In collaboration with the Avid Customer Association, Avid has unveiled the highly anticipated theme and program preview for Connect 2019, the powerful annual gathering of media and entertainment technology users and influencers. Guided by the mission for “Creating the Future”, Connect 2019 (April 6-7, 2019 at Aria Las Vegas, immediately preceding the NAB Show) will […]
Avid and Hal Leonard have entered into a new five-year agreement that extends the reach of Avid’s market-leading creative tools with artists, creative professionals, aspiring pros and educational institutions through Hal Leonard’s large network of resellers around the globe. This long-term agreement, signed in July, is among Avid’s largest distribution deals to date and represents […]
BOMG Publishing has announced the release of The Music Business Advice Book: 150 Immediately Useful Tips From The Pros by top-selling music industry author and blogger Bobby Owsinski. The Music Business Advice Book is a compilation of 150 helpful quotes from 130 top music pros from various segments of the music industry. These experts previously […]
Apple is terminating its affiliate program for iOS and Mac apps, effective October 1. That move is seeing a backlash from developers – and could discourage press outlets from covering apps.
Full disclosure: CDM added affiliate links for apps in our Apps section, which is helmed by Ashley Elsdon. In fact, this is at the moment how CDM supports Ashley’s contributions to CDM; we simply migrated his affiliate program from his former site Palm Sounds to CDM, and had planned to further develop this in the future.
But it’s not just media who are concerned about the change. I’ve heard from several developers who have emphasized that the move will cost them, too. Those developers often include affiliate links on their own sites, thus taking a portion of Apple’s own royalties. The logic is simple: if you go get an app through the developer’s site itself, it’s really their site, not the Apple App Store, that is helping you find that app. By eliminating the affiliate program, the argument goes, Apple is essentially claiming marketing services as part of their 30% royalty share without doing anything.
Some examples from public comments on Twitter:
As a dev, had no idea about $ weighting of site app referral links vs ads. Apple should well know the value of the music app ecosystem to *them* & that it is already a very, very tough place for most indie devs. This change makes it yet harder for the ecosystem. #crazydecision
— intermorphic (@intermorphic) August 5, 2018
“What's getting overshadowed in the iTunes affiliate story is the app developers themselves.
We're driving traffic to the App Store from our own web sites, yet Apple now wants to take a full 30% from those sales, even though Apple isn't doing anything to market those sales.”
— David Lublin (@DavidLublin) August 3, 2018
(Intermorphic is the ground-breaking developer of interactive music tools that has worked with the likes of Brian Eno; David Lublin is a Mac developer and founder of Vidvox, creators of VDMX.)
The announcement from Apple is itself revealing:
With the launch of the new App Store on both iOS and macOS and their increased methods of app discovery, we will be removing apps from the affiliate program. … All other content types (music, movies, books, and TV) remain in the affiliate program.
Forget 7% or 2.5% or 0%. The real story here is not just about affiliates, but about Apple’s intended avenue of discovery. That is, they want you to discover, learn about, and consume apps entirely on their platform. They’ve made moves to hire their own editorial staff. Effectively, they’re keeping resources inside Apple.
And that itself should be chilling. The Internet has transformed quickly in the face of dominance of a handful of corporations. And those corporations are all tightening their grip. In the phone market, two companies – Apple and Google – have an effective duopoly. In search, one company – Google. (One exception is the search recommendations provided by … Apple.) Online advertising is dominated by Google. Retail is dominated by Amazon. Social media is effectively now just Facebook (via Facebook, Instagram, and WhatsApp).
Long-time independent Apple publisher TidBITS has some tough words on the situation, from industry veteran Adam Engst. And you should listen to him, as Adam is very much in that “last man standing” category as we’ve watched independent technology media collapse.
I was going to say, it isn’t necessarily Apple’s obligation to keep us alive except … well, it absolutely is. Independent media contributed to the growth of Apple’s platforms, and now with iPhone device sales flattening, the massively wealthy corporation may actually be making a strategic error even as far as its own self interest.
