GForce launches official Prophet~5 plugin with original hardware functionality and classic factory presets
GForce, best known for its virtual instrument emulations of classic gear, has partnered with Sequential to launch an official Prophet~5 plugin.
The Prophet~5, an analogue polysynth, was originally released in 1978 by Sequential Circuits. Heard across records from Genesis, Radiohead, Madonna and Aphex Twin, it introduced a new era of polyphonic synthesis, combining analogue resonance, patch memory and hands-on control. GForce’s plugin version marks the first ever official plugin version.

READ MORE: Imagine Plugins is changing who gets to make plugins

The plugin “faithfully recreates” the distinct character of the Rev1, Rev2 and Rev3 hardware revisions, and captures the sound, response and musicality that made the original instrument a trailblazer, from SSM warmth to the punch of the Curtis filter designs.
Alongside all original hardware functionality, the Prophet~5 plugin also introduces modern enhancements. It includes newly redesigned X-Modifiers and dual layer architecture with Layer, Split and Alternate modes with up to 10 voices per layer.
It also offers two selectable FX slots for Chorus, Phaser, Filter, Distortion, Tremolo and Compressor, plus dedicated Delay, Reverb and Pan Spread effects. There are also over 460 professionally designed presets, including the original 38 factory patches from 1978.
Additionally, there’s full MPE support, comprehensive MIDI CC mapping throughout, a patch browser with tagging and search functions, plus a resizable interface.
Learn more in the walkthrough below:

David Gibbons, CEO of Sequential, says, “The Prophet~5 holds a special place in Sequential’s history and in the wider story of modern music. GForce Software approached the instrument with real care, and no one comes closer capturing the character and musicality of the hardware. We’re excited to see their plugin introduce a new generation of musicians and producers to the Prophet~5.”
The Prophet~5 plugin is priced at £99.99, but right now you can get it for an introductory price of £69.99 until the end of July. Find out more via GForce.
The post GForce launches official Prophet~5 plugin with original hardware functionality and classic factory presets appeared first on MusicTech.

“We often see compromises between sound quality, isolation and durability – we aim to change that”: beyerdynamic launches DT 30 IE professional in-ear monitorsBeyerdynamic has unveiled its new DT 30 IE in-ear monitors, which boast “no compromises on sound quality”, and are aimed at musicians from the rehearsal room to the big stage.
Designed to meet the demands of modern live performances, the DT 30 IE in-ears boast powerful 11mm dynamic drivers, delivering a balanced sound across a range of 5 – 20,000 Hz. They also offer high passive noise isolation of up to 39 dB, meaning their personal mix isn’t disrupted or muddied by the loud elements around them like drums, guitar amps or loud audiences.

READ MORE: Focusrite ISA C8X’s preamps aren’t its only impressive feature

Additionally, the new in-ears sport an IP54-certified design, meaning they’re resistant to dust, water splashes and anything else the stage might throw at you.
Comfort has been a focus of the design process, too, with an ergonomic design that fits snugly in the ear and weighs just 2.7 grams per earpiece. Each set of DT 30 IE in-ears comes with three pairs of silicone ear tips and three pairs of foam ear tips in sizes S, M and L, catering to a range of different ear sizes and material preferences.

They’re durable, too, with Kevlar-reinforced detachable cables with an MMCX connector system – replaceable if necessary. Meanwhile, gold-plated connectors and integrated memory wire ensure a stable connection.
“With in-ear monitors for live use in particular, we often see compromises between sound quality, isolation and durability,” says Kevin Nietsch, Product Manager for Pro Audio at beyerdynamic. “A truly balanced combination of these requirements is still rare. With DT 30 IE, we aim to change that – by consistently bringing this valuable balance to the stage.”
“Whether I’m on an arena tour, performing at a festival or playing a club show with SDP, GReeeN or DJing myself, I can always count on my beyerdynamic in-ear monitors,” says DJ and producer Qris.
“Their clear, balanced sound and excellent noise isolation on loud stages provide me with the same sound quality live as I’m accustomed to hearing from my beyerdynamic headphones in the studio.”
The DT 30 IEs are available now from the beyerdynamic online store and from authorised retailers, priced at £99.
Learn more at beyerdynamic.

