Altitude Audio releases Crossfeed, a free stereo imaging plugin for Windows and macOS
Altitude Audio has released Crossfeed, a free stereo imaging and monitoring plugin for Windows and macOS. If you use headphones for mixing and feel like you’re missing out, this one might help. To be 100% honest, I don’t think headphones will ever sound exactly like speakers, but tools like this one can at least emulate [...]
View post: Altitude Audio releases Crossfeed, a free stereo imaging plugin for Windows and macOS

Sound Advice fromAlphaTheta’s managing director Hiroaki Nishikawa: “Trust is incredibly important; micromanaging often causes friction”Hiroaki Nishikawa, or Hiro, is the managing director of AlphaTheta EMEA and a veteran at the company. A passion for DJing took him first to Pioneer Australia and then Japan, where he worked across product strategy, development, finance, sales and marketing. Now based in London, he continues to oversee the company’s expanding range of DJ-centric products with an eye on making gear that’s accessible to both newcomers and pros – but gear that helps people forge an emotional connection through music.
Here are five pieces of Sound Advice that Nishikawa has learned throughout his career.
1. Music is about meaning, not just hardware
“At AlphaTheta we believe music has a power to bring people together no matter where they’re from or how old they are. We started with strong engineering and product design, of course, but now we focus more on creating meaningful experiences, not just tools. We have evolved from being a product-centric to a purpose-driven company, which means we care not only about what we make, but why we make it.
“And so our goal is to help DJs and music creators express themselves, to connect with others and build communities through music. One example is our partnership with Bridges for Music, a non-profit in Cape Town, South Africa. Together we help to give people in under-resourced communities access to education, creative tools and skills for music careers.”
2. Legacy brands live long in people’s minds
“Last year, we introduced AlphaTheta as a business brand, which led to some mixed interpretations. But Pioneer DJ is still very much alive and well with a strong legacy. The launch of AlphaTheta gave us a chance to express a bigger mission, one that’s focused on the human experience of the music. It’s named after two brain wave states, Alpha and Theta, which we believe DJs often reach while performing.
“AlphaTheta is about the connection between technology, creativity and human emotion. Of course, our CDJ systems are well known, but our goal is to keep moving forward by imagining what comes next while respecting what has gone before.”
3. In a better world, everyone has access to music-making tools
“We are really passionate about making it easier for people to get started with music. That means designing easy-to-use products, offering accessible learning resources and creating a welcoming, inclusive environment for everyone. That’s why we created the Start From Scratch Workshop Program. This campaign is all about breaking down barriers and making DJing open to everyone. The workshops are hands-on and beginner-friendly, helping people learn the basics like beat matching and mixing, all in a fun and supportive space.”
4. Good leaders trust their teams
“I’ve had the opportunity over the last 15 years to lead teams in fast-paced and high-stakes environments, and I’ve found trust to be incredibly important. I think micromanaging often causes friction. On the other hand, empowering others boosts morale and unlocks better productivity. Early on, I felt like I had to have every answer, but over time, I learned that good leaders listen and ask questions. I think it’s a continuous journey, and I’m still on it.”
5. DJs help make products better
“We have an artist relations team and a product planning team and, basically, we are constantly talking to DJs about their wants and needs with regard to products. We might show some DJs a product at an early stage, get feedback, make another version and so on over many months. We might talk to a hundred or more DJs over the course of developing a product. One example is we found that people were using Apple Music in their daily life, so we incorporated support for that directly into our hardware and software.”
This interview with Hiroaki Nishikawa appeared in the MusicTech Magazine July/August 2025 issue.
The post Sound Advice fromAlphaTheta’s managing director Hiroaki Nishikawa: “Trust is incredibly important; micromanaging often causes friction” appeared first on MusicTech.

“Listening is not just about hearing, it’s about understanding”: Guedra GuedraAlthough house music, techno, rock ‘n roll, jazz, and hip-hop are all products of Black culture, the story of Africa remains largely untold in modern popular music.