But that aside, I think Adam says something here that’s bigger than app affiliate revenue or even Apple, rather reflecting on the state of the Internet:
Any media-savvy organization, whether it’s a multinational corporation or full-fledged government, can increasingly control public perception not just by manipulating social media but also by bringing content creation and dissemination in-house. It’s all about control in a media world that no longer has gatekeepers. Apple pulled out of Macworld Expo years ago because it could just as easily hold its own product release events, and now we’re seeing Apple do the same to industry publications by competing with them via App Store editorial.
And that’s really the issue. Whether Apple’s affiliate program makes sense either for Apple or for publishers, the message killing the program spells it out: Apple wants to be the editorial. And the companies I’ve mentioned (Google, Apple, Facebook, Amazon) in various ways want to be the Internet. Those of us not working for those companies are free to criticize. And we may have to face the reality that this changes the practicality of our businesses. That may or may not be an existential crisis, but it isn’t something to ignore and wish away.
Developers will have to consider this in their business plans, particularly as Apple charges them for advertising on top of the share of revenue they take as a royalty. (This is one reason, among others, pro audio developers have almost universally rejected the desktop App Store.)
And publishers face a choice about whether we can compete with Apple, or whether we should exit the business entirely.
That said, even if this sounds bleak for us on the independent side, consider: Apple can only be Apple. They can only be in the business of selling their devices and apps. But we can easily switch business in a way that ceases to contribute to their business. In the long run, that may be more Apple’s problem than our own.
I hope that Apple will still reconsider the decision in the face of feedback from developers and press. I certainly don’t consider this to be typical of the treatment of media relations, who in my experience do still value the media (ahem) as part of their job role. And whatever Apple decides, my personal bias remains: businesses work better together than they do apart.
Addendum: the competition
I realize I focused entirely in this story on Apple, which isn’t entirely fair.
It’s worth noting that Google has not ever had an affiliate program.
Who does? Microsoft does, with a 7% commission rate. That is available with generous rewards for apps, in-app purchases, and – crucially, given that they’re much bigger ticket items – Microsoft hardware.
Using the Microsoft Affiliate Program to earn additional 7% on Windows Store sales [2016 Microsoft developer post, but still relevant and a good overview of how this works]
Now, does that make the Microsoft platform better for the user or developer? That’s arguable, clearly. But what I think it may demonstrate is a difference in philosophy and strategic positioning. Google, for all their claims of “openness,” are first and foremost an advertising – and by extension, content – platform. Microsoft built value around an ecosystem and interoperability of businesses inside that ecosystem. What’s interesting about the Apple affiliate decision is, since there wasn’t any particular urgency to making the change, it suggests Apple is shifting their strategy to take more control over content around their platform and not just what gets delivered through the store.
When the affiliate decision is long since forgotten, that strategic shift may prove to have been meaningful.
The post Apple killing app affiliates is about more than just the affiliate program appeared first on CDM Create Digital Music.
With the proliferation of modules, the phrase “Eurorack bubble” has been floating around for a while. But now it appears to be translating into falling prices.
The basic problem is this: more demand means more interest, which translates into more manufacturers, and more production. So far, so good. Then, more distributors pick up the goods – not just boutique operators like Schneider, but also bigger chains.
Where’s the problem? With too many modules out there in the marketplace, and more big retailers, it’s easier for the big retailers to start to squeeze manufacturers on price. Plus, the more modules out in the world, the greater the supply of used modules.
Andreas Schneider has chosen to weigh in on the issue personally. You can read his statement in German:
And in an English translation (with more commentary by Schneiderladen in English):
There’s actually a lot there – though the banner revelation is seeing the cost of new modules suddenly plummet by 30%:
You asked for it: Due to the increased demand for Eurorack modules in Europe, even the large retailers for musical instruments are now filling the last corners of their warehouses and buying complete production runs from manufacturers and everything else they can get. Some manufacturers might be happy about this, but the flooding of the market already leads to a significant drop in prices here and there, some modules are already available with a 30% discount on the original calculated price and yet were still quite hot the other day!
