Telepathic Instruments Orchid: Latest batch incoming Telepathic Instruments have revealed that the latest batch of their innovative hardware instrument is set for launch on 10 October 2025.

Telepathic Instruments Orchid: wildly popular synth and chord generator from Tame Impala gets its global releaseTelepathic Instruments – the gear brand co-founded by Kevin Parker, better known as Tame Impala – has announced the global launch of Orchid, a synthesizer with an emphasis on chord generation and helping musicians “get out of their head and into the music”.
Orchid has already proved wildly popular, with two limited drops in January and May this year selling out 1,000 and 3,000 units, respectively, in “minutes”.

READ MORE: “Never thought I’d be saying this, but thank you Fortnite”: Daft Punk fans hail “closure” with Fortnite collab

Now, Orchid is being released worldwide, meaning thousands of synth fans and music producers can now get their hands on one.
First conceived by Kevin Parker more than a decade ago as a personal songwriting tool, Orchid first arrived as a 12-key, 16-voice polyphonic synth with three synth engines, and crucially, a chord logic system for quickly building chord progressions. That chord generator comprised a matrix of eight chord-type selecting and chord-modifying keys, with users able to play a root note and subsequently generate chords and voicings.
It featured a collection of onboard effects including reverb, chorus and delay, four LFOs and envelope generators for modulation, and even a separate bass engine.
Credit: Telepathic Instruments
Since it first launched, Orchid has been adopted by a wide array of music industry professionals: it can be heard on Kid Cudi’s Submarine from his 2025 album Free; Don Toliver used it to write chords for his track Call Back, while other artists harnessing its creative potential include Janelle Monáe, Diplo, Ryan Tedder, Fred Again, Joy Anonymous, Madison Beer, Logic, Mark Hoppus, Murda Beatz, Gracie Abrams and Sarah Landry.
Now, the first 4,000 customers who were lucky to get their hands on Orchid during the first two drops – known as the Garden – have offered input leading to the latest iteration of the groundbreaking synth, and the one which is now available as a global release.
“Telepathic has turned feedback into features, ideas into interfaces, and accidents into innovations in this third release,” the brand says.
“Orchid is designed to help songwriters, producers, and artists find what’s on their mind, and what began as Parker’s sketchpad has evolved into a refined, community-shaped instrument, now ready for its first true global release.”
These community-led improvements and enhancements include: Beats, a number of pre-programmed beats by Kevin Parker; a dedicated cutoff frequency filter for sound shaping; Quantisation; the ability to save and modify sounds directly on Orchid; Drum FX, new rhythmic controls for the unit’s beat engine and more.
Watch Telepathic’s irreverent instructional video to celebrate the global launch of Orchid, which features comedians Matt Berry and Jemaine Clement, and channels ’90s synth DVDs in its equal part tutorial and comedy.

Pistil: a software companion to Orchid
Coinciding with the launch is a brand-new piece of software named Pistil, which takes the original synth engine Kevin Parker used to design Orchid’s 60 onboard sounds and turns it into a plugin.
Through Pistil, users can access Telepathic’s universe of sounds, create, customise and save sounds without an Orchid hardware synth, and take advantage of two-way sync with Orchid, meaning you can take sounds and put them straight into your DAW.
Pricing & Availability
Credit: Telepathic Instruments
Orchid will be available exclusively via telepathicinstruments.com on October 10, 2025, at 10:00AM local time across Telepathic’s key markets. Early access will also be available to members of the Garden via Patreon.
Orchid is priced at $549, while Pistil is available bundled with Orchid for $699, or as a standalone plugin at $129.
In the leadup to the launch, Telepathic Instruments is opening a ‘Flower Shop’  for people to play with Orchid in Los Angeles on 2-5 October, followed by a pop-up at Amsterdam Dance Event, taking over Filling Pieces in the heart of the city on 22-26 October.
For more information, head to Telepathic Instruments.
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W. A. Production’s Satyrus distortion plugin is FREE via BVKER for a limited time
W. A. Production is giving away Satyrus, its $39.90 distortion plugin, completely free via BVKER until October 3, 2025. This is a limited-time offer. To get it, you need to register an account on BVKER’s site, complete the zero-cost checkout, and redeem your license with W. A. Production. This is one of several deals and [...]
View post: W. A. Production’s Satyrus distortion plugin is FREE via BVKER for a limited time

