record an audio stream and output both a highly compressed mono MP3 and an uncompressed AIFF file simultaneously. You can also merge paths from blocks to combine multiple audio sources into a single processing flow or recording. For audio intended to be edited later, one path might produce a merged, compact MP3 file for immediate posting, while the other records separate tracks for each speaker in a conversation as uncompressed AIFF audio files.
Audio Hijack is widely used by Mac-oriented podcasters and audio studios to capture separate mics for in-person recordings and audio channels for recordings via voice-over-IP and videoconferencing apps like FaceTime, Skype, and Zoom. Audio Hijack 4’s new features should make it even more popular.
Version 4 groups major changes into three piles: interface, new blocks, and enhancements to existing blocks. Taken together, they reduce friction and make it more of a pleasure to use the app.
The previous version of Audio Hijack introduced an innovative way to connect blocks. Drag them near each other and a connection appeared to snap blocks together. Nifty—but problematic. Dragging had to be precise, and small movements could cause connection lines to be sucked from one block to another. Complicated workflows could end up with connectors ping-ponging all over the place or result in an enormous virtual space that made it impossible to see the entire workflow at once.
Rogue Amoeba made automatic connections an option in Audio Hijack 4. Some users may prefer them to create workflows quickly, letting the app snap linkages based on proximity as blocks are dragged. But for complicated paths, it’s now a cinch to deselect Session > Automatic Connections to disable automatic connection mode and then drag blocks into arrangements that you can parse more easily. You then connect blocks by dragging between the plus (+) signs that appear on the left and right sides of blocks.
The company also updated Audio Hijack 4’s connector style. Connections now have blue arrows that point in the direction of the flow of audio and may curve for better visualization instead of appearing as straight line segments; they’re animated and highlighted in orange while a recording session is active and a given source or connection between blocks has active audio. The new Light Mode interface option also makes it easier for many people to view blocks.
Audio Hijack 4 sports other interface improvements. The previous release used a space-occupying layout to show sessions. It’s now a much simpler, more compact list. Instead of offering a passive summary, the Session List allows monitoring and control of all sessions. Audio Hijack 4 also put most of the Session List controls into an optional system menu.

In Audio Hijack 3, it was often a chore to find recordings after you’d finished running a session, like recording a call. Each session in Audio Hijack 4 now provides a tabbed sidebar that organizes recordings, including a sound visualization preview of what was recorded, along with any scheduled times the session runs automatically, scripts (also new), and general info.