As SchneidersLaden we have decided to go along with this development and of course offer corresponding products for the same price to our customers, although most of them have already bought them when the goods were still fresh and crisp! We’re almost a little sorry about that, but hopefully the hits are already produced and the music career is up and running? Nevertheless, sorry – but the decision for this way lies with the manufacturer and was not our recommendation!
By the way… we don’t advertise with moneyback-warranty… we’ve always practiced it. But please: get advice first, then buy – like in the good old days. Because it’s better to talk to your specialist retailer – we know what we are selling. And by the way: We do free shipping throughout Europe and there are Thursdays on that we are in the shop until nine o’clock in the evening …and real CHAOS serves creativity.
That had to be said – end of commercial break.
Okay, so some different messages. To manufacturers, with whom Schneider seems to place a lot of the blame, the message is to avoid glutting the market by selling so many units that then they lose their price margin. (That seems good advice.) There’s also a “dance with the one that brung you” attitude here, but that’s probably fair, as well.
To buyers, work with specialists, and please research what you buy so you don’t shoulder retailers and manufacturers with lots of returns. That seems good advice, too.
(Hope I’ve paraphrased that fairly.)
It does seem there’s a looming problem beyond just what’s here, though. For the community to continue to expand, it will have to find more new markets. It does seem some saturation point is inevitable, and that could mean a shakeout of some manufacturers – though that isn’t necessarily a bad thing. The used market should also be a worry, though on the other hand, some people do always seem to buy new.
I’d echo what the two posts here say, which is the synth maker world will likely be healthy if manufacturers and consumers do some research and support one another.
Before anyone predicts the sky is falling, I’ve had a number of conversations with modular makers. Those with some experience seem to be doing just fine, even if some have expressed concern about the larger market and smaller and newer makers. That is, those with some marketing experience and unique products still see growth – but that growth may not translate to greener manufacturers who are trying to cram into what is becoming a crowded field.
Other thoughts? Let us know.
The post Eurorack’s prices are dropping, as Herr Schneider laments appeared first on CDM Create Digital Music.
As steep tariffs on electronics loom at the end of next week, Moog are warning that US synth makers could lose their jobs.
The US Trade Representative and the Trump Administration are proposing a steep 25% additional tariff increase on electronic components from China (among other goods), as covered here on CDM last week:
Now, those tariffs are expected to take effect on Friday, July 6.
Moog has gone as far as to implore their own customers to take action, in an email sent a week in advance of the rules change. That’s as far as I know reasonably unprecedented. Whatever the politics in Asheville, North Carolina, many US music customers are Trump voters.
But in this case, Moog’s business – and the American manufacturing they’ve consistently made a selling point – are threatened. The mailing, which includes a heart-wrenching photo of Moog employees in North Carolina, reads:
A U.S. tariff (import tax) on Chinese circuit boards and associated components is expected to take effect on July 6, 2018.
These tariffs will immediately and drastically increase the cost of building our instruments, and have the very real potential of forcing us to lay off workers and could (in a worst case scenario) require us to move some, if not all, of our manufacturing overseas.
In the article, they break down why this is such a big deal for Moog – and illustrate how the Trump trade policy could devastate American manufacturing and the US economy.
“Made in the USA” depends on Chinese parts. Roughly half of Moog’s circuit boards and related components come from China. Those parts are the fuel that allow them to support good manufacturing jobs in the USA, for assembly, testing, and shipping.
They pay more for US parts – and those will get more expensive, too. Electronics sourced inside the USA are already more expensive – priced up to 30% higher than other components. But because these parts also source Chinese components, those prices could go higher still.