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There have been some recent advances. The internet has helped dance subgenres like Afro House and Amapiano reach Western audiences. Furthermore, major artists such as Drake are incorporating these styles into their music, while Nigerian-born acts such as WizKid and Burna Boy are gaining serious traction. Looking to the past, certain African figures like Afrobeat inventor Fela Kuti and early electronic pioneer Francis Bebey are crucial to the history of music.
But given the sheer size and cultural diversity of the continent — which includes 1.6 billion people living in 54 countries and speaking over 2,000 languages — such awareness does not come close to demonstrating the full breadth of African musical creativity.
Guedra Guedra, the Moroccan experimental producer, notes that even music technology brands can inherently reject African culture by limiting African styles like polyrhythms and unconventional time signatures from their libraries of loops and samples. He’s had to manually program these types of patterns into Ableton and reassign step sequences to match traditional cycle lengths on his drum machines.
Image: Press
“Technology companies could integrate these presets easily, but until they do, the responsibility is on producers to hack and re-map their tools,” says Guedra Guedra, real name Abdellah M. Hassak.
Hassak is doing much more to honour his heritage than shifting things around in his DAW, though. On his new album, MUTANT, he sought to present Africa’s modernity and history through sound. He travelled to different African countries, including Egypt, Senegal, Mauritania, and Tunisia, gathering all manner of field recordings and integrating them into his brand of leftfield dance music.
“The African continent is vast, with a surface area roughly three times larger than that of Europe. Travelling across Africa has always been a dream for this project,” Hassak says. “Travelling to different African countries was not just about collecting sounds. It was about engaging with living archives. Each place carries its own sonic DNA, shaped by history, environment, and social rituals. Whether travelling physically, culturally, or intellectually, I wanted MUTANT to connect the rhythms of today to the ancestral pulse of the continent.”
Throughout his travels, he gathered any kind of audio that caught his interest. Musical performances, conversations, interviews, and atmospheric sounds. He would use mobile recording devices — a Zoom H4 and his iPhone — to capture them readily. He also gathered recordings from friends and fellow artists who live in different parts of Africa. Moving between countries can often be a complex process in Africa, as many require separate visas, and travel is generally expensive.
Image: Press
“Throughout my career, I have met many artists from across Africa, and we have built strong mutual support. Thanks to my network, I was able to access a wide range of sounds through their efforts, even without physically travelling to every place,” Hassak says, mentioning that people from around Africa sent him everything from their own field audio to vinyl samples to recordings of oral traditions.
Regardless of the recording sources, Hassak’s guiding principle comes from a Moroccan proverb told to him by his grandmother: “Jdid loo jadda o lbali latefarat fih,” which translates to “New things are good, but never abandon the old ones.”
“That wisdom has stayed with me in everything I do. Each voice, each environment, each accidental sound is part of a larger story about who we are and how we’ve come to be,” Hassak says. “Listening is not just about hearing, it’s about understanding, discovering, and allowing yourself to be reconstructed by what you encounter. The stories embedded in these recordings are not only about the people who told them, but also about the spaces, silences, and histories that shaped their words.”
Gathering these recordings as such made maintaining a consistent sound quality impossible, but that speaks to the idea of a story being told. If one piece of audio is low quality, that reflects how and why it exists. So, when Hassak was integrating them into the final masters, he would find ways to manipulate them into the music he made with his array of machines, creating a bespoke mesh of the organic and synthetic.
Technical perfection is secondary to the value of the sound itself for me
The centrepiece of Tribes With Flags is a spoken-word piece from French-Egyptian director, Jihan El-Tahri, surrounded by different sonic elements such as vinyl surface noise, tuned percussion, chopped up vocal samples, and electronic undertones. On The Arc of Three Colours, Hassek configures a traditional African call into reverberant, high-frequency coating.
“Technical perfection is secondary to the value of the sound itself for me. When making MUTANT, I refused to use AI tools to clean or isolate elements. The challenge was to work with the recordings as they were, fragmenting them and blending them with analogue machines and Ableton Live,” Hassak says. “This ‘mobile quality’ gave the sounds a unique texture that became a strength rather than a limitation, adding authenticity and depth to the final mix.”
To have maximum control over each sound, one tool he used was the Arturia DrumBrute, which allowed him to very intentionally manipulate each sound and place them within different sequences. “This separation was essential because it let me treat field recordings almost like individual instruments, shaping them alongside analogue percussion with precision,” Hassak says.
Many of the field recordings that ended up in the album weren’t the original form that Hassak gathered on the ground. He would find individual moments within them, such as a hand striking wood or the reverb of a voice, creating an overall sonic picture that was more fluid and nebulous than direct.
Image: Press
“These fragments would be layered with analogue beats, often built sound-by-sound rather than loop-by-loop, which gave the music a more organic and unpredictable pulse,” Hassak says, explaining how he reprograms African stylings into his machines. “I like to reduce the reliance on software at the early stages, letting the machines and recorded materials speak first. It’s a way of making music that’s almost archaeological: uncovering layers, recontextualising them, and allowing their original acoustic DNA to influence the rhythm and harmonic choices.”
Other times, happy accidents would occur when field recordings and other pieces of audio would converge in random ways:
“On Enlightenment, for example, the track began with a two-year-old synth improvisation that I rediscovered while archiving files. At the same time, a raw field recording was playing in the background. The unplanned collision of the two sounds immediately sparked the core idea for the piece,” Hassak says.
MUTANT is an album about collisions. Hassek collided with the cultures of his continent and grabbed the sounds that represented his experiences. He relied on other African artists he’s connected with to share their cultures through audio. Then he brought those sounds together with machines in his studio. The result is an authentic expression of African culture presented through a lens that modern audiences are poised to understand.
“When global attention is coupled with respect for origin and innovation rooted in tradition, it becomes a true dialogue rather than just a trend.”
The post “Listening is not just about hearing, it’s about understanding”: Guedra Guedra appeared first on MusicTech.