The post “We often see compromises between sound quality, isolation and durability – we aim to change that”: beyerdynamic launches DT 30 IE professional in-ear monitors appeared first on MusicTech.

DT 30 IE: New in-ears from beyerdynamic Designed with the demands of real stage environments in mind, the new DT 30 IE promise to deliver a balanced sound, exceptional passive noise isolation and robust durability to performers at every level.

Shadaloo Audio DSP releases Vinland Drive FREE tape emulator plugin
Shadaloo Audio DSP has released Vinland Drive, a free vintage tape emulator plugin for macOS and Windows. We recently covered Wide, Shadaloo Audio DSP’s free stereo and spatial enhancement plugin, and the developer also released H, a free tone and loudness enhancer, earlier this year. Those were both decent plugins, and Vinland Drive continues in [...]
View post: Shadaloo Audio DSP releases Vinland Drive FREE tape emulator plugin

Fred again.. to lead FREE production workshop and networking event at Abbey Road Studios this FridayFred again.. is to lead a two-and-a-half hour session at the inaugural Trans+ Future Sounds workshop at London’s famous Abbey Road Studios, an event celebrating trans+ music creators.
Presented by Trans Creative Collective (TCC) and We Are Moving The Needle – an organisation which campaigns for more women, non-binary and trans representation among music producers and engineers, founded by Grammy-winner Emily Lazar – the Abbey Road event will see Fred again.. joined by an “extraordinary lineup of artists and industry leaders” for an afternoon of mentorship, skill-building, community and networking.

READ MORE: Legendary DJ Carl Cox awarded an OBE

The free event is the first in a series, which will bring together 15 trans+ songwriters, 15 trans+ producers and 15 industry professionals spanning the spheres of production, songwriting and industry.
In keeping with the Trans Creative Collective’s ethos of inclusivity not exclusivity, the Abbey Road event is completely free to attend. All genders are welcome, with priority given to trans and queer creatives, organisers say.
“Since we started TCC in 2021, our whole mission has been to make space for trans+ creatives to thrive, not just survive, in the music industry,” says co-founder charlieeeee. 
“Trans+ Future Sounds – made possible alongside our incredible partners We Are Moving The Needle – feels like the fullest expression of that yet. Getting to welcome our community into Abbey Road, one of the most iconic recording spaces in the world, and to have artists like Fred again.. want to give his time and expertise to that community is genuinely moving.
“We want every trans+ producer, songwriter and creator who walks through those doors on Friday to feel celebrated. Because they are forging new ground, and we’ll be behind them every step of the way.”
The Trans+ Future Sounds event at Abbey Road Studios will take place on Friday, 19 June from 3-8pm. Abbey Road Studios is located at 3 Abbey Road, St John’s Wood, London, NW8 9AY.
The post Fred again.. to lead FREE production workshop and networking event at Abbey Road Studios this Friday appeared first on MusicTech.

Collaya launches in-DAW co-producer plugin for Apple Silicon Macs
Collaya has launched a new co-producer plugin and standalone app for Apple Silicon Macs. The idea behind Collaya is to bring an AI-assisted writing partner directly into the DAW, rather than sending musicians to a separate browser tab or a prompt-based music generator. It runs as an AU/VST3 plugin in supported Mac DAWs and is [...]
View post: Collaya launches in-DAW co-producer plugin for Apple Silicon Macs

W.A. Production offers the Vocal Splitter plugin for FREE for a limited time
W.A. Production is offering Vocal Splitter as a free download with the coupon code GETWAVS. Vocal Splitter normally costs $29, but you can add it to your W.A. Production account for free by applying the GETWAVS coupon at checkout. I don’t see an end date listed for this offer, so it’s worth grabbing sooner rather [...]
View post: W.A. Production offers the Vocal Splitter plugin for FREE for a limited time

