Synapse Audio ProximaStep into the golden era of analog synthesis with Proxima, a meticulously crafted plug-in that brings the iconic warmth and character of a vintage analog synthesizer to your DAW. Powered by advanced circuit modeling, every nuance of the original hardware - from its rich oscillators to its lush filters and saturating amplifier - has been faithfully recreated with unparalleled precision. Proxima is based on a unique analog synth from 1982, famous for its rich 6-voice polyphony, signature Curtis analog chips, and the first synth ever to integrate MIDI input and output. While Proxima faithfully recreates the tone and character of the original hardware, additional features have also been added to facilitate the creative process and bring the hardware seamlessly into the sphere of soft synths. This includes additional filter types, a powerful modulation matrix with 10 slots, a comprehensive arpeggiator/sequencer, as well as an effect section to further shape the sound. Proxima is available in VST, AAX and Audio Unit formats, and supports MIDI Polyphonic Expression (MPE), as well as the Native Kontrol Standard (NKS). Powerful Arpeggiator/Sequencer Designed with ease of use in mind, the Arpeggiator/Sequencer in Proxima has an accessible and straightforward interface that simplifies the process of adding rhythmic or cyclical elements to a patch. Simple though it may be, it's also highly programmable and capable of complex modulations by virtue of its inclusion as a modulation source in the Mod Matrix. Advanced effects algorithms The effects section plays an important role in sound design. From soaring electric guitar-style leads to larger-than-life pads, the effects applied to a patch are a significant part of what gives it its final timbre. Proxima features summary Accurate circuit simulation. Two high-quality VA oscillators. Low- and band-pass filter types (12/24dB). 8x oversampled engine. Comprehensive effects section. Up to 12 voices of Polyphony. Advanced Arpeggiator/Sequencer with 5 modulation slots. Support for MPE (MIDI Polyphonic Expression). Support for MTS (Microtuning). Available as VST 3, Audio Unit and AAX. YouTube.com/watch?v=ofedpxeGIzU YouTube.com/watch?v=FDhufDCzWk4 Read More

Get JMG Sound’s Lofinity Degrader for $15 in 78% OFF Intro Deal
You can now score JMG Sound / United Plugins’ Lofinity degrader plugin for just $15 (normally $69) in a 78% off introductory deal. JMG Sound debuted the plugin on October 14, 2025, and the intro deal expires on November 30, 2025. Lofinity is a Windows and macOS release for VST, AAX, and AU.  JMG Sound [...]
View post: Get JMG Sound’s Lofinity Degrader for $15 in 78% OFF Intro Deal

Spectrasonics Omnisphere 3 arrives Omnisphere 3 introduces thousands of new sounds along with a whole host of new synthesis features, additional effects, an Adaptive Global Controls system, MPE support, expanded hardware integration and more.

Musician’s Guide to Instagram: How to Make the Platform Work for YouThis Musicians' Guide To Instagram offers a practical playbook for artists who want to grow, engage, and monetize on Instagram.
The post Musician’s Guide to Instagram: How to Make the Platform Work for You appeared first on Hypebot.

What Musicians Need to Know About Sora 2Sora 2 from OpenAI is a robust AI text to video creation tool that presents both frightening and exciting possibilities. Here's what musicians need to know about Sora 2.
The post What Musicians Need to Know About Sora 2 appeared first on Hypebot.

