Sieben Viertel Sat, 18 Sep 2021 01:22:25 +0000 en-US hourly 1 Sieben Viertel 32 32 Apple Music will offer compensation to artists featured in DJ mixes Sat, 18 Sep 2021 01:10:44 +0000

Apple Music to Offer Compensation to Artists in DJ Mixes Using Shazam Technology

During the pandemic, we have seen the drastic growth of DJ mixes being released through Twitch, YouTube, and other platforms as well. Given the importance and demand for these mixes, Apple Music has taken the initiative to pay DJs for uploading their mixes to Apple Music. With the announcement of the advancement of music information retrieval (MIR) technology via iOS 14 Shazam identification technology; DJ mixes are about to reach new heights for music lovers and event professionals. In a nutshell, the introduction of this feature has several benefits not only for the consumer but also for the industry as a whole. More specifically, music creators and distributors will now be remunerated for the use of their music in mixes.

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With the advent of these features, Apple mixes are poised to become more popular than ever. However, there are a few points to note regarding its implementation.

  • Helps identify and remunerate all of the individual creators involved in creating a particular DJ mix – including all of the artists behind the music in the mix
  • Cooperation with major and independent labels – making it possible to correctly identify and directly pay the rights holders in a DJ Mix, long term monetary value for all creators involved – a feat seemingly impossible until today
  • Streamers will also be able to skip specific tracks in the mix, listen to lossless audio and save them to their personal libraries with this new technology.
  • Now streamers can find which festival and DJ the mix is ​​available

Whether it’s preparing the set list for the weekend mix or for fans wanting to discover new music, Apple has made their search easier.

Read more: 8 Best DAWs in 2021 for Music Producers, Mixing Engineers, and Sound Designers

Image credits: Yomex Owo on Unsplash

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Twitch and music publishers to close licensing deal Sat, 18 Sep 2021 00:07:24 +0000

Amazon-owned Twitch has operated under the DMCA for years without reaction, but since the pandemic brought the music industry’s attention to Twitch for live gigs, spurring huge growth for the platform. -form, music business organizations like the NMPA and RIAA have accused Twitch of taking advantage of the DMCA to avoid paying for music – in the same way that the organizations pressured TikTok, Facebook and YouTube to sign. licensing agreements in the past. So the two organizations have inundated Twitch with tens of thousands of takedowns over the past year, forcing Twitch to the bargaining table by frustrating its users.

In response, Twitch vp / head of music Tracy chan reiterated that Twitch does not tolerate copyright infringement, arguing that Twitch’s monetization system offers artists a more valuable business model than license payments could. Last September, to help streamers navigate the situation, the company launched Soundtrack by Twitch, a platform service that allows users to legally embed over a million copyrighted recordings into their videos. labels like Monstercat and Anjunabeats.

Music licensing platforms typically deal with the recording side first and then the more complex editing side, but it’s unclear where the negotiations between Twitch and the record companies stand. Behind the scenes, executives complained about Twitch’s frequent promises that a deal would be done soon. “It’s been next month for almost years now,” a source from the record label said.

More often than not, music licensing platforms need time to put in place reporting mechanisms to identify song usage and determine who to pay for. When NMPA and YouTube reached a music license agreement in 2011, settling the NMPA copyright infringement lawsuit against the video platform, YouTube acquired licensing and royalty service provider RightsFlow to obtain help. In a more recent example, even after Facebook Gaming struck music licensing deals with major label groups last September, the platform spent a year tweaking its content recognition system before granting only to its best users the ability to integrate popular music into their streams earlier. this month.

This is why lump sum payments are often offered and accepted. From there, it’s up to the publisher to decide how to allocate the royalties to their artists and songwriters, which is sometimes done by market share. These regulations may also have future licenses, which are also based on a lump sum and distributed accordingly.

Meanwhile, NMPA is still waging a separate music licensing battle with the Roblox gaming platform. In June, NMPA filed a $ 200 million copyright infringement lawsuit against Roblox, alleging that the gaming platform hosts a “massive” library of thousands of unlicensed songs that users can stream to. Games. Roblox has denied any wrongdoing, vowing to defend itself “vigorously” against the allegations.

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Kazakhstan’s debut Grammy winner’s new tracks don’t disappoint Fri, 17 Sep 2021 23:00:19 +0000

In March of this year, Kazakhstan’s most popular DJ and sound engineer Imanbek made history when he became the first person from Central Asia to receive a Grammy. How has the career of the young musician evolved since then?