Focusrite ISA C8X’s preamps aren’t its only impressive feature£1,900, focusrite.com
Industry behemoth Focusrite can, so the story goes, trace its success back to one key event. Eager to find a better-sounding preamp and EQ for use in his AIR Studios, Sir George Martin approached the newly-formed Focusrite for a solution. He chose this unknown startup for a very good reason: Rupert Neve was the company’s founder and chief engineer. What resulted was the ISA 110, a transformer-coupled mic/line preamp and EQ module that proved so popular it pushed Focusrite onto the path that’s seen it rise to one of the biggest and most respected players in the industry.

READ MORE: At $159, the SSL 1 is an audio interface that bedroom producers must consider

Nowadays, Focusrite is just as well known for its Scarlett and Clarett audio interface lines, and it seems obvious that it should combine this expertise with its still-world-class ISA preamp design. This has finally happened with the launch of the ISA C8X.
Image: Press
What inputs and outputs does the Focusrite ISA C8X provide?
Shifting away from the red shades of Scarlett and Clarett, Focusrite has fronted the C8X’s rackmount 2U enclosure with a blue anodised panel liberally adorned with buttons, meters, and soft amber backlighting. The blue is much deeper and richer than the Novation-style blue shown on the Focusrite’s website (and the press shots here). The backlighting, reminiscent of glowing vacuum tubes, adds a delicious retro-tinged garnish atop the sharp contemporary lines of the fascia. It’s an exceptionally stylish thing!
The Focusrite ISA C8X showing its true colours. Image: Adam Crute
Packed inside this handsome exterior is an impressive feature set. Each of the eight analogue mic/line inputs feature both XLR and balanced jack sockets on the rear panel, so you can connect both in an installation then switch between them via the control panel or Focusrite Control 2 (FC2) software. The first two channels can also handle high impedance instrument inputs via convenient front-facing jacks and, located between these, there’s a tiny hole behind in which lies a built-in talkback mic.
This generous output count ensures plenty of flexibility when hooking up outboard processors and routing any of the system’s six internal mixes to different performers or zones. They can also be assigned to any of C8X’s three monitor groups, switched from the unit’s fascia or the FC2 software, and these groups can be anything from two-channel stereo to 7.1.4 surround. Better still, output pairs can be included in multiple monitor groups so, for example, your main left/right stereo monitors can also be included as the front left/right pair in a surround configuration.
Input and output count can be expanded via digital I/O ports: one pair of coaxial in/out connectors and two pairs of optical ins/outs. The exact digital channel count depends on the unit’s sample rate and port configuration, but maxes-out at 16 channels at 44.1 and 48 kHz. Word clock input and output BNCs make it easy to integrate C8X with other digital gear, and I’m pleased to see a pair of old-school MIDI DINs nestled amongst the rear-panel connectors too.
Image: Press
Come on, tell us about these illustrious preamps!
Much to the chagrin of many an online commenter, only the first two channels are graced by ISA preamps, the remainder using the same preamp as found in many of Focusrite’s 4th generation Scarlett interfaces. I get the disappointment, but putting eight ISA pres into C8X would have pushed the price to at least the £5k mark, and the commentariat would instead decry the steep asking price. Besides, Focusrite sells digital output boards for its line of standalone ISA preamps, allowing them to integrate easily with C8X (or indeed many other interfaces), so there’s no problem adding additional ISA pres if you want.
There’s nothing inherently wrong with the non-ISA preamps (Focusrite calls them ‘modern-style’ preamps). They give a clean, well-balanced sound, a healthy 69dB of gain, and feature an Air mode presence peak and variable Drive setting, both aimed at making the preamp sound more console-like.
That said, the contrast between the ‘modern-style’ and ISA pres is immense – the latter are, after all, the real deal, right down to the genuine Lundahl LL1538 transformers, and so exude most of the qualities of the revered original. Low ends are rich and balanced. Mids are detailed and exquisitely defined, and the top end shines and sparkles yet manages to soften and sweeten any hint of harshness. And if the tonal balance and response isn’t quite right, a choice of four input impedances (the original 110’s 1.4kΩ, along with 800Ω, 2.4kΩ and 7kΩ options) aids in matching the preamp to the mic and source. Similarly, the instrument input can switch between 400kΩ and 1.2MΩ for a warmer or brighter sound, respectively.
Adding to the ISA pres are two analogue circuits that can be enabled. The 430 Air option engages an inductor-based high shelf circuit taken directly from the ISA 430 MkII preamp, giving a boost to presence and high-frequency detail. Console engages a soft clipping circuit aimed at injecting some of the pleasing overdrive that can be squeezed from the original ISA 110 by pushing the input into the module’s output transformer, and keeping levels under control with the output Trim control. C8X’s Console mode does a reasonable job of emulating this effect without adding cost, but a genuine trim-controlled output transformer would have been nice to see.
The ISA channels also sport 75 Hz 18dB/octave high-pass filters for removing rumble and handling noise and—one of my favourite features—fully balanced insert points for patching in outboard processors prior to the signal hitting the digital converters.
Image: Press
Is the ISA C8X easy to use?
All configuration of input channels can be performed directly on the unit’s front panel, as can monitor control and group switching, and headphone volume levels. Deeper control—including setting up the six internal monitor mixes—is handled by the FC2 software, which itself can be remote controlled by the FC2 app running on an iThing or Android device.
C8X also features an auto-gain system that monitors a few seconds of input and then sets channel gains appropriately. I have yet to encounter an auto-gain that isn’t overly conservative, and C8X’s system is no different. Better results can be achieved by spending a few minutes to set gains manually, but I can see the benefit in some use-cases (a self-recording drummer springs to mind). Oh, and, C8X’s auto-gain only appears to work on mic and instrument inputs – I’m not sure why the line inputs don’t get a look-in!
Focusrite ISA C8X mix page. Image: Adam Crute
Do those ISA pres make C8X worth the money?
The ISA preamps are clearly C8X’s unique selling point, and are without doubt the thing that will attract the most attention. This is right and proper because they sound incredible! But there’s more to C8X than just a pair of fancy preamps; the remaining six are good too, and Focusrite has packed the unit with all the pro-level features you’d expect from an interface at this price.
The ISA C8X is (just about) affordable enough for smaller studios, yet has the flexibility and expandability to serve as the hub of far larger studios and post-production facilities. And, to top things off, it looks so damned good!