The Antelope Audio Discrete 8 Oryx is an interface designed to be the “new heartbeat of your studio”Antelope Audio has unveiled its new Discrete 8 Oryx audio interface, and with its 26 inputs, 38 outputs and “major improvements” in preamp topology, is designed to be the “new heartbeat of your studio”.
Boasting eight Discrete ultra-low noise preamps with a six-transistor design inspired by classic vintage consoles, the Discrete 8 Oryx offers “detailed, transparent sound” for everything from sensitive ribbon mics to dynamic drum recordings.
Additionally, each preamp is DC-coupled and compatible with XLR and line-level TS/TRS connections, while the interface’s two front inputs can be switched to Hi-Z mode for direct instrument recording.
Credit: Antelope Audio
The unit’s comprehensive connectivity also includes selection of monitor outs and four headphone outs, while producers can utilise Antelope’s virtual patch bay for hybrid flexibility between analogue and digital channels.
There’s also a built-in talkback mic, footswitch for dim and mute controls, and Word Clock I/O, which effectively keeps numerous digital audio devices synchronised with one another.
The Discrete 8 Oryx is powered by Antelope Audio’s latest AD/DA converters, which offer up to 130dB of headroom and fourth-generation 64-bit AFC clocking. These result in “exceptional stereo width, depth and detail”, says Antelope.
The unit’s onboard Synergy Core effects processing platform also allows you to run a collection of world-class analogue-modelled digital effects – including compressors and EQs as well as amps and reverbs – in real-time with zero perceptible latency. 
Credit: Antelope Audio
Such use cases could include providing a vocalist with an effect-flavoured monitoring chain – with reverb, for example – which could enhance performance, or offloading CPU-intensive processing during tracking and live performance. 37 effects come included, with more available on the Antelope Audio Software Store.
Other features include a colour display for standalone control, and USB connectivity for simple integration with both macOS and Windows systems.
Discrete 8 Oryx users can also take advantage of Antelope’s X-Feed headphone crossfeed system, which replicates the spatial characteristics of loudspeakers in a stereo environment, offering a soundstage similar to speaker monitoring while wearing headphones.
The Discrete 8 Oryx will be available from November, priced at $1,299 / €1,199. Learn more at Antelope Audio.
The post The Antelope Audio Discrete 8 Oryx is an interface designed to be the “new heartbeat of your studio” appeared first on MusicTech.

OneLibrary: AlphaTheta partners with Algoriddim and Native Instruments to make CDJs, djay Pro and Traktor work in unisonAlphaTheta has collaborated with numerous players in the world of DJ gear to launch OneLibrary, a new unified music library format which enhances cross-compatibility between software and hardware from different brands.
Aiming to foster a “more open industry environment”, with OneLibrary, AlphaTheta has partnered with brands Algoriddim and Native Instruments to standardise essential DJ performance data – including playlists, cue points and beatgrids – offering greater flexibility and the option to play music across a wider range of equipment.

READ MORE: Rock heavyweights Garbage are quitting touring despite a strong following – is being a working musician becoming increasingly unrealistic?

OneLibrary seeks to address the problem many DJs face in being limited to specific software and hardware, and not being able to access music libraries or use USB devices on standard provided equipment at venues, for example.
Essentially, OneLibrary is an evolution of Rekordbox’s Device Library Plus, and allows DJs to export their music libraries for “seamless play” across Algoriddim’s djay Pro and NI’s Traktor software.
DJ hardware currently compatible with with OneLibrary includes AlphaTheta’s new CDJ-3000X – which we gave a strong 8/10 in our review – the CDJ-3000 (with firmware version 3.30 or later), XDJ-AZ, Pioneer DJ OPUS-QUAD and AlphaTheta OMNIS-DUO.
“We’re thrilled to launch OneLibrary, a step forward in making creative expression more seamless for DJs everywhere,” says Yoshinori Kataoka, President and CEO of AlphaTheta. 
“At AlphaTheta, our mission is to empower DJs to express themselves freely, without limitations. We’re grateful to our industry partners for sharing that vision and coming on board with this initiative. And this is just the start – so stay tuned.”
Karim Morsy, CEO of Algoriddim GmbH, adds: “At Algoriddim, we’ve always embraced open, accessible DJ technology that empowers creativity. Collaborating with AlphaTheta on OneLibrary aligns perfectly with our mission to remove barriers in the DJ ecosystem. 
“By allowing users to export djay Pro’s library for direct use on pro hardware like the CDJ-3000X, CDJ-3000, or the XDJ-AZ, we’re giving DJs the flexibility to perform seamlessly across setups – whether at home, in the club, or on stage.”
“Everything we do at Native Instruments is about inspiring and enabling creators to express themselves through sound,” says Native Instruments CEO Nick Williams. 
“OneLibrary is a big step toward a more open and collaborative DJ ecosystem – where music moves as freely as the people who play it. We’re proud to be an early partner with AlphaTheta in this initiative, and to bring seamless USB export not only to Traktor Pro 4 users worldwide, but also to new DJs starting out on Traktor Play.”
Learn more about OneLibrary at AlphaTheta.
The post OneLibrary: AlphaTheta partners with Algoriddim and Native Instruments to make CDJs, djay Pro and Traktor work in unison appeared first on MusicTech.