Imanbek Zeikenov, known in the recording industry simply as Imanbek, is a former train station worker in the small town of Aksu in northern Kazakhstan, who in March this year became the first person in her home country to win a Grammy Award.

The 20-year-old’s homemade remix of Saint Jhn’s song Roses won him a Grammy for Best Remixed Recording, making him not only the first person from Kazakhstan to receive the prestigious award, but also the first from a post-Soviet country to receive a Grammy for one of the “no traditional ”.

Imanbek says he made the Grammy-winning remix in just over two hours on his home computer in 2019. The track now has over 273 million views on YouTube alone and over billion streams on various platforms, exceeding significantly the popularity of Saint Jhn’s. original song.

Shortly after posting his work on social media, the track went viral in Central Asia, Russia, and elsewhere in the post-Soviet space. From there, the high-pitched, accelerated version of the song found its way to TikTok, where it spread around the world.

In the summer of 2019, Imanbek signed with Russian label Effective Records who settled the rights for him to use the already popular song.

Although Imanbek attempted to contact Saint Jhn via Instagram to ask if he could do his own take on the song, perhaps not surprisingly, the American artist ignored a teenager’s post. Kazakh at random.

Imanbek’s remix quickly became one of the most-listened to electronic tracks of the year, ranking No. 1 for 23 weeks in Billboard’s Dance / Electronic Songs category. In May, the remix won Billboard’s Top Dance / Electronic Song award, which is determined based on sales, online streams, radio broadcast, and social media engagement.

As a result, Kazakh today has much less difficulty in coming into contact with traditional celebrities.

In February, he worked on the sound arrangement of the song Fat by Anglo-Kosovar singer Rita Ora and American rapper Gunna, alongside famous French DJ David Guetta.

While Imanbek has certainly attracted the attention of several Western celebrities, the sound engineer is still based in Kazakhstan and works with local musicians, video producers and actors to produce a steady stream of content that goes from hundreds of thousands to millions of views. and streams on various platforms.

One of these projects is Feel good, which was recorded and produced in the musician’s home country, as was his video, in which Imanbek can be seen driving a red car and blasting his electronic beats on the streets of a Kazakh city.

Although Imanbek’s career took off after the start of the Covid-19 pandemic, most of his tracks are quick and perfect for the club.

Despite this, the sound engineer, who according to Kazakh bloggers still lives for the most part in Aksu, a city of less than 70,000 inhabitants, affirms that “there is not so much clubbing culture in this district”, while suggesting that he personally doesn’t like going out clubbing either.

“My knowledge comes mainly from YouTube tutorials. I grew up listening to Martin Garrix, David Guetta, Marshmello, Dillon Francis, which I all learned on the Internet, ”explains Imanbek.

At the end of August, he also gained experience as a live DJ when he performed at Noa Beach Club on the island of Pag in Croatia.

Imanbek, who Kazakh fans have described as humble and indifferent to the attributes of stardom, so far seems content to advance his career from the comfort of his hometown in Kazakhstan.

The rising star, however, also comes across as very social media and marketing savvy, and appears to be working tirelessly to ensure that the success of the Roses remix brought him continuous.

A little over a week ago, the Kazakh released another production – Fighter, alongside the popular American singer LP, who also received praise from electronic music fans.

While some have called the surprising popularity of Imanbek’s career remix a Roses as luck would have it, since winning several prestigious awards for the track, the musician has shown nothing but hard work and dedication to his craft.

It certainly wouldn’t be luck if Imanbek’s name soon became one of the most recognizable in the sound production industry.

Photo: Pavel Boycheckno / Efficient recordings

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How Lil Nas X and Take a Daytrip got him to ten for ‘Montero’ Fri, 17 Sep 2021 19:00:11 +0000

Even though they’ve collaborated with Dua Lipa, Weezer, and Serpentwithfeet, they say their good faith is often questioned, in part because of the lack of black producers in the upper echelons of pop music. “It’s something that even to this day, it’s a lot to prove to people that we’ve put in our 10,000 hours five times as much at this point,” says Baptiste.

One of the charming ways they’ve used to prove opponents wrong is by politely but confidently noting how their high-level knowledge of music theory shows up in even their loudest bangers. They sniped to heavyweight EDM Zedd after offering a sultry rendition of ‘Mo Bamba’ and proven to a skeptical music teacher that the royal horn layers on “Industry Baby” weren’t made by synthesizers.

