Song Athletics Sad PianoThis pack distills the essence of contemporary classical piano music with a collection of delicately performed loops via a suitably-toned felted upright. Recorded closely to give an enhanced... Read More

Running Doom on an Apple Lightning to HDMI AdapterAs a general rule of thumb, anything that has some kind of display output and a processor more beefy than an early 90s budget PC can run Doom just fine. As [John] AKA [Nyan Satan] demonstrates in a recent video, this includes running the original Doom on an Apple Lightning to HDMI Adapter. These adapters were required after Apple moved to Lightning from the old 30-pin connector which had dedicated pins for HDMI output.
As the USB 2.0 link used with Lightning does not have the bandwidth for 1080p HDMI, compression was used, requiring a pretty beefy processor in the adapter. Some enterprising people at the time took a hacksaw to one of these adapters to see what’s inside them and figure out the cause of the visual artifacts. Inside is a 400 MHz ARM SoC made by Samsung lovingly named the S5L8747. The 256 MB of RAM is mounted on top of the package, supporting the RAM disk that the firmware is loaded into.
Although designed to only run the Apple-blessed firmware, these adapters are susceptible to the same Checkm8 bootROM exploit, which enables the running of custom code. [John] adapted this exploit to target this adapter, allowing this PoC Doom session to be started. As the link with the connected PC (or Mac) is simply USB 2.0, this presumably means that sending keyboard input and the like is also possible, though the details are somewhat scarce on this aspect.

OC201 Preamp pedal from Great Eastern FX Co.  The latest Great Eastern FX Co. pedal sees the company take a new approach to a popular fuzz design, and also marks the beginning of a new series.

dBdone’s AI Chords Plugin for Generating Chord Progressions Features a FREE Tier
dBdone launched AI Chords, a plugin for generating chord progressions with a free tier.  The plugin is available for VST, AU, and AAX on macOS (universal) and Windows (64-bit only).  AI Chords is designed as a tool to spark inspiration for songwriters, producers, and beatmakers.  dBdone offers three AI Chords tiers, namely the free tier [...]
View post: dBdone’s AI Chords Plugin for Generating Chord Progressions Features a FREE Tier

Best Free and Affordable Apps For MusiciansIndie musicians need the right tools to stay ahead, and these apps make everything from songwriting to promotion easier. Whether you're producing tracks, managing gigs, or engaging fans, here are the best free apps for musicians.
The post Best Free and Affordable Apps For Musicians appeared first on Hypebot.

Does claiming a Spotify for Artists account need to be this hard?Claiming a Spotify For Artists account is an essential pillar for every music marketing plan. But does claiming a Spotify For Artists account need to be this hard?
The post Does claiming a Spotify for Artists account need to be this hard? appeared first on Hypebot.

“A f**king nightmare!”: Watch tensions rise between Elton John and Andrew Watt in behind-the-scenes footage of the recording of Elton’s forthcoming albumElton John has teamed up with Brandi Carlile for a new collaborative album, Who Believes In Angels?, which will be released on 4 April – but the making of it was far from plain sailing.
For the first time ever, cameras were allowed in the studio to capture the making of the record in full, with footage compiled into a candid short film that documents the turbulent creative process of making an album in just 20 days – including tensions with producer Andrew Watt.

READ MORE: “It has its uses, but it shouldn’t rip creative people off”: Paul McCartney and Elton John speak out against potential AI threats amid proposed changes to UK copyright law

The recording process began back in October 2023 at Los Angeles’ Sunset Sound Studios, just off the back of John’s colossal Glastonbury headline set. John, Carlile, and Watt were also joined by John’s longtime friend and lyricist Bernie Taupin, and a band that also consisted of Chad Smith and Josh Klinghoffer (Red Hot Chili Peppers’ current drummer and former guitarist), plus bassist Pino Palladino, who’s just released a new set of strings with Ernie Ball.
Narrating over the captured footage, John admits that during the process he was exhausted and had a lot of doubt, leading to him being “a nightmare” as he tore up lyrics sheets, and even nearly gave up on the project, declaring “I’m going home”. One particularly tense encounter shows Watt defending himself, saying, “Dude, I’m just trying to make the song as best as it can be! You’re so impatient!”
Thankfully, tensions eventually subsided, and the music began to flow – there were even tears of relief at one point. You can watch the full Who Believes In Angels? trailer below, and listen to the first single:

John describes the project as “one of the greatest musical experiences of my life. In a statement he comments, “It has given me a place where I know I can move forward. Who Believes In Angels? feels like going into another era and I’m pushing the door open to come into the future.”
You can pre-order or pre-save Who Believes In Angels? now.
The post “A f**king nightmare!”: Watch tensions rise between Elton John and Andrew Watt in behind-the-scenes footage of the recording of Elton’s forthcoming album appeared first on MusicTech.