Get 42 IK Multimedia plugins for FREE when you buy AmpliTube 5 for $29.99
With the AmpliTube 5 deal on Plugin Boutique, the IK Multimedia 2025 All-In Group Buy becomes one of the best deals we’ll see all year, and I’m saying that even with Black Friday on the horizon. Here’s the short version: you can buy AmpliTube 5 for just $29.99 on Plugin Boutique and instantly unlock over [...]
View post: Get 42 IK Multimedia plugins for FREE when you buy AmpliTube 5 for $29.99

How Soulwax remixed Tame Impala, Peggy Gou, Daft Punk, Justice and moreEarlier this year, MusicTech published How we remixed The Cure. The feature included insight from five artists who contributed to Mixes Of A Lost World, a remix compilation from the legendary rock band’s newest album, Songs Of A Lost World.
Well, had things played out a bit differently, only one artist would have contributed to Mixes Of A Lost World: Soulwax.

READ MORE: How we remixed The Cure: Tips from Orbital, Trentemøller and more

“Robert [Smith] sent us a really nice note saying he wanted us to do the whole record. And the truth was that we could only make it worse,” says David Dewaele, who comprises half of Soulwax alongside his brother, Stephen.
Over the last 20 years, Soulwax remixes have become heralded as the pinnacle, with the Dewaeles putting their spin on everyone from Tame Impala to Daft Punk to The Rolling Stones. But their most common response to remix requests is the same as they gave The Cure:
“We turn most of them down. If we don’t have a good idea, we’re not going to do it for the sake of it,” Dewaele continues. This meticulous approach allows them to enjoy the process when they do have a good idea. “Because we spend so little time on remixing, it’s what keeps it fresh. It’s one of the things we’re so well known for, but it’s not what we think of when we wake up in the morning. It has a parallel life.”
Recently, the Dewaeles have been spending time on their new album, All Systems Are Lying, due out October 17, but here, David took a break to speak about eight essential Soulwax remixes and how they made them.

Tame Impala – Let it Happen (Soulwax Remix)
Key gear: System 100, Wilson bass guitar
The remix of Let It Happen sounds like a live version of the original. How do you approach a remix when your intention is to keep it sounding like the first version?
The original song was so amazing, but it’s in 6/4. That is not ideal for a DJ to play out, so the first thing we did was reconstruct the song to 4/4. We kept [Kevin Parker’s] vocal as a full song, as opposed to on other remixes, where we cut up the vocal to make something radically different from the original.
Weirdly enough, because you said it sounds like it could have been just a live version, other than the rhythm guitar and his vocal, everything else has been replayed. It’s new drums, bass, percussion, synths, everything. It was both a challenge and an opportunity to do something that would musically stray from the original, but keep the song intact.

Justice – Phantom Pt. II (Soulwax Remix)
Key gear: MAPLIN 5600S
Justice’s sound design is so iconic. What was it like for you to put your spin on such a well-known sound?
When we did that remix, it wasn’t a well-known sound. They had a hit with their remix of We Are Your Friends by Simian while they were working on the album. That was the thing that they were known for. So, it wasn’t iconic yet.
We’d been friends for a year when they played us the album. Phantom Part 2 had this perfect blend of the aggressiveness we liked in rock music. But had that interesting melody that we could extend and make something that would work dramatically on the dance floor.
The original was quite static for us energy-wise. We mainly kept their synths but heightened the energy by what we do percussion-wise, and then we added a bunch of synths to make it smaller and bigger.

Chemical Brothers – Hey Boy Hey Girl (Soulwax Remix)
Key gear: EMS SYNTHI AKS, Roland TB-303 Devilfish Mod
The main thing you added to this one is a breakdown and build-up. How do you choose which element to be the driving force behind one of those breakdowns?
Unfortunately, that’s an answer I can’t give you, because I don’t know where that comes from. It’s staring us in the face when it happens, but I don’t know why it’s that thing. That whole process is not cerebral. I wouldn’t be able to explain it. I could make something up, but it would be fake.
The intention comes back to us as DJs. We want to avoid things ever becoming boring. So every 10 seconds, something needs to happen, and sometimes these long or extensive breakdowns are ideal because adding a hi-hat can feel so euphoric if you come from a minimal setup.