According to Biral, he and Baptiste have often been branded as rap beatmakers, but that doesn’t cover the scope of their musical ambition.

“I understand why you might think that we’re just hip-hop producers, but we’re certainly not afraid to prove you wrong. And if you overstep, you’ll look like a jerk, ”he says. “It’s always been our thing – this constant journey of having to prove people wrong. Even in some of our early A&R meetings, people were like, ‘Can they do this? ” Are you sure?’ We make music professionally. We can do this. Why are you afraid to give us a chance to try it? ‘”

Along with their friend and peer Kenny Beats, the guys at Daytrip are a fitting avatar for this era of musical creation, where the biggest producers are chameleons rather than writers of a signature sound. Over the past year, they’ve created a minimalist post-DJ Mustard club anthem for Yung Baby Tate (“Eenie Meenie”), late-night smoke session songs for Kid Cudi (“Sad People”, ” Tequila Shots “), and James Blake’s comeback single (” Life Isn’t the Same “).

They also checked left and right bucket list collaborations. Work with Kid Cudi and Dot da Genius to Man on the Moon III: The Chosen One was a milestone for two young men whose early adulthood was marked by his thoughtful airs. They are acolytes of what they call “Kanye’s era of maximalist production” – citing My Beautiful Dark Twisted Fantasy’s “Devil in a New Dress” as the flagship track – and Daytrip ended up sharing production credit with Mr. West himself on Lil Nas X’s “Industry Baby”.

According to Baptiste, Take a Daytriup and Nas were both in love with the song from the start, but the label felt something was missing. “We put it on the back burner a bit, and then Nas met Kanye and they were playing things back and forth and Kanye picked that one specifically and was like, ‘Wow, that one right there. I understand that. I know where it can go, I know where it can be taken, ”says Baptiste.

Getting that last little push from one of the most successful producers of all time seemed to do the trick, as “Industry Baby” debuted at no. 2 on the Billboard Hot 100 and has already been certified platinum. “It’s one of those surreal experiences to be able to pull a little WeTransfer link to Kanye West and his team,” says Biral.

Just as Nas’s world expanded to include high profile commercials and TV appearances, the guys at Take a Daytrip seized opportunities to grow. They worked on the music for the Grand Theft Auto franchise, and the songs they produced have appeared in films like Sonic the hedgehog and Spider-Man: Into the Spiderverse. And while some producers tend to cloud their process, Biral and Baptiste are refreshingly transparent, constantly sharing tips and advice for the next generation of music-leaning freshmen.

“For us, there is no fear inside, because we don’t believe that we are going anywhere. Our place is here to stay and we will teach throughout it, ”explains Biral.

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Preston’s The Continental to host Steve Barker’s ‘On the Wire’ radio show celebration Fri, 17 Sep 2021 15:22:00 +0000
Steve Barker and Bhajan Bhoy aka Ajay Saggar

The Continental is hosting a celebration for Steve Barker of BBC Radio Lancashire this weekend.


On Sunday, September 19, from 2 p.m. to 9:30 p.m., the musicians will meet at the Preston Restaurant for a performance-packed evening.

Afternoon sessions, 2 p.m. to 5 p.m., are free and include showcases from labels from Preston Them There Records and Concrete Tapes. The evening session, from 6 p.m. to 9:30 p.m., features sets by Dean McPhee, Bhajan Bhoy and Gwenifer Raymond.

Steve Barker’s On the Wire (OTW) radio show has been broadcast from Lancashire since 1984 and weekly via BBC Radio Lancashire.

Read more: Preston set to be ‘full of theater and music’ on return from Lancashire Encounter cultural festival

OTW is the oldest underground music radio show, but in the days when it was only available on AM / FM radio, OTW only crossed the Lancashire border in good weather or was dubbed onto C90 cassettes. .

Over the past 20 years, the show has consolidated its global reach, with each edition being made accessible anywhere via the Internet.

The aberrant music featured on OTW has evolved over the years. Dub and roots reggae have been constant features, often on Adrian Sherwood’s On U Sound label, which also provided the melody for the instantly recognizable OTW theme, Dub Syndicate’s Ravi Shankar No 1.

Very early on, Steve mixed it with hip hop, underground rock, jazz, blues and R’n’B. More recently he has focused on contemplative sounds, atmospheric electronic music, world music, and guitar instrumentals.