Toontrack launch Real to Reel SDX Toontrack’s latest SDX expansion includes eight new kits recorded at the legendary Real World Studios, and has been created in collaboration with Grammy-winning engineer Kevin Killen.

Race for global stablecoin rails heats up with Stripe, Fireblocks launchesStripe and Fireblocks networks will go up against crypto-native players such as Ripple and Stellar, as well as established global processors like Visa.

Facebook is trying to make ‘pokes’ happen againThe poke-tracking feature is largely designed to appeal to younger users who have grown up with gamification elements built into their social apps, like Snapchat and TikTok Streaks.

Focusrite Group hosts inaugural Educational Summit at Create-it StudiosAttendees of the Focusrite Group’s inaugural Educational Summit, held August 14-15 at the cutting-edge Create-it Studios in Franklin, TN.The Focusrite Group announced on Thursday that it, "hosted its inaugural Educational Summit on August 14-15 at the cutting-edge Create-it Studios in Franklin, TN. Organized by Dr. Lee Whitmore, Vice President for Education, Focusrite Group Americas, the summit brought together leading voices in music, audio, and education for two days of thought leadership, collaboration, and exploration of best practices in preparing the next generation of creators.""The event followed closely on the heels of the July 26th Focusrite Group Create-it Takeover, held at Create-it Studios, a groundbreaking creative innovation space developed in collaboration with Walmart and sponsored by Full Sail University," they said in a statement. "Located inside Walmart in Franklin, TN, Create-it Studios is a one-stop destination for podcasting, music production, video creation and live events, open to everyone, regardless of experience or background.""At the Education Summit, attendees participated in panels, workshops, and discussions that spanned topics such as immersive audio, curriculum design, music technology innovations, and cross-industry collaboration. A highlight of the program was a Dolby Atmos® panel moderated by GRAMMY®-nominated engineer and audio educator John Merchant, with guest experts GRAMMY-winning engineer Jon Blass and noted electronic music producer/DJ Greg “Stryke” Chin sharing insights on the future of spatial audio.""Special thanks were extended to the Create-it team, along with Full Sail University’s Andrew Duncan and Michael Orlowski, for their contributions to the event."Attendees included representatives from:Belmont University

Calhoun Community College

Columbia State Community College

Dark Horse Institute

Dolby Laboratories

Eastman School of Music

Florida State University

Full Sail University

Greenwich High School, Greenwich, CT

Lipscomb University

Loyola University New Orleans

Metro Nashville Public Schools

Miami Dade College

Middle Tennessee State University

North Carolina State University

University of Alabama at Birmingham

University of North Alabama

Virginia State University“Focusrite has always been deeply committed to supporting education and empowering the next generation of music creators,” said Dr. Lee Whitmore. “This summit gave us the opportunity to bring together a remarkable group of educators, industry leaders, and innovators to share knowledge, inspire one another, and advance the role of music technology in education.”"The Focusrite Group Educational Summit marks the beginning of an ongoing initiative to foster dialogue and collaboration between academic institutions, industry leaders, and creators, ensuring that the tools, resources, and inspiration needed for tomorrow’s music innovators remain accessible and impactful."The post Focusrite Group hosts inaugural Educational Summit at Create-it Studios first appeared on Music Connection Magazine.

On… The China ParadoxThis article originally appeared in Tim Ingham’s latest MBW+ Review email, issued exclusively to MBW+ subscribers.
Source

Tips for Homebrewing InductorsHow hard can it be to create your own inductors? Get a wire. Coil it up. Right? Well, the devil is definitely in the details, and [Nick] wants to share his ten tips for building “the perfect” inductor. We don’t know about perfect, but we do think he brings up some very good points. Check out his video below.
If you are winding wire around your finger (or, as it appears in the video, a fork) or you are using a beefy ferrite core, you’ll find something interesting in the video.