Key Features

USB 2.0 audio interface
2 analogue mic/line/instrument inputs equipped with genuine ISA preamps, 430 Air circuit, soft clipping circuit, high pass filter and balanced insert points
Switchable impedance for ISA preamp mic and instrument inputs
6 analogue mic/line inputs equipped with Scalett-style preamps featuring Air and Drive
12 analogue balanced line outputs
2 independent headphone outputs
2 optical I/O pairs supporting ADAT/SMUX and S/PDIF
1 coaxial I/O pair for S/PDIF
Up to 16 channels of digital I/O at 44.1 kHz/48 kHz (reducing to 8 channels at 88.4 kHz/96 kHz; no ADAT I/O above 96 kHz)
Word clock in/out via BNC
MIDI in/out via standard 5-pin DIN
USB-C socket (USB-C to USB-C cable provided)
Focusrite Control 2 app for iOS and Android allows remote control of hardware
Includes Focusrite Hitmaker Expansion featuring plugins, sounds, tutorials and more
Sonnox Oxford Reverb included and Sonnox bundle discounts

The post Focusrite ISA C8X’s preamps aren’t its only impressive feature appeared first on MusicTech.

10 musical patterns you need to know (rhythmic, melodic, and harmonic)
From polyrhythms to tertiary harmony, we explore ten rhythmic, melodic, and harmonic musical patterns that every music creator should know.