Heritage Audio’s Synth Buddy switcher Heritage Audio's new passive switcher can be used to quickly toggle between 10 stereo inputs, or route one input to one of 10 different destinations.

Rights management platform for generative AI raises $2.1 million in investment for “trailblazing” attribution modelMusical AI, a rights management platform for generative AI, has raised $2.1 million (CAD) in initial investment to support its attribution model, said to be the first of its kind.
The investment is led by Build Ventures, one of Canada’s largest VC firms investing in startups, and select angel investors are also contributing. Rights holders such as Symphonic Distribution, Kanjian, and others are currently on board, and AI companies such as Beatoven are also signing on.

READ MORE: As AI fakes proliferate, we need to draw a clear distinction between human-made music and AI-generated content

Musical AI’s attribution model allows rights holders to track and monetise their contributions to generative AI outputs, and also helps AI companies license libraries of content and maintain transparency for compliance with emerging regulations.
According to a press release shared with MusicTech, Musical AI works by determining what inputs lead to particular generative AI outputs, from which it can then parse what percentage of a generated output came from what data source. Rights holders can monitor, take down, and sunset usage of the works they own, while generative AI companies can access licensed data and use Musical AI’s reports to monitor usage for each generated output.
Musical AI COO, Matt Adell, comments, “As the opportunity for revenue and need for licensed content become clearer every day, we’re seeing more rights holders and AI companies recognise the need for our platform. Generative AI will need attribution, and we’re the first to master it and provide a secure platform that implements it along with industry accepted revenue sharing.”
“If we want AI training to be sustainable and ethical, we need attribution. Musical AI is the only company offering it in the audio space,” adds Musical AI CEO Sean Power. “I’m thrilled that discerning investors are backing our efforts to transform how AI is trained.”
To find out more, head over to Musical AI.
The post Rights management platform for generative AI raises $2.1 million in investment for “trailblazing” attribution model appeared first on MusicTech.

Sonos lays off 200 employees: “There’s no way around the fact that this is a terrible outcome”Sonos is letting go of 200 of its employees with plans to reorganise “into flatter, smaller, and more focused teams”.
The news has been confirmed by the wireless audio brand’s interim CEO, Tom Conrad, in a message shared with employees and posted publicly on its website. The layoffs continue a period of struggle for Sonos, which laid off 100 employees last August and faced backlash over the launch of its bug-ridden app, leading to a public apology.

READ MORE: Are Sonos’ Ace headphones better than AirPods Max? It’s a close call

Those made redundant have been told by Sonos to expect an email describing their transition and severance package along with the option to schedule a 1:1 meeting. In his message (posted on 5 February), Conrad says that letting go of so many positions within the company has been a “very difficult decision” and is a “terrible outcome”.
He further states, “I know that everyone here cares deeply about Sonos and the experiences we build for our customers – and I know that you want us to get back on track after a tough year. You’ve also told me that we’re struggling to make all the progress we want.
“One thing I’ve observed first hand is that we’ve become mired in too many layers that have made collaboration and decision-making harder than it needs to be. So across the company today we are reorganising into flatter, smaller, and more focused teams.”
Conrad also adds that reorganising its Product organisation into functional groups for Hardware, Software, Design, Quality and Operations, and away from dedicated business units devoted to individual product categories is one of its “most significant” changes.
“With this simpler organisation in place, cross-functional project teams will come together to improve our core experience and deliver new products,” he explains. “Being smaller and more focused will require us to do a much better job of prioritising our work – lately we’ve let too many projects run under a cloud of half-commitment. We’re going to fix this too.”
Despite the bad news, Sonos still has plans to release new products over the coming year. Its Arc Ultra sound bar also received a positive reception at its release in late 2024.
Find out more or view its full product range over at Sonos.
The post Sonos lays off 200 employees: “There’s no way around the fact that this is a terrible outcome” appeared first on MusicTech.