For those who record people speaking or performing, three new blocks simplify and improve setting up complicated sessions and producing audio directly from a session for live broadcast or quick posting of a file.
Rogue Amoeba has also enhanced existing blocks, mostly to make more information available on the “face” of the block—its appearance as a unit in the interface—or provide better access to its features because at-a-glance visualization is a key part of Audio Hijack’s approach. For instance, Volume Blocks that change the volume as audio passes through them now have levels on their faces, Channels show the action in inputs (like swapping left and right), and the 10-Band EQ (equalizer) reveals the positions of the sliders for each of the 10 bands that can be adjusted. An Input Switch block that allows swapping between two sources can be set as a floating palette visible across all apps. All blocks can now save and load presets, allowing reuse of settings across the app.
Separate from those improvements, Rogue Amoeba has finalized Audio Hijack’s previously beta Live Stream feature for sending output directly to streaming services that use the RTMP protocol—like Facebook Live, Twitch, and YouTube Live. Live Stream also now lets you set a preview video frame that can include text and images, including audio visualizations, sent with the stream.
Those who use Audio Hijack heavily can set version 4 to run sessions automatically when the app launches so it’s recording or processing in the background all the time. Such people will also appreciate being able to close a session window while it continues to run, rather than having to keep it visible. And anyone who has a broader audio workflow will want to check out the new Shortcuts support in Monterey and scripting support via JavaScript. Rogue Amoeba provides a bunch of built-in scripts that are both useful in their own right and helpful for learning how to write your own scripts from scratch.
Speaking as a long-time Audio Hijack user, these improvements have proven to be a real-world boon to many of my routine activities. I expect others who work with the app will also find it a significant upgrade. But Audio Hijack 4 really shines in reducing the learning curve for new users who haven’t yet discovered the glories of taking control of their audio and funneling it in new directions.
Audio Hijack 4 costs $64 for new users or $29 for upgrades from Audio Hijack 3. You can download a trial version that lets you try all the features but adds unremovable noise after 10 minutes into an active session. If you’d like more background on using the app, you can also purchase Kirk McElhearn’s updated Take Control of Audio Hijack during checkout at Rogue Amoeba’s store.
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I had a problem when I upgraded to Audio Hijack 4 — my previous sessions from version 3 weren’t imported on the first launch, and trying to manually import them from within the app (via the Help menu) wasn’t working. I emailed Rogue Amoeba to ask for help, and had a conversation with Paul Kafasis over the weekend to determine where the problem was and how best to fix it. (I’d managed to workaround it by manually copying and renaming the preference lists from version 3, but Paul cautioned that it wasn’t an ideal solution, even if it did let me do a broadcast on Sunday.) Long story short, I was able to get the import to work correctly at last, and version 4.0.2 now incorporates the fix. Many thanks to Paul for his assistance (and persistance), and an example of good customer support.
Does anyone know if Audio Hijack 4 still requires that the system security level be lowered to install Rogue Amoeba’s ACE drivers?
It does. That’s always going to be a requirement, I’m afraid. They’re only lowering it to signed developer extensions, so the risk would be that a) a rogue malware operator had set up an account or hijacked an existing one b) that you were convinced to install such a system extension.
I’ve never understood what makes their extension so special that it requires one to lower the system security level (because other plugins, say from Zoom or Camo, do not). It was possible on my first M1 MacBook Pro to restore the full security level after the installation, but on my M1 Pro MacBook Pro, that resulted in an inscrutable error. I wound up removing the extension, but then I still couldn’t restore full security and had to reinstall the system!
I’ve been over this several times with RA tech support, and they have the temerity to refer me to Apple! Anyone who has dealt with Apple knows that as soon as they hear of third-party software, they ask users to remove it or refer them back to the developer!
what makes their extension so special
It’s pretty straightforward: there’s no way for Rogue Amoeba to achieve what they do without it. Apple doesn’t have a way to allow specific developers to receive authorization, so Rogue Amoeba has to follow the general developer guideline, which requires you lower security for all authorized developers. (You’d think you could perhaps anoint a specific one; I’m sure they’d pay a special fee to be in a higher-scrutiny list, even.)
So if you need Rogue Amoeba’s features, they can’t do it without lower security. If Apple wanted to expose certain aspect of audio within the sandboxed full security environment, Rogue Amoeba wouldn’t need this.
they have the temerity to refer me to Apple!
Apple is more likely to listen to persistent user requests than those of developers. And they don’t listen well to users, either!

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Razvan Serea News Reporter Neowin · Dec 22, 2022 02:24 EST with 0 comments
Fruity Loops (FL Studio) is a full-featured music production environment capable of multi-track audio recording, sequencing and mixing for the creation of professional quality music tracks. With VST & DX hosting, a flexible 99 insert-track mixer, advanced MIDI, DX and ReWire support no musical style will be beyond your reach. Songs or loops can be exported to .wav, .mp3, .ogg or .mid format.

What can FL Studio do?
Fl Studio 21.0.1 new key features:
Download: FL Studio 21.0.1 Build 3348 | 914.0 MB (Shareware)
Download: FL Studio 21.0.1 Build 2878 for Mac | 1.1 GB
View: FL Studio Homepage | Release Notes
Get alerted to all of our Software updates on Twitter at @NeowinSoftware
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9th Wonder is celebrating the popular digital audio workstation program FL Studio (formerly FruityLoops) by looking back on his decorated career.
On Sunday (December 18), the legendary producer took to his Instagram with a post celebrating the 25th anniversary of FL Studio. In his post, 9th shared a picture of the program’s user interface before going down memory lane and remembering his experiences with the software.

“Sign of the Times. I never thought that I would end up being a music producer. That never was a goal of mine as a kid. Did I love music? Yes. Did I think I was gonna be a part of the story we call “Hip-Hop”? No,” 9th Wonder captioned his post. “Everyone’s path is different into the culture. Mine was by way of a computer program in 2000. Some things you just do, out of necessity, not knowing the ripple effect it would have on culture. I was introduced to @flstudio in 2000 by my brother @khrysis_, and it all fell into place from there. Heavily ridiculed and looked down upon? Yes. Did it stop me from making slappers? No.”
He continued: “Now, many moons later, making beats WITHOUT a computer is now almost obsolete; there are still hardware users in the culture, but I see more laptops and controllers than ever before. Either way, me stepping into a studio making Jay-Z’s “Threat” in 25 minutes was the beginning of a revolution. Sitting in a studio in front of half of Rocafella and make a beat with an @ibm ThinkPad in 2003 for such a legendary album, was mind blowing to some, but for me, it was just something I had been doing, over, and over, and over….making slappers on a PC.”
 
 
A post shared by Patrick Douthit (@9thwonder)

9th went on and gave praise to the “millions” of creatives who still use FL Studio around the world and told them to continue making beats and adding on to the culture.
FL Studio was partially released in December 1997 and had an official launch in 1998 under the name FruityLoops. The program became a hit amongst musicians and producers, especially does Hip Hop as it made sampling and other beat-making tools more efficient.