The US government’s Anthropic models ban was never about an AI jailbreakThe Trump administration's decision that forced Anthropic to pull its latest cybersecurity models could be reactionary, retaliatory, or both, but the message is clear: The AI industry isn't immune from U.S. government interference.

A Song That Changed My Life: Cardinals on Aphex Twin’s “Avril 14thThe Band Members: Euan Manning; lead vocals, guitar, Finn Manning; accordion, vocals, Oskar Gudinovic; guitar, Aaron Hurley; bass, Darragh Manning; drums.

The Storyteller: Finn Manning

The Song: Delicate and unnerving, Aphex Twin’s “Avril 14th” hesitantly registers in the mind, allowing its beautiful four-chord piano arpeggiation to take hold. Its muted, ever-so-slightly held notes linger just long enough, signaling a melancholic and unsettling, as well as a sad and stunning sensation all at once.

The mesmerizing two-minute composition highlights how Aphex Twin (Richard D. James), one of the forefathers of drill ‘n’ bass and Intelligent Dance Music (IDM), operates —brilliantly balancing creepy, borderline disturbing sonic aesthetics with moments of minimalist beauty. Because of this subconscious duality, it inadvertently slid into the mainstream, from cinematic soundtracks to iconic hip-hop samples. Today, it pops up as a shortcut in classical crossover and ambient playlists, instantly cutting through digital clutter.

The Background: Hailing from the charming harbor town of Kinsale — the official starting point of the Wild Atlantic Way, a breathtaking 1,600-mile highway winding along Ireland’s rugged Western coastline filled with dramatic sea cliffs and lonely lighthouses — Cardinals eventually followed a beacon of light calling them to settle in the historic, St. Finbarr-guarded city of Cork. Answering to their internal fate, they let the weathered, siren songs of the winding city streets guide them toward crafting music that subtly leans into an abrasive, yet melancholic, alt-folk-rock landscape; a style that fully channels the poetic realism baked into the backbones of the classical Irish musicians and authors.

In due time, the Leeside five-piece garnered the attention of Fontaines DC Frontman Grian Chatten. After releasing their self-titled EP filled with post punk energy and a strange, somber vitality, they entered the studio for a second time — a session which culminated in the creation of Masquerade — a strikingly stark, structural dyad of songs bleeding out equal measures of “alcohol and ecstasy.”  This visceral duality found its physical home in the vinyl itself: a brighter, more romantic everyday clarity spun into Side A, balanced against the moody, dark-art styled descent of Side B.

The release is a modern sonic manifestation of the Claddagh ring. The left hand gripping the sharp, angular post-punk sounds, the right cradling the fraught poetic fragility; at the center lies the heart, absorbing it all, creatively balancing the contradiction into a distinct unified sound. It is an artistic tightrope that Finn Manning subtly credits to “Avril 14th” and the ghost in the machine guiding his creative process with the band.

The Story: Like so many listeners navigating the modern musical landscape, Finn Manning’s introduction to Aphex Twin’s “Avril 14th ” arose through rosy childhood retrospection.  Specifically, he was captivated by the parallel musical narratives in Kanye West’s “Blame Game” from 2010’s My Beautiful Dark Twisted Fantasy — a striking intersection where a contemporary classical piano instrumental was sampled as an anchor for a maximalist rap production. Even at a young age, this phantom melody seemed to possess a melancholic, poignant air that felt entirely detached from the rest of the song.

Driven early on by an exceptionally acute ear for musical nuances, Manning became obsessed with the beautiful piano arpeggiation beneath the bravado, prompting him to dig through the digital and physical crates. What he uncovered beneath the rap framework was the source material: the delicate, unadorned skeleton keys of Aphex Twin’s “Avril 14th” and its subdued essence.

This realization served as the creative genesis for Manning’s approach to songwriting within Cardinals. His finely tuned mind recognized that a lyricless composition could tell an entire story on its own, leaving listeners to fill it with any mood desired. It is precisely this emotional shapeshifting that drew Manning in. He recalls being struck by the tactile physicality of the sound, the tangible human element felt within the recording itself.