DMX, Ashanti, Ja-Rule and Kanye producer Irv Gotti dies aged 54Irv Gotti, the renowned music producer and co-founder of Murder Inc. Records, has died at the age of 54, The Hollywood Reporter confirms. No official cause of death has been revealed.
Born Irving Domingo Lorenzo Jr. in Queens, New York, Gotti’s death follows a period of health struggles. Earlier in 2024, the hip-hop mogul experienced what his representatives described as a “minor stroke” but had reportedly recovered after making significant dietary adjustments.
Co-founding Murder Inc. Records – a Def Jam subsidiary – in 1998 alongside his brother Chris, Gotti played a pivotal role in shaping the sound of early 2000s hip-hop and R&B. The label, named after a notorious crime syndicate, was instrumental in launching the careers of multi-platinum artists like Ja Rule and Ashanti.
Ja Rule, the label’s flagship artist, made his debut with the 1999 album Venni Vetti Vecci, which featured his first top 40 Billboard Hot 100 hit Holla Holla. This album, certified Platinum in the US, helped establish both Ja Rule and Murder Inc. as major forces in the industry.
Gotti’s influence extended far beyond his own label. He began his career as a DJ and producer, earning production credits on Jay-Z’s 1996 debut album Reasonable Doubt with the track Can I Live.
His success also opened the door for collaborations with stars like Jennifer Lopez (I’m Real and the Ain’t It Funny remix), as well as Eve and Alicia Keys (Gangsta Lovin). In 2003, he earned a Grammy for Best Contemporary R&B Album for his executive production of Ashanti’s self-titled debut album.
Despite their success, both Murder Inc. and the Gotti brothers faced their share of controversies over the years. In the early 2000s, Irv and Chris were investigated – with Murder Inc.’s offices raided – for alleged money laundering connections to American drug lord, Kenneth “Supreme” McGriff.
This legal battle, while ultimately resolved in their favour, had a profound impact on the label’s operations and public image.
Tributes from around the world have poured in following news of Gotti’s passing. Def Jam, the label where Gotti got his start, described the producer as “a force that reshaped the soundscape of hip-hop and R&B”.
“His contributions at Def Jam, as both an A&R executive and in partnership with Murder Inc., helped pave the way for the next generation of artists and producers,” the statement read. “His creative genius and unwavering dedication to the culture birthed countless hits, defining an era of music that continues to resonate with fans worldwide. Our thoughts are with his family, friends, and all those who were touched by his work.”

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Ye (formerly known as Kanye West), who worked with Gotti on the 2019 track Brothers, also acknowledged the loss by posting the news along with a white dove emoji on Instagram.

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A post shared by Ye (@ye)

Read more tributes below.

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A post shared by Jesse Collins (@jessecollinsent)

Rest In Peace Irving “Irv Gotti” LorenzoThank You for your contributions and all the inspiration you gave. pic.twitter.com/cfTH8fY7cF
— Rob Markman (@RobMarkman) February 6, 2025

Ja Rule, Ashanti, Vita & Charli Baltimore – Down 4 U
Irv Gotti really built that house.
pic.twitter.com/aat5ZcxFTi
— ❂ Yübbîę Umoh ❂ (@Yubbie007) February 6, 2025

The post DMX, Ashanti, Ja-Rule and Kanye producer Irv Gotti dies aged 54 appeared first on MusicTech.

DESTIINO: “I think it’s outdated now to mix on a desk; DAWs work well if you know how to use them”Debuting as the electronic dance producer, Yuskek, multi-talented musician Pierre-Alexandre Busson knows how to captivate audiences with different projects. Now under a different pseudonym, DESTIINO, Busson is turning to heavier synth and drum machine-focused mixes, offering a darker string to his bow with club-inspired tracks released under Parisian label Lumière Noire, founded by Chloe Thevenin.
With the next DESTIINO record, ii, out in March, the French producer and instrumentalist takes MusicTech through his treasured setup. He reveals the prized synths that he claims he could never get rid of, to the workflow that has allowed him to develop his own record label, Partyfine. He breaks down how he composes for film, which has taken him to the Cannes Film Festival, and how he’s learned to collaborate after almost 25 years in the industry.

READ MORE: CHLOÉ: “Every piece of gear, every collaboration, and every mistake is an opportunity”