Along with 9th Wonder, other big-name producers continue to use the program, such as 808Mafia, Metro Boomin, Boi-1da, Hit-Boy, Mike Will Made It, Mustard, TM88 and more.
DJ Khaled recently came under fire after an old interview of him dragging the digital program surfaced online last month. In the clip, Khaled said programs such as FL Studio changed Hip Hop production for the worse and made it easy for anyone to be a beatsmith.

“Producing changed. They made Logic, they made Fruity Loops,” Khaled said at the time. “It’s called: too easy. It’s called: you tell a computer what to program. That’s why you see everybody is a producer and a DJ now.”
“But it takes a great producer like me to tell them, ‘The sounds is garbage, they’re fake, don’t fall for the trap,’” he added.
Many producers spoke up and took a stand against Khaled, including Hit-Boy, who explained that he actually used FL Studio to produce some of the We The Best mogul’s biggest hits.
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“I produced ‘theraflu’ and ‘wish you would’ for khaled and kanye fully off FL studio,” the King’s Disease producer wrote on Twitter.
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Multi-million dollar San Pedro waterfront entertainment complex to …  KTLA Los Angeles
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A TikToker took the melody from the classic Americana song “Old MacDonald Had A Farm” and turned it into a raucous EDM-style rage beat, amassing over 150,000 views on the platform.
The song sounds relatively normal in the clip at first, until six seconds in, when it explodes with a car crash sound effect, hi-hats, bass, and pummeling synthesizers. The music style is known as “rage,” an EDM-inflected rap subgenre popularized by artists like Yeat and Ken Carson.
“Old McDonald ahh beat,” the creator wrote in on-screen text. The comments are overflowing with viewers writing memes about the music or demanding the creator put it on Spotify, with some calling it a “masterpiece.”
“I’ve ascended into a higher plane of existence,” one commenter wrote.
The creator, Shankz, has amassed over a million likes and tens of thousands of followers for making similarly “goofy” beats (like a recent Christmas-themed one) and bizarre parodies, along with more serious music production.
The origin of the song “Old MacDonald” dates back centuries to the playwright Thomas d’Urfey, who wrote it for a 1706 opera and called it “In the Fields in Frost and Snow,” according to the songwriting news and tips outlet American Songwriter. Versions of the song were consistently reused, and it has persisted as a popular folk tune up to today.
There’s a whole TikTok subgenre of music producers making intentionally silly beats by splicing strange sound effects into finished songs or purposefully going against proper sound design techniques. The style has gone so widespread that a producer even made a tutorial on how to make an “ACTUALLY good beat” with only “goofy ahh sounds.”
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Multiple developers advise against installing macOS 10.13 too soon
macOS Ventura (10.13) has been available for a couple of weeks now, and for musicians, the not-at-all-surprising news is that you should probably hold off installing it for a while.
Pro Tools Expert (opens in new tab) has put together a pretty exhaustive list of which music software is certified as Ventura-friendly, but the bottom line is that, even if you find that your DAW is supported, there’s a very good chance that some of your plugins currently aren’t.
This isn’t to say that they definitely won’t run, but until all of your instruments and effects are greenlit for Ventura – or all of the ones you really care about at least – it makes sense to stick with the OS version you’re currently rocking. 
Among those companies currently advising that you shouldn’t upgrade if you’re using some or all of their software are Arturia (opens in new tab), Cherry Audio (opens in new tab), Eventide (opens in new tab), GForce (opens in new tab), iZotope (opens in new tab), Native Instruments (opens in new tab) and Output (opens in new tab).
Don’t forget about your audio interface, either – you need to ensure that this is compatible with macOS 10.13 before you make the jump, too.
Once you do install Ventura, you’ll be able to benefit from a number of new features, including Stage Manager – a new tool that automatically organises open apps and windows – and Continuity Camera, which enables you to use your iPhone’s camera as your webcam.
Rest assured, though, that there’s nothing in macOS 13 that’s going to dramatically change your music-making life, so don’t worry about installing it until it’s safe to do so.
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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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This year Iowa Public Radio’s music experts discovered breakout artists and new music from old favorites. Studio One Tracks and All Access hosts Mark Simmet, CeCe Mitchell and Tony Dehner have been busy all year going to music festivals and hosting live events across the state. They sit down with Charity Nebbe to play Talk of Iowa listeners excerpts from indie and alternative songs that made it to the top of their playlists in 2022.
Explore all Studio One’s album picks and the rest of their playlists here.
Guests:

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