“Never thought I’d be saying this, but thank you Fortnite”: Daft Punk fans hail “closure” with Fortnite collab“Never thought I’d be saying this, but thank you Fortnite.” Such was the overwhelming sentiment from fans after the launch of the new Daft Punk Experience, which many have hailed as a moving tribute – and, for some, the closure they didn’t know they needed.
The “first-of-its-kind” in-game event landed 27 September, offering players an immersive trip through a Daft Punk-inspired world. From remixing tracks in the Dream Chamber Studios to blasting robots in the Robot Rock Arena and dancing at the Daft Club, the experience was billed as part interactive concert, part celebration of the duo’s legacy.
But many longtime fans, it went deeper.

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One Redditor, who has followed Daft Punk since 2003, says the experience was nothing short of cathartic.
“Once it loaded up, floating above Earth with Contact playing I immediately got choked up… Entering that pyramid, gazing at the visuals, TV turned up too loud, and just being fully surrounded by the sound with a bunch of like-minded fans was like one last, perfect concert.”
The fan describes the moment as “a confirmation of all that they did was so great,” recalling how they broke down when their wife asked how it was: “All I could say was ‘fucking perfect.’”
That same user, who played the game with their 9-year-old son, also shares how the event created a generational bridge: “I heard him in the headset, literally screaming with glee and running around his room dancing to the music. He’s been addicted ever since and he’s constantly asking me questions about the robots and their music.”
“Fortnite has exposed an entire new generation to two of the most innovative artists of our time, and provided a 20+ year fan with a memory with his son that we’ll both have forever.”
Other fans have echoed the emotional weight of the collaboration. User Odysseymanthebeast comments, “I became a Daft Punk fan early 2021, and their break up absolutely broke me. This whole experience re-ignited that spark I once had for the band.”
Another, too, praised Epic Games (the developer of Fortnite) for striking the right chord: “Say whatever you want, no matter how valid the criticism: this is an unquestionable win of a release.”
For many, Fortnite didn’t just host a flashy crossover – it gave fans the chance to celebrate Daft Punk’s legacy, pass it on to a new generation, and say goodbye, fittingly, one more time.

The Fortnite x Daft Punk Experience is set to run until 1 November.
Learn more at Epic Games.
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Music library cleanup made easy: Lexicon wants to be “the iTunes replacement for DJs”Managing a massive – and often messy – music library is arguably one of the most frustrating parts of DJing, but Lexicon is here to change that.
Describing itself as “the iTunes replacement for DJs,” the independent software platform is designed to streamline the repetitive prep work of managing a large digital collection, so you can spend less time at the screen and more time behind the decks.

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Whether you’re cleaning up metadata, building smart crates, fixing beatgrids or syncing tracks across different platforms, Lexicon’s cutting-edge automation gives you complete control and customisation with tools such as duplicate removal and unlimited custom tag creation.
DJs can remove duplicates without breaking playlists, bulk edit thousands of tracks, and generate cue points automatically. The platform also offers over 400 hotkey functions as well as unlimited cloud storage and backup so your collection is future-proof. Furthermore, seamless syncing across major DJ platforms (including Rekordbox, Serato, Traktor, and DJay Pro) guarantees that your music is ready wherever you spin.
For those managing large collections, it’s proving to be a game-changer: Among active users across 172 countries, Lexicon has been recommended for handling libraries of up to 1.2 million tracks with ease.
The latest 1.9 update makes the platform even faster, with an optimised cue point generator that processes tracks up to ten times quicker, improved downbeat detection, and added support for Djay Pro.
In addition, a new Free plan now allows DJs to import and convert libraries between major apps at no cost, while the new Lifetime License offers permanent access to all current and future features – perfect for users who’d like to avoid those pesky monthly subscription fees.
By taking the grind out of library management, Lexicon gives DJs back their time, allowing them to focus on what matters most: the music itself. For anyone tired of endless prep, this might just be the one-stop solution the DJ world has been waiting for.