People are going to lose jobs. Because these changes have an immediate impact, costs go up immediately. That will likely mean layoffs, soon, say Moog in the mailing. In the long run, it could mean having to move manufacturing out of the USA.
Moog have offered CDM to provide additional comment, so I hope to follow up this story.
In case you aren’t depressed enough, I think the mailing covers only a part of the problem. The immediate impact will be driving up the costs of US synth manufacturers. But stiff import tariffs could cause immediate and widespread job loss across a number of sectors. Motorcycle maker Harley Davison announced plans to move some manufacturing abroad – and saw stiff market losses as it came under direct fire by the President. General Motors warned the move could shrink the company, cut US operations, and kill jobs.
US job losses and a weakened economy would hit the biggest market for music electronics and musical instruments, meaning a second blow would be delivered to our whole industry.
And there’s more: Harley Davison’s move came after retaliatory tariffs imposed by the European Union, not the USA. This is what a global trade war looks like. If the EU expands those tariffs, then a manufacturer like Moog or MakeNoise or Eventide assembly products in the USA could face 50% taxes imposed on customers when its goods reach Europe.
But don’t get depressed – do something, if you’re a US citizen. Moog suggests writing Representatives and Senators. They’ve added contacts for North Carolina, but this is relevant of course to people living across the USA.
The Moog mailing is the best place to start if you live in North Carolina – and it has some talking points if you want something to look at when writing or calling your officials elsewhere:
For everyone else – including Americans living abroad, like myself – you can find White House, Senate, and House contacts easily from the official US government website:
Don’t know who your Represntative is? See here: https://www.house.gov/representatives/find-your-representative
And find your Senators by choosing your state from the dropdown upper left here: https://www.senate.gov/senators/index.htm
The US Trade Representative is an office of the President, so I’d suggest also contacting the White House, even if this Administration is unlikely to change its policy.
For the rest of the world outside the USA, uh, yeah, I have no idea what to tell you. But certainly, I think it would be optimistic to assume this will only impact US manufacturers; the ripples are likely to be felt throughout electronic music tools as through other industries. We’ll keep you posted as this develops.
And to all you folks at Moog – thanks for speaking out. And I hope we can help you keep your jobs.
The post Moog urges US citizens to take action to stop Trump import tax appeared first on CDM Create Digital Music.
ROLI, makers of the Seaboard and Blocks, keep adding to their funding. But new investments by Sony and Onkyo say a lot about betting on a future of music that’s centered on creation, not just consumption.
We entered this century with people thinking mostly about music as a more or less passive thing. But as a business, consumption is just not as bright as it once was. There’s no new recording format – so, sorry Men in Black, no more jokes about buying The White Album again. The iPod eventually was absorbed into commodity smartphones, and high-end smartphone sales are themselves flattening out, as users hold on to their existing phones. (That shift seems even to be reaching Apple.) Spotify and Apple Music and their ilk haven’t delivered big profits, either, obviously. And in sectors like electronic dance music, we’ve watched the vision of brand synergy and an EDM empire at SFX Entertainment meet the reality of flat festival sales. What cured things at Beatport, meanwhile, in the wake of SFX mismanagement? Refocusing on serious DJs and the core business.
What does seem to be a vast horizon, then, is actually making music. You know – the thing the whole world’s population was already doing before the music industry convinced them to listen to round discs of other people doing it for them, or tune in electromagnetic frequencies that could be translated to other people playing.
All this makes the ongoing investment in ROLI really interesting.
The London-based manufacturer of alternative instruments and mobile music making gadgets is now up past US$50 million in investment. That includes a $27m Series B in 2016, and investments from venture capital but also Universal Music Group.
There are no public numbers shared for Onkyo or Sony, but it’s really the fact of those makers entering the fray that matters. They’re both Japanese giants known for their role in consumer products for listening to music. Onkyo today remains a major audio brand; they’re also the owner of the home entertainment side of Pioneer. (The bits of Pioneer catering to DJs and car owners lie elsewhere, but the home entertainment brand is still significant.) The Onkyo investment has also recently closed, says ROLI.
