Too Lost unveils a new mobile platform to empower artistsJust how much distribution can be done on a phone? According to Too Lost, the answer is pretty much everything.

DamyFx HellsBass Bass Amp SimulatorHellsbass is an Electric Bass VST3 Plugin amplifier simulator, designed to obtain an extremely powerful Bass sound (ideal for Rock and Metal sounds but at the same time it can be used for any musical genre having an extremely warm tube sound) with Hellsbass you will obtain sounds ranging from Jaco Pastorius to Pantera, Hellsbass is the Ultimate bass amplifier simulator. Inside the plugin you will find: Authentic visual design inspired by iconic bass amplifiers. Bass, mid and high EQ section and Presence. Dedicated On/Off switch to activate the Overdrive control called "Hells". Separate volume and master controls for gain staging. True pure tube amplifier sound. Read More

HYBE launches subsidiary in China, as K-Pop giant’s global expansion continuesChina is the world's fifth-largest recorded music market
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LANDR and Synchro Arts will give you a free plugin if you trial their subscription plansLANDR is hosting two plugin giveaways in collaboration with Synchro Arts for those who sign up to a free trial of either LANDR Studio or Synchro Arts subscriptions.
The LANDR Synth X and Synchro Arts’ RePitch Elements premium plugins are available free of charge for those who start a trial on either platform. These plugins are valued at $99 each.

READ MORE: LANDR Sampler uses AI to organise your sample library – could this be a godsend for producers?

LANDR Synth X is described as “a powerhouse synth plugin to elevate your tracks”, and you can redeem it for free with a trial LANDR Studio – its all-in-one subscription service offering plugins, software and other tools to help producers create, edit, share and monetise their music, which was launched back in 2022.
Synth X is a wavetable synth that has a multi-oscillator engine for rich tones, 400 “expertly crafted” presets, and integrated studio-grade effects. You’ll be eligible for this when you trial any LANDR Studio plan – Essentials, Standard, or Pro (monthly or yearly) – and it’s yours to keep forever.

As for RePitch Elements, this tool helps you achieve natural vocal tuning, and according to Synchro Arts, is trusted by top vocal producers. It hosts easy controls over pitch and timing, and can “seamlessly integrate” with DAWs. Again, this offer is available with any Synchro Arts plan (Artist or Pro, monthly or yearly).

And speaking of subscription plans, Waves has just launched an AI-powered text-to-sound engine called ILLUGEN, available through three plan tiers with prices starting at $7.99 per month. Users can simply feed ILLUGEN a text prompt – which can be pretty specific or weird – pick from their favourite of three generated sounds, and then simply drag and drop it into their DAW.
To start a trial and redeem a free plugin, you’ll need to head over to LANDR or Synchro Arts. You’ll receive a code via onboarding or email and further instructions.
The post LANDR and Synchro Arts will give you a free plugin if you trial their subscription plans appeared first on MusicTech.

Klevgrand overhaul Stark Klevgrand have just...

How to use sound design to turn a vocal take into a creative instrumentHave you been spending hours searching for samples and synth presets to inspire your next track? Getting creative with a single sound source can help you break the cycle.

READ MORE: How to record vocals on your phone and mix them to perfection

You can grab a phone-recorded vocal today and produce a full track with it. Here’s how.
Start with the bass
I’ve already captured a song idea on my iPhone in free tempo, so I’ll import it into a new session in Ableton Live 12. Find or record a vocal that suits your style, and follow along.

Drag a copy of the recording into Simpler or another sampler instrument. Here, you’ll cut, stretch and manipulate the pitch of your vocal.
Find a part in the clip that works well, even when playing the lowest notes on your MIDI keyboard. In the Controls window, transpose the pitch up a semitone, so that the notes on your keyboard match the pitch of the sample. Here, I compose a bass line that follows the rhythm of the vocal — you can try something similar.
Most sampler instruments come with sound design tools. In Simpler, I’ll use the MS2 low-pass filter and adjust the frequency, resonance, and drive. I want each note to come in and out gradually, so I tweak the attack, decay and release controls.
To ensure the bass cuts through on small speakers, try adding a clipper effect. The Bass Shaper setting in Live’s Analog Clip plugin is useful here, with some tweaking of the Drive and Dry/Wet knobs in Hard Clip mode.

Next, use a compressor to tame the dynamics a little. At this point, I also duplicate the bass and transpose it an octave down to enrich the sub register. Cut the frequencies below 25Hz and above 200Hz on the new Vocal Sub channel, and add the same EQ to my original Vocal Bass channel as well.

Cutting frequencies below 100 Hz and above 500 Hz gives you more freedom to process the Vocal Bass pad. I apply reverb with a low-cut EQ, turn the chorus on and increase the wetness to 95 per cent. A bit crusher can