Learn more at Lexicon DJ. 
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“The more it feels like piloting a spaceship, the happier I feel”: Nation of Language are embracing spontaneityIan Richard Devaney, Aidan Noell and Alex MacKay sought the teachings of electronic music GOATs for their latest Nation of Language album, Dance Called Memory. The record, which is out now, colours their metamorphic synthpop with shades of shoegaze, and is imbued with the creative and technical philosophies from Kraftwerk and Brian Eno, with production by LCD Soundsystem’s Nick Millhiser.

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“We really tried to lean into making the recording process as unpredictable as possible,” Devaney tells us in this Studio Files interview. In practice, this meant fewer takes, more guitars, and plenty of spontaneous mod wiggling on some of their more trusted synths and plugins — the GS e7, Valhalla’s Vintage Verb and Moog DFAM, to name a few.
Following an Album of the Year award from Rough Trade in 2023, the NYC-based trio signed to Sub Pop (label of Nirvana, Foals, Father John Misty) and are preparing to bring their frenetic, immersive live set to the London Roundhouse this November. And what to expect from such a show? “There is sadness, there is gratitude, there is dancing.”
Image: Press
You’ve dropped four singles from your upcoming album, now. What’s the response been like, and how are you feeling now that the music’s out there?
Ian Richard Devaney: The response has been great so far. The more we tour, the more I see people singing along to the new ones, which is always an incredible feeling. We’re feeling pretty relieved — the time between finishing a record and releasing it tends to be when the doubting voices in my mind get the loudest. It’s good to get out on the road and force those voices down.
You’ve mentioned that Kraftwerk and Brian Eno’s ethos is particularly influential in Dance Called Memory. Could you tell me more about that?
IRD: Definitely. Kraftwerk is sonically such a north star for us; the sounds that they create just make my brain buzz in the best way. Their school of thought is very much about removing the humanity from the music, though, which — while it might have been revolutionary at the time — is today kind of depressingly going on all around us. With that in mind, we talked a lot about Eno. I read that if he needed to send a synth to get repaired, he would also include a list of things that were wrong with it, but he did not want repaired, because he liked the unpredictability.
So we really tried to lean into making the recording process as fun and unpredictable as possible. Not too many takes, lots of random flipping of switches and twisting of knobs when someone’s recording their part.
Image: Press
Tell us a bit about your studio.
IRD: My studio is a back room of my apartment in Brooklyn. A few synths, a few guitars and basses. I’ve been borrowing a friend’s UA LA-610 to use for demoing vocals.
Our producer, Nick Millhiser [of LCD Soundsystem], has a studio in his own house that is much more of a proper studio. He’s got a big blue Oram BEQ board (formerly of the DFA studios in Manhattan) that has been, as he puts it, “EXTENSIVELY modified by John Klett from Tech Mecca and Andrew Roberts from Purple Audio.” He’s got boatloads of rack gear and synths, and tape echoes. It’s a very exciting physical space to occupy.
The more it feels like piloting a spaceship, the happier I feel. [Nick] definitely uses it in a way that keeps everything feeling very alive. The main thing he’s taught me is not to be too precious about things. If you have the tools to experiment, try them out and see where it gets you.
Image: Press
What’s your latest gear or plugin purchase?
IRD: My most recent purchase was the GS e7, a really cool polyphonic analogue synthesiser. To be honest, the first thing that caught my eye about it was its beautiful blue colour. I saw it at Perfect Circuit in LA and, after spending a while obsessively watching YouTube demos, went back the next day. I got it for the live rig because I wanted to switch things up for the new round of touring. I had previously been using the DSI Tetra and a Prophet 6, but the Tetra was so annoying to make sounds on. I wanted something more hands-on.