The Rolling Stones – You can’t Always Get What You Want (Soulwax Remix)
Key gear: ARP 2600
How did it feel to make this beat that Mick Jagger himself would never sing over?
Well, he loves it, by the way. This one was different in that it wasn’t made for the dance floor. It was made for a movie. They gave us a few options, and that one fit the song, our ethos, and the film.
The strange part was the rights. The rights for most of the Stones’ back catalogue are owned by this company called APCO, which is Alan Klein, who also managed The Beatles for a while; he owns that era of music. They sent the person in charge of the rights for those songs to Ghent to make sure we wouldn’t run off with the original parts.
We had this lovely woman from APCO sitting in our studio, basically saying, “How long do you think this is gonna take?” It ended up being a week, and she just sat on the couch, which is not the most inspiring situation. But in the end, we managed to do it.
We didn’t want to cut up a vocal and just make an Aphex Twin-type thing. We went through all the parts and found the bits that we thought we could keep, and walked that fine line between making something new without it being blasphemous; without it just being a house beat with the original song underneath.
We’ve had so many people come up to us and say that initially they thought it would be blasphemous for us to remix it, but they still love it. So, that’s a big compliment. Both from the Stones camp and from Stones fans.

Daft Punk – Robot Rock (Soulwax Remix)
Key gear: Korg MS-20
On this one, you guys reworked the descending synth line into numerous different sounds. What was it about that specific element that inspired you so much?
Daft Punk made this by sampling a Breakwater song. They’d cut it up and added the “Robot Rock” vocoder vocal. So all they gave us was two stereo tracks: The sample and the vocoder. Maybe their synths as well, but not a lot to work with.
By no means am I dissing that part, because I hugely respect it. How ballsy is that? To be like, “That’s it. We don’t need to add anything. This is good enough.”
For us, Daft Punk is hugely influential, and they were like, “Hey, we’re coming out with a new album. Here is the very first song, and we want you guys to remix it.” So the only thing that we felt some kind of freedom with was that synth line. We used a million synths, but it was mainly the MS-20. The work we did was more structural, adding those elements. But I kind of wish that we had more to work with.

Felix Da Housecat – Rocket Ride (Soulwax Rock It Right Remix)
Key piece of gear: EDP GNAT
Felix Da Housecat has been playing dancefloors for decades. What was it like to convert a song of his that was more befitting of different environments to a club version?
We’d become really good friends, and there was a period where we would be DJing on the same bill every two months or so. So at that point, you know what each other’s sensibilities are musically. We knew what he wanted, and he was quite eager to work with us.
Whenever he would come to our studio, he was always blown away by how the ARP 2600 sounds. Also, in previous remixes or productions, he was always asking, “How did you make this?” It was always with ARP2600. So we knew that for “Rocket Ride,” we were gonna have to do something with that.

Peggy Gou – I Go (Soulwax Remix)
Key gear: Ursa Major on ARP 2600, Roland Cloud Pro Mars plug-in
You spoke about ideally having more to work with on the Daft Punk remix. This song has lush melodies, which I imagine gave you tons to work with. With that in mind, what was it like producing this remix?
At first, we did a more heightened version of the original, and she came back to us and—we really respect this—she said, “Guys, this is great, but I don’t think you understand. I need something that can have a dramatic build, and then come in and be the big song of my DJ sets.”
We played with all the elements that we thought she was going towards with her DJ sets, which is more like 90s breaks. There were a lot of samples. There’s a sample that 808 State used on one of their big songs, but it’s actually in the E-mu emulator sample library. So we felt like we were just referencing a lot of early to mid-90s house and breaks. We wanted it to be different from stuff we’ve done before, but have the same energy levels.