And then there’s the Sony Innovation Fund (SIF). Focused on the northern world – USA, EU, Israel, and Japan – Sony’s fund was created in 2016 to invest on companies from seed to middle stage development. That ranges everything from biometrics to VR to drones, so it’s not just about music and media by any means.
In addition to funding, SIF says they work with the companies they fund on strategy, that they build relationships with Sony and its partners, and therefore grant access to some of Sony’s global reach and expertise. There are parallels here to the investment we saw recently in Berlin’s Native Instruments. Sony is betting on music creation and could help connect ROLI to a global consumer market. German EMH Partners who funded NI are betting on music creation and could help connect to a global market for services. Get it? (They have to deliver on that promise, of course.)
We’re also getting into bigger financial figures than music creation investment has seen before; NI got a whopping 50 million Euros, in an industry where we still think it’s pretty cool to go to check out something one person has literally made in their bedroom that you solder together and bolt into a rack with a screwdriver.
Okay, so that’s money and strategy – but what’s the actual business here?
Well, ROLI do have a compelling software/hardware play. The Blocks line give users of computers and mobile devices a convenient, expressive, wireless interface to music creation. There’s software to match – ROLI make a mobile app, a desktop synth, and perhaps most significantly the JUCE framework on which a lot of modern music making software is built. ROLI are also pushing ideas like the Songmaker Kit, hoping musicians will take their line of wireless controllers on the go.
But lots of makers have interesting music products. If we’re really imagining a wider population of music consumers buying this gear, it’s going to require both inventing clever new things, and then moving those things through the channel into musicians’ hands. Your smartphone manufacturer or consumer headphones do that already, but musical instruments move through much more antiquated, fragmented retail outlets. (Uh… that’s a fancy way of saying the unfriendly guys hanging in the corner of your local music store picking at a guitar may not necessarily be able to sell new users on the instrument of the future.)
ROLI already made a bold move into getting in front of new customers with a massive Apple Store retail partnership, followed by other channels (including consumer-oriented stores and shops like Guitar Center). Now it’s a question of whether they can keep moving.
ROLI released some statements to CDM on the idea of the investment, and confirm that global sales reach is a big part of the story. “We’re now selling our hardware and software in over 30 countries,” says founder and CEO Roland Lamb. Now they want to go further, he says. “We want to reach a whole world of music makers and provide them the tools they need to be creative, and we’re getting much closer through our investments from SIF, [Chief Creative Officer] Pharrell [Williams], and Onkyo,” he says.
And Lamb compares his products to the iconic Sony Walkman:
I’ve always admired Sony. A Sony Walkman was one of the first music products I ever owned. I took it on my first trip to Japan as a teenager. It was a magical way to bring my musical world with me everywhere that I went. What ROLI is doing with BLOCKS is very similar to what Sony did with the Walkman, but in our case we’ve made a music creation device that you can take with you anywhere. It’s pioneering a new, liberating way of making music, just like Sony pioneered the modern revolution of music listening which hundreds of millions of people benefit from today.
Yes there’s money, but as I described the SIF operation, there’s additional support, Lamb says:
They really engage with startups. They provide an entrée to the Sony world and its networks and expertise. We hope to collaborate with Sony as much as possible in ways that build unique value for our customers. Without going into the details of the deal, this is certainly a significant investment and relationship for us.
But maybe most interesting, the funds themselves may support new products. While I admire the Blocks, and the Seaboard interface is certainly innovative, I think it’s still important to note that these are just controllers. The Walkman was a standalone product; Blocks is useless without a laptop or smartphone or tablet. And that’s assuming you believe this is really the shape of what music making will look like, amidst a lot of competing ideas and untapped possibility.
“We’re developing new music-making tools across hardware and software,” says Lamb. He says the funding will accelerate development and “positions us to continue focusing on innovative research and development as we scale.”