What’s the best plugin you own?
IRD: Valhalla Vintage Verb gets a whole lot of use during the writing and demoing process. Sometimes it makes it through to the end. It’s just a great way to quickly dial in some reverb so I don’t slow myself down. It’s actually one of the only non-Logic Pro effects plugins I own. Special shout-out to the Logic Delay Designer plugin, though — another workhorse of the writing process.
Image: Press
What’s been the biggest investment in your career/studio?
IRD: My Minimoog is probably the biggest investment. It’s a really central piece of this band in a way. When I was just starting out, I would pore through photos of classic synth artists like Gary Numan and Kraftwerk, and it seemed like such a common denominator. At first, I could only afford the Arturia plugin version, but through that, I learned the basics of how to use it, so finally getting one was huge for me. It just sounds so rich and warm, I really love it.
Synths and drum machines have always played a major part in the NoL sound. How does a track usually start with these instruments in mind, given the potential for clashing with guitars and vocals?
IRD: Since the synths and the vocal parts are often written at the same time, it’s mostly a matter of trying to weave things together in such a way that they’re not stepping on each other. Either that or making harder decisions during the final recording process. In the end, I try to ask myself what the most important thing is, and subtract from there.
Image: Press
How do you see your sound and studio evolving in the next two years?
IRD: I am interested in seeing how I can mess with the writing process. It’s not that I’m bored with how I do things by any means, but I do want to see what it’s like to write somewhere else, or on an instrument I don’t use much, or don’t know how to use at all.
The nice thing about synths is that there is such a deep well of exploration available. On the song In Another Life from our new record, we experimented by running the drums and Moog DFAM together through a Korg MS20 to crush it all together — not something I’ve done before, but definitely something I want to try more of.
What’s a music production myth you think needs debunking?
IRD: Honestly, I feel like most of the musicians and producers I’m surrounded by in my life have this combination of respect and admiration for the traditional methods, but also come from a DIY environment that says, “as long as it sounds cool, it doesn’t matter how you make it.” So I think I’ve been insulated from production myths in a way.
Aidan Noell of Nation of Language. Image: Press
Who gave you the biggest lesson in your career? Can you tell us about how it impacted you?
IRD: My wife and bandmate, Aidan, gave me the biggest lesson of my career, which is to be relentless in the pursuit of what I want. When she joined the band, she had never played an instrument before — a bunch of previous band members had moved away, I hadn’t had much luck booking shows, and she came in and said, “Teach me the synth parts,” took over booking, and lit the fire under me to keep driving forward.
There are so many setbacks and disappointments in the creative process and in the music business; it really requires not only tons of personal effort, but also all of us encouraging and supporting each other wherever we can.
Nation of Language live sets are beloved — how complex are these shows, considering how layered your music is?
IRD: They certainly feel complex in this moment because we’re in the process of practicing and refining sounds and exploring how we can make the live show hit as hard as possible. It’s part of why I decided to add the GS e7 to the synth station and change things around.
If people have seen us before, we want them to know that we’re not just doing things exactly the same way that we did the last time they saw us. We’re constantly reassessing — trying to figure out how to get the drums sounding better, or seeing where we can strip things back, or where we can add new parts that aren’t in the recorded version.