Read more: Preston Scratch Band wants town to buy instruments for town jam session

Steve always puts the music first, and listeners often spend half an hour or more in an episode of OTW before it appears, or as The Guardian puts it, “announces in return eight or more records. in a row with occasional gnomic comments ”.

OTW disappeared from Radio Lancashire’s programming in March 2020 as part of the BBC’s local radio programming reorganization, which occurred during the Covid-19 outbreak.

Since then, while being rested by the BBC, Steve and the rest of the On the Wire team have continued to post editions of the show on Mixcloud, with links posted weekly through the OTW webpage.

Following a sustained fan campaign, BBC Radio Lancashire has reinstated On The Wire, but only for a token of four shows per year, although Steve continues to post weekly shows on Mixcloud. We do not yet know what the future of specialized local radio will be, but what is certain is that On the Wire will continue no matter what.

Read more: In Pictures: A vibrant celebration of South Asian culture at Preston City Mela in 2021

The Continental and Tuff Life Boogie said they were thrilled to be involved in organizing the concert to celebrate the music Steve championed recently on the show and helped persuade the BBC to bring the show back to its own. weekly spot.

Concrete Tapes will feature Lorentzian’s analogue techno-witchcraft Preston, followed by one of the electro bands of the moment, the Warrington-Runcorn Development Plan, whose Ghost Box-style presentation on boutique label Castles In Space has earned them accolades.

Them There Records features exclusive sets from The Universal Veil and Powders. The Universal Veil is a duo made up of Sam McLoughlin (Twisted Nerve) and Folklore Tapes director David Chatton Barker. Their improvised live performances with their ritual handmade instruments are alternately meditative, trance, joyful and surreal.

Their latest 12-inch vinyl-only Helios / Hind album is a sonic artifact that unearths lo-fi cassette recordings from years of past performances and weaves them together into a new whole, using an array of esoteric processes.

Read more: Everyone is welcome to participate in a range of free and creative arts activities in Preston

The organizers said he was possessed by the same spirit of mystery and discovery that is present in their live shows, where unusual sounds are spontaneously generated, recycled and transmuted into a deeply eerie, magical and psychedelic soundscape.

Powders is a new live project from Josh Horsley (Cello) and Carl Brown (Electronics). Their live setup combines granular synthesizers and samplers with minimalist string repeats to create lush drones that build and swell within the walls of sound.

Starting at 6 p.m., the evening session features three providers of different shades of solo guitar, all of which have featured prominently on OTW in recent years.

West Yorkshire-based electric guitarist Dean McPhee plays a Fender Telecaster through a tube amp and effects pedals. He has perfected his craft over the past 10 years, with occasional LP form bulletins on the Blast First Petite and Hood Faire labels.

Read more: New one-off outdoor event to replace Chorley Live

Expect flowing, finger-picked melodies combined with atmospheric drones and trance-inducing loops.

Ajay Saggar, Honorary Lancastrian and now based in Amsterdam, is an old friend of On the Wire, having appeared on the series in various incarnations over the years: first with the legendary band Preston The Dandelion Adventure in the late years. 80 and over the next three decades. with Donkey, The Bent Mustache, King Champion Sounds, Deutsche Ashram
and The common cold.

The last four acts have lit up various Tuff Life Boogie events at The Continental in recent years. Bhajan Bhoy is Ajay’s latest solo incarnation and switches from Deutsche Ashram’s textured guitar. It combines with an arsenal of oblique strategies, sound and atmospheric samples found from Brian Eno’s textbook.

Bhajan Bhoy’s debut album Bless Bless received acclaim this year and is expected to be Time Lord Ajay’s most successful incarnation.

Read more: Free UCLan Music Lecture with Peter Hook

Gwenifer recently released her second album, Strange Lights Over Garth Mountain, on the famous Tompkins Square label in the fall of 2020 and is one appearance from Jools Holland to be the next big thing in roots music.

Growing up in Wales and now based in Brighton, Gwenifer specializes in sparse American primitive instrumentals drawn from the roots music of the Mississippi and Appalachians.

Steve himself will also be DJing between sets during the evening session, along with OTW contributor Michael Fenny Fenton.

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Read more: See the latest news and headlines from Preston

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DJ Lag Details New Album “Meeting With The King”, Shares Single With Lady Du “Lucifer” Fri, 17 Sep 2021 13:44:10 +0000

DJ Lag