Of course, the issue with inductors is that wires aren’t perfect, nor are core materials. Factors like this lead to inefficiency and loss, sometimes in a frequency-dependent way.
It looks like [Nick] is building a large switching power supply, so the subject inductor is a handful. He demonstrates some useful computational tools for analyzing data about cores, for example.
We learned a lot watching the tricks, but we were more interested in the inductor’s construction. We have to admit that the computed inductance of the coil matched quite closely to the measured value.
Need a variable inductor? No problem. Before ferrite cores, good coils were a lot harder to wind.

Strymon unveil PCH stereo DI box Strymon's latest release takes the form of a stereo DI box that’s been optimised for those connecting their pedalboards and keyboard/synth rigs to a PA, audio interface or full-range speaker system. 

Momo Behringer JT mini EditorVST and Standalone Editor and Soundbank for the Behringer JT mini Synth. Here are my MIDI Editor for the Behringer JT mini Synth. The JT Editor gives you direct access from the DAW to the Behringer JT mini parameters, allowing you to integrate it into the DAW project. In the PlugIn VST version you can record the controller movements and so the sound change can be saved. Editor Features: - Simple handling of the JT mini without menu surfing. - Complex sound changes can be made easily and quickly. - Change Behringer JT mini Sounds directly from Editor. - Many controllers can be automated. - X-Y modulation of all parameters. - You can random the Controllers of the Behringer JT mini Synth to produce new sounds. - You can use your Behringer JT mini as a sound module in your DAW. - A Editor sound bank with over 40 new sounds is included. The Editor are available for: - PC: As VST2 and Standalone for 32-bit and VST2, VST3 and Standalone for 64-bit Windows. - MAC: As VST2, VST3, AU and Standalone, compatible with MAC Intel and Silicon. Video: https://youtu.be/4Ntwg06dfKA Home: https://jt-mini-editor.jimdofree.com Read More

Erica Synths’ MIDI Dispatch is the new “command centre of your studio setup”Erica Synths’ new MIDI Dispatch acts as a “command centre” for your studio, and is the successor to its MIDI Thru Box.
The MIDI Thru Box was Erica Synths’ first-ever desktop unit, and this new, upgraded version offers improved functionality including a USB-C MIDI interface. The brand says that essentially, the MIDI Dispatch is an ultra-low latency splitter from one MIDI input to eight outputs, with advanced MIDI filtering options.

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The MIDI Dispatch lets you connect up to eight instruments to your MIDI keyboard, sequencer, and directly to your laptop via USB-C. You can configure each output separately for improved flexibility in the studio or a live setting.
Take a look at the demo video below to see how it can be implemented into your studio space:

In other news from Erica Synths, the brand recently revived the Formant – a modular analogue synth you could only build by following circuit diagrams from Elektor, an electronics-themed magazine from the 1970s.
Erica Synths has turned it into a modern DIY kit, and to promote its launch, it teamed up with British musician and YouTuber, Look Mum No Computer (aka Sam Battle) to preview the updated Formant at a live soldering marathon that took place at Battle’s This Museum Is (Not) Obsolete museum.
Earlier this year, Erica Synths also offered the first glimpse of its HEXDRUMS – an analogue drum machine made in collaboration with Canadian Eurorack module manufacturer, Hexinverter. In 2022, the company announced its closure, and Erica Synths later took over its catalogue. The brand has since re-released a number of its products, namely its drum modules.
The MIDI Dispatch is available now for €125.00. You can learn more or buy now directly from Erica Synths.
The post Erica Synths’ MIDI Dispatch is the new “command centre of your studio setup” appeared first on MusicTech.

Music Tectonics Creator Fair: Hypebot readers save 66%!The Music Tectonics Creator Fair is happening on November 4 at Santa Monica Pier. It's a unique opportunity to explore the future of music-making and learn about tools that can move your career forward.
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UK Live Music Industry: A Year of Growth and Growing PainsNewly released data shows how the UK live music industry closed out 2024 on a high note with record-breaking consumer spending. Yet, it also reveals an increasing strain on the grassroots scene that we see in the U.S. as well.
The post UK Live Music Industry: A Year of Growth and Growing Pains appeared first on Hypebot.

What is phantom power (and when do you need it)?
Learn about what phantom power is, how it works, and when and why you need it when you're making music using microphones and other devices.