In other words, this gives them room to focus on inventing new stuff even as they try to get their products to a broader audience.
Also interesting: you might doubt the Songmaker Kit, at 600 bucks, would sell well versus just buying one or two of the individual modules to save money. But you’d be wrong. ROLI tells CDM it’s the best-selling product they make.
So there’s a certain business genius to dividing products into modules, then selling the consumers those modules as … a predefined set. Wait, maybe I shouldn’t tell you that, but should find some really complicated name for it, and then sell my services as a highly-paid consultant. (I dub it the “Modular Acquisition Product Consumer Chain.” Call me.)
But whether you personally like the ROLI line or not, consider this: ROLI are both proving the power of the future of electronic musical instruments on a larger scale, and creating a platform for the rest of the electronic music ecosystem in the process. Blocks can easily be a gateway into other mobile apps, desktop software, and other hardware. ROLI also show that some ideas that would have seem like crazy, far-fetched one-off inventions just recently can appeal to everyday consumers if they’re given adequate market support and channel distribution. People seem to like crazy and futuristic things. (Heck, it may be that average consumers like those things more than some of the more conservative folks you’ll see trolling forums and adding wooden endcaps to their synths.)
And investors are taking notice. There are some real, big bets emerging that say the future of music creation will be bright. For those trained on the recent Silicon Valley model, where some venture capital looks for quick, easy returns or fast exits, it’s also safe to say that some of this may be looking further into the future, not just into what’s selling this month.
But if you believe that creation is the essence of music making, if you think everyone should have access to self expression through music, and you see creation as the future, I think there’s real reason to be encouraged by investment in ROLI.
What we’ll need to watch, meanwhile, is whether larger funds and expertise at ROLI and Native Instruments translate into products and services that work for musicians. That’ll take time. But, hey, I was trained as a musicologist, which deals with this on a timeframe of centuries. I’ll wait. Back to making music to fill the time.
And in other news:
The post ROLI funded by Sony, Onkyo; is it time for the Walkman of music making? appeared first on CDM Create Digital Music.
Yamaha’s guitar group is growing. Alongside products on their own brand and Line 6, they now will own one of the most legendary brands of all time: Ampeg.
That guitar group itself is nicely trans-Atlantic, with co-presidents Marcus Ryle, formerly of Line 6, and Shoji Mita.
And Ampeg is quite the acquisition. The company originates in 1940s New Jersey, and includes a heritage of products like the SVT amp. They’re best known for bass amps, but they’ve long had a portfolio of respected guitar amps and a history of instruments. Lately, that has rebooted some classic monikers for amps, alongside pedals.
The deal also means that LOUD Technologies Inc. – the company formerly known as Mackie Designs (as in the mixers) – will unload Ampeg, which it has owned since its 2005 purchase of Saint Louis Music.
Basically, you should expect to see Ampex’s amps (and presumably pedals, too) slotted in alongside Yamaha’s bass guitars and the full fleet of Line 6 modeled amp and effects products. Maybe down the road we’ll see an Ampex with built-in modeled Line 6 stuff. That’d have a nice historical precedent, as Ampex was the first company ever to add reverb to an amp internally, back in the 60s.
Now, we just have to wait to find out whatever the heck is happening over at Gibson.
Second Warehouse has announced its new web-based service set to democratize the essential but previously time-consuming and costly activity of equipment cross-rental for the pro AV rental sector. Rental companies of all sizes will be able to trade with one another in a safe, fast, monitored and extremely cost-effective environment. Second Warehouse only costs you […]
Cakewalk may not be all dead. A developer of online and mobile music creation tools has snapped up the former PC DAW maker’s complete intellectual property.
As I wrote earlier this week, Gibson Brands, the guitar maker-turned-wannabe consumer electronics giant, is hard up for cash. So, while they discontinued operation of their Cakewalk division, apparently they had not found a buyer for one of pro audio’s biggest names.