Your new album, ii is out this year — how has your approach to big projects shifted since the release of your 2021 DESTIINO album?
It’s not changed at all! The only difference is that I have time now to focus on the projects that excite me without much “industry” pressure. I make film music, I’m into photography, and I also produce for other people and run my labels, so if things come together that allow me to make an album, it’s because I really want it.
Imagery by DESTIINO (Yuksek)
As well as DESTIINO  you’ve also been releasing music as Yuksek since 2005. Why the new alias? Does there need to be such a separation when experimenting with different styles?
Yes and no. DESTIINO is definitely different from Yuksek, and under this name, I mainly created dance tracks with a more pop approach — especially in the structure of the music. Things I’d release under that name focus on vocals, collaborations with friends, and I’d also use non-electronic instruments.
On the other hand, DESTIINO is 100 per cent focused on synths and drum machines, and is most of the time destructured. I also enjoy using a build-up of crazy patterns that come together in a random way.
Image: Press
In your 24-year career, you’ve also produced and collaborated with some pop stars and heroes in music. How easy is it to adapt to different workflows and demands?
Adapting to different workflows is like my engine; it’s my passion. I’ve been making music since I was six, and professionally for the last 20-plus years. So the key now is excitement, and getting to wake up every morning with motivation for a new project that challenges me, gives me that excitement to make music.
Also, meeting new collaborators is crucial to maintain energy. That’s why all the parts of my career are equally important.
Tell us a bit about your studio.
I built this new studio two years ago with Red House, a super-talented French company. It’s based in Reims, France, and is full of analogue keyboards, drum machines, a few effects, and a lot of speakers. I usually work alone here but sometimes friends pass by to say hello and come in for a session.
I love inspiring places, and this studio is in the basement of a beautiful 19th-century house, with a big garden where I’m allowed to walk with my dog. That’s important — eight-hour sessions can be long for those lovely little animals!
Have you found any useful plugins lately?
To be honest, I don’t use many plugins. I’ve been using Logic Pro since I started using DAWs, and, in my opinion, the Logic plugins, especially for dynamics and EQs, are super-efficient and easy to use.
The effects, however, are not so good so I use the Soundtoys Suite for delays and some more weird effects. I also really like using the PSP Vintage Warmer for compression, and I love some of the MeldaProduction plugins.
Image: Press
What’s the best free plugin you own?
It has to be the Melda suite. The flanger is excellent and the voice treatment really adds to my mixes.
Your sound is full of textural combinations and sonic experimentations. Is there a piece of equipment that helps you achieve this and helps spark the more avant-garde side of your creativity?
I have been collecting and using synthesizers for 25 years now, and each of them has a special trick that I love. Recently, a friend of mine built me a clone of the EMS synthesizer, and it’s really inspiring — but every new piece of equipment is inspiring! Whether it’s a cheap or expensive little thing, you always discover something new.
Are there any pieces of gear or techniques that you’re yet to try?
I’m not into full modular synthesizers — I think it would kill my time. It may be inspiring, but I see it as almost an AI-generated random process, as the machine makes accidents that create something, but it’s not for me. My limit is the ARP2600.
What’s been the biggest investment in your career/studio?
Finding a good place to build the studio, and doing it in the best way possible that suits my needs, alongside my favourite instruments.
The place is the key to any good studio to ensure you’re feeling comfortable. I don’t like to work at home but some artists like it. There is no rule as to where it should feel like the right place.
Image: Press
Do you have a dream piece of gear?
It’s not exactly a dream because I already own them, but the Roland TR-808 and ARP2600 are the two pieces I will never let go of, even If I need to sell everything. They are the two pieces of gear that cannot be replaced by any virtual synth or clone.
What’s a music production myth you think needs debunking?
I think many people will hate me for saying this, but I’ve been mixing my work in Logic for a while now, and I use mixing desks as preamps for instruments, not as mixers. I think it’s outdated now to mix on a desk, it’s not flexible. I like to listen and change my mixes in the studio, at home, on the MacBook speakers, in my car, and so I need the full picture. Plus, the quality of the DAW works well if you know how to use it.
What’s the biggest piece of advice you’d give as a musician?
I used to have negative feelings towards people who were successful, especially if I considered them an imposter; it made me feel very jealous and angry. However, after a few years, I realised that the key is just to do your own thing, and focus on what gives you joy and peace.
I’ve made sure that I always work with kind, talented human beings. I’ve made a sweet label and have a lovely agent and managing environment. I always try to keep the same excitement that I felt when I first touched a synth and a guitar. It’s these things that keep the joy.
DESTIINO ii will be out in 2025 on Lumière Noire.
The post DESTIINO: “I think it’s outdated now to mix on a desk; DAWs work well if you know how to use them” appeared first on MusicTech.

Toontrack announce Fusion EZX The latest expansion pack for Toontrack’s ever-popular virtual drum platforms has arrived, delivering a set of four seven-tom kits that cover a range of classic and modern fusion styles.

Drop Nineteens' Greg Ackell Discusses Returning to Music and Their New Old AlbumBoston-based shoegaze pioneers Drop Nineteens have released their long-shelved demo album 1991. Greg Ackell spoke with AllMusic to discuss revisiting the original recordings, the band's return, and his thoughts on the music scene today.