“The chord progression on 'Avril 14th ' really interested me in how music was able to tell a story by itself,” Manning notes. “The production of the recording is so intriguing in its base. The clicking of the keys has this typewriter effect that almost reminds me of a noir detective film.”

Through that same physicality, the different melodies in the song seemed to evoke different feelings. “I was particularly struck by the textures I was hearing.” Manning continues, “There’s a click and crackle where you can hear the physical keyboard itself working. I was mesmerized by how the left hand bass notes flowed and complemented the right hand at all points.”

Beyond the structural cleverness and unassuming delivery of the song, the track became a lifelong musical gateway. Manning leaned into classical piano, which eventually guided him toward artists who use atmosphere as the foundation of songwriting. “I went on to listen to a lot of classical music…and it led me to Brian Eno, and his album Apollo: Atmospheres and Soundtracks.”

Today, that old, fuzzy feeling when hearing “Avril 14th acts as a time capsule. Played on a modified Disklavier, the track’s mechanical imperfections heighten its beauty.  When Manning listens to it now, the music effortlessly flattens time and space together, transporting him back to how he heard it for the very first time — “lonely, optimistic, affecting.”

“The song has no lyrics, but the piece itself is incredibly emotive,” Manning reflects. “Still, today I can listen to it, and it can have a different feeling every time. I get different shades of melancholy, pride, hope, and nostalgia depending on what I am feeling.”

Photo Credit: Steve Gullick

The post A Song That Changed My Life: Cardinals on Aphex Twin’s “Avril 14th first appeared on Music Connection Magazine.

Nvidia’s $20 billion debt boom reinforces Bitcoin miners' AI pivotNvidia’s planned bond sale reinforces booming AI infrastructure demand, strengthening the case for Bitcoin miners pivoting toward AI data centers.

Ergonomic Mouse Gives Each Fingertip Its Own SaddleWant to make your own ergonomic mouse but don’t know where to start? Why not try [psudoku]’s Kotinos design?
It’s a scaffold-like fingertip shell that uses the internals of an HSK Pro mouse. Each fingertip gets its own little saddle-shaped nook, and things like hand size and paddle surface can all be configured by modifying the OpenSCAD scripts.
[psudoku]’s unit looks to us as though it was maybe made using multi-jet fusion (MJF) 3D printing, but it should be perfectly printable on hobbyist printers, whether resin- or filament-based.
Comfort of the contact surfaces is left up to the end user, but if your print lacks smoothness and sanding isn’t your jam, you might consider a layer of fabric tape to create a velvet-like surface on a 3D print. That’s a trick we’ve kept in mind ever since seeing it put to good use, cushioning the hardware in a DIY steam deck case.
Is the minimalist scaffold approach to a mouse not your style, or does your hand crave something less lightweight but a little more personalized? You might want to craft a truly custom-fitted mouse, for which clay is the way.

Analog Realism Sphinx 101Master bus processor with the world's first shared voltage rail. Three console topologies, four transformer models, multiband dynamics, EQ, stereo width, filters, and HF soft clipping (tube and solid-state modes) - all physically modeled at the component level. The core technology, TrueRail, connects all processing modules through a shared virtual power supply. When you push one module harder, every other module responds - rail sag, thermal drift, transformer saturation shifts, crosstalk between stages. Twelve analog mechanisms running simultaneously, just like real hardware. Each plugin instance loads with unique per-component tolerance variation, so no two instances sound exactly alike. Verified with 2,043 automated signal measurements across 9 test suites, zero failures. Full Plugin Doctor measurements published openly at https://analogrealism.com/pages/test-results.html Free demo available - fully functional with brief periodic silence. No subscriptions. Read More

Sir Lucian Grainge highlights global opportunity for Japanese artists ahead of Music Awards in Tokyo, where UMG artists Fujii Kaze and Mrs. GREEN APPLE win top prizesGrainge delivered remarks at an official gala for Music Awards Japan, according to UMG.
Source