That changes today. Signapore-based BandLab announced they’ve acquired the “complete” intellectual property and “certain assets” in a deal with Gibson. There’s no word on what those assets are, and BandLab say they’re not making any additional announcement about the specifics – so we don’t know how much cash Gibson got or what those assets were. If the Nashville Post numbers are correct, it seems this will make little difference to Gibson’s debts, but that’s another story.
So Cakewalk’s codebase, product line, trademarks, everything go to BandLab. BandLab also has confirmed to CDM that some former Cakewalk team members will join the new company. (That itself is big news.)
And there’s some relief here: all those thirty years of accumulated expertise in making music software may not go entirely to waste.
BandLab is a familiar idea. There’s a mobile app with multiple tracks, automatic pitch correction, guitar/bass/vocal effects, and cloud sync, plus a grid-style riff interface and more traditional track layout. And there’s a free online tool you can use to collaborate with other people on the Internet and DAW features.
Of the two, it’s the online DAW that looks most interesting, at least in that it’s more ambitious about incorporating desktop tools than some rivals. There’s built-in time stretching, automation, a guitar amp, and virtual instruments, for instance. I’m impressed on paper at least – I hadn’t heard of BandLab before today, to be honest, though it’s easy to lose track of various competing online solutions out there, since they tend to be somewhat similar.
And that raises the question – what’s the Cakewalk angle for BandLab?
I presumed on first blush this would be limited to assets relevant to their existing mobile products, but it seems it’s more than that. From the official press statement, it sounds as though you’ll see Cakewalk’s line of software – possibly including the flagship DAW SONAR, virtual instruments, and other tools – continue under the BandLab name. That’s been the case with other acquisitions of media creation software, if with mixed results in terms of development pace. From the press statement:
The teams at both Gibson and BandLab felt that Cakewalk’s products deserved a new home where development could continue. We are pleased to be supporting Cakewalk’s passionate community of creators to ensure they have access to the best possible features and music products under the BandLab Technologies banner.
Then there’s the product that was just seeing the light of day right when Gibson shuttered Cakewalk operations, the one with the unintentionally ironic name:
Momentum even looks quite a bit like BandLab’s mobile app. The mobile app and cloud sync solution runs on iOS and Android, with four-track recording, editing, looping and effects. And it cleverly captures ideas as recordings (via something with the dreadful name “Ideaspace”), then makes them available everywhere.
Momentum also has something that BandLab lacks – a VST/AU/AAX plug-in for Mac and Windows. Here’s the thing: it’s all fine and well to start talking about making music making easier, and reaching people with phone and browser apps. But even though big desktop DAWs don’t look terribly friendly, they’re still reasonably popular. Ableton Live alone has a user base the size of most major cities. Adding that plug-in could bridge Cakewalk’s product line and other desktop products with BandLab’s own mobile solutions.
And it’s not just the plug-in – Momentum also had an integrated cloud sync service and server-side infrastructure. (Plus don’t forget the ScratchPad iOS app. Well… maybe.)
So, we’ll see what BandLab are planning. Of course, the nostalgic part of me wants to see some of the soul of Cakewalk in what they do.
It seems from the way BandLab are handling the announcement that they share some of the same emotional attachment to Cakewalk that a lot of us do. For evidence, see what they’ve done to Cakewalk’s website, where there’s a headline reading:
“The news you’ve all been hoping for…”
Follow through to their own http://cakewalk.bandlab.com landing page for the acquisition, and there’s a charming ASCII art reading Cakewalk and a line reading “Cakewalk is dead. Long live Cakewalk!”
I’ve asked if any of the former Cakewalk team are joining the new effort. That would inspire more confidence than just selling these DAWs with minimal updates as-is. BandLab for their part promise a product roadmap and other details soon.
So yeah, Cakewalk? Dead?
The post An online and mobile DAW called BandLab just acquired Cakewalk’s IP appeared first on CDM Create Digital Music.