What can we expect from the upcoming shows?
IRD: A lot of the songs are kind of morose, but we always try to bring joy to the shows as well. There are always a whole lot of emotions flying around and blending together. We often just sum it up by talking about catharsis: There is sadness, there is gratitude, there is dancing.
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Video details
Video title:
Я бегу
Artist(s):
Pchelsh
Genres:
Pop, Electronica
Release Date:
29-09-2025
https://www.youtube.com/watch?v=X_RXP2QRvo8
#newmusicvideo #VEVO #Music #LifeCycleLtd #artist #pop #electronic

It’s Time To Normalize Cutting Session Musicians Into Master Royalties (Points)Whew, I got quite the backlash for my post about normalizing giving points to session musicians.  Seems like an innocent enough thought experiment. My fatal flaw was using Taylor Swift as an example of the wealth disparity in the music industry. The algorithm fed it to Swifties and they had a lot to say about […]

Jason Bonham Discusses His Top 5 Songs from Led Zeppelin's Physical GraffitiThe legendary drummer spoke with AllMusic before the launch of the upcoming Jason Bonham's Led Zeppelin Evening tour, and selected his 5 favorite tracks off Physical Graffiti, celebrating it's 50th anniversary this year.

California Governor Newsom signs landmark AI safety bill SB 53SB 53 requires large AI labs – including OpenAI, Anthropic, Meta, and Google DeepMind – to be transparent about safety protocols. It also ensures whistleblower protections for employees at those companies.  

US regulators dismiss SEC-CFTC merger rumors, move to dispel crypto ‘FUD’Caroline Pham rattled off data about the CFTC‘s enforcement actions since she became acting chair in a roundtable event to discuss the agency and the SEC working together.

How to change tempo in Pro Tools
Learn how to master tempo changes in Pro Tools with our step-by-step guide.

Songview Gets a Major Upgrade: 38 Million Tracks, All in One PlacePictured: ASCAP CEO Elizabeth MatthewsIn a move that’s shaking up the music industry, the four major U.S. performing rights organizations—ASCAP, BMI, SESAC, and GMR—have joined forces to expand Songview, the industry’s go-to platform for public performance copyright data. Launched in 2020 by ASCAP and BMI, Songview now includes information on over 38 million musical works, offering the most comprehensive view of public performance copyright ownership and administration shares from a single source.This expansion means that for the first time, Songview will feature data from all four major PROs, providing a unified platform for music users to access detailed information on songwriters, composers, music publishers, and copyright ownership shares. The platform will begin incorporating data from GMR and SESAC, starting with the addition of all 100%-owned works represented by these organizations. Additionally, Songview will enhance the data for GMR and SESAC works that have split ownership percentages with ASCAP and/or BMI by including publisher names, addressing one of the most popular information requests from Songview users.This collaborative effort aims to provide greater transparency in music licensing, benefiting both creators and licensees. As ASCAP CEO Elizabeth Matthews stated, “We are thrilled to collaborate with BMI, GMR, and SESAC as we innovate to provide more transparency to licensees into musical ownership data for the combined repertories of the most performed music in the world.”This move is a significant step towards a more transparent and efficient music licensing system, ensuring that creators receive the compensation they deserve while licensees have the predictability they need. For those interested in exploring this expanded database, Songview is free to the public and currently accessible on the ASCAP and BMI websites. Find more information on the Songview website or check out the latest updates on the ASCAP and BMI sites.

The post Songview Gets a Major Upgrade: 38 Million Tracks, All in One Place first appeared on Music Connection Magazine.

Macintosh System 7 Ported To x86 With LLM HelpYou can use large language models for all sorts of things these days, from writing terrible college papers to bungling legal cases. Or, you can employ them to more interesting ends, such as porting Macintosh System 7 to the x86 architecture, like [Kelsi Davis] did.
When Apple created the Macintosh lineup in the 1980s, it based the computer around Motorola’s 68K CPU architecture. These 16-bit/32-bit CPUs were plenty capable for the time, but the platform ultimately didn’t have the same expansive future as Intel’s illustrious x86 architecture that underpinned rival IBM-compatible machines.
[Kelsi Davis] decided to port the Macintosh System 7 OS to run on native x86 hardware, which would be challenging enough with full access to the source code. However, she instead performed this task by analyzing and reverse engineering the System 7 binaries with the aid of Ghidra and a large language model. Soon enough, she had the classic System 7 desktop running on QEMU with a fully-functional Finder and the GUI working as expected. [Kelsi] credits the LLM with helping her achieve this feat in just three days, versus what she would expect to be a multi-year effort if working unassisted.
Files are on GitHub for the curious. We love a good port around these parts; we particularly enjoyed these efforts to recreate Portal on the N64. If you’re doing your own advanced tinkering with Macintosh software from yesteryear, don’t hesitate to let us know.

In ‘landmark’ move, SESAC and GMR join ASCAP and BMI’s ‘Songview’ copyright database, expanding platform to 38m+ worksPlatform will feature information for over 38m musical works licensed by the four major performing rights organizations in the United States
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