Gossip – Standing In The Way of Control (Soulwax Nite Version)
Key gear: EMS-SYNTHI AKS
Gossip’s original song has a lot of sounds that are similar to Soulwax. How did you approach remixing a song that had such a sonic overlap?
Back then, we were playing the original in our DJ sets, but in comparison to all the other stuff, it wasn’t hitting as hard. It wasn’t coming in as energetically as we wanted it to. So, we just rang them up and said, “Hey, can you send us the multitrack for this?” Their response initially was, “We would have never dared to ask you to remix, but go ahead.”
[Our remix] is basically a selfish version for ourselves to have something for us and our friends, like Erol (Alkan) and Tiga, and James. Something to play out. This was at a time when a couple of bands were doing rock music for the dance floor; The Rapture, Gossip, Glass Candy. We felt like we could add something.
We took a while to reprogram all their drums to sound like they were cut up, replay the bass, and then add a bunch of synths. So it’s ideal, because we were able to be very faithful to the original. We just extended parts that we thought could work on a dance floor. This is the ideal mix, where we were able to keep the original song, augment it, and make this version that has become more well-known than the original. All the elements were there.
The post How Soulwax remixed Tame Impala, Peggy Gou, Daft Punk, Justice and more appeared first on MusicTech.

Your Top 10 Albums and "Letterboxd for Music"A question that sometimes has sent people our way over the years is "What is the Letterboxd for music?" and we've been working toward improving the AllMusic Profile experience with some of these same concepts in mind.

MIC Band Showcase Submissions Now OpenNews emerged on Monday that the "Music Industry Conference at Musikfest is expanding its offerings with a brand-new Band Showcase Program — and applications are officially open!"

Information, directly from the MIC, is below--

Selected bands will:

Receive professional coaching from a performing artist

Perform live on an official Musikfest stage

Get personalized feedback from industry pros, including agents, talent buyers, and programmers

This is not a competition — it’s an exclusive opportunity to gain real-world experience, grow your artistry, and connect directly with music industry professionals.

Only 10 bands will be selected to perform August 2–4, 2026, as space at the festival is limited. Bands may apply in one of several age group categories, so choose what best fits your ensemble.

Application Deadline: February 15, 2026

Please help us spread the word to other musicians and educators who might be interested in this exciting opportunity!

We can’t wait to see your band take the stage at Musikfest 2026!

— The Musikfest Music Industry Conference Team

Apply to be a part of the band showcase here

The post MIC Band Showcase Submissions Now Open first appeared on Music Connection Magazine.

Apple will let users roll back the Liquid Glass look with new ‘tinted’ optionApple is responding to user feedback on its new Liquid Glass design with a setting that lets users choose between Clear and Tinted appearances. Introduced in iOS 26.1 beta 4, the option gives users more control over interface opacity after complaints that Liquid Glass made some elements harder to read.

Yamaha reveal MODX M line-up Yamaha's latest synth line-up offers recording and performing musicians three compact, lightweight and affordable alternatives to the MODX+ range.

jasl-audio Striking Strings GlissandiSTRIKING STRINGS GLISSANDI. Striking Strings Glissandi (SSG) is created to deliver you unparalleled control over one of the most tension-evoking effects in orchestral music: the strings glissando, also known as a string riser. TAKE CONTROL. Gain real-time control over the pitch, articulations and dynamics of a string orchestra. Customize these parameters independently for more creative freedom, or choose for quick and easy results by linking them together to your modwheel. GLISSANDI IN ALL FLAVOURS. Create glissandi in six distinct articulations. Use the crossfade function to make real-time transitions between articulations, unlocking up to 36 unique glissando combinations. DYNAMICS. Take control of the expressivity with the dynamics slider, curve controller and accent controller. There are three dynamic layers at your disposal: mp, ppp and fff. Use the link button to synchronize the dynamics with the glissando for a powerful -plug and play- glissando tool. CREATE YOUR SOUND. Experience exceptional sound quality, created through a collaboration between accomplished musicians, skilled engineers, and state-of-the-art recording equipment. Customize your audio mix by adjusting the spot, stage and reverb channels and create a sound that perfectly aligns with your preferences. Read More

3 things you might have missed about Spotify’s AI music product plansMBW Explains is a series of analytical features in which we explore the context behind major music industry talking points – and suggest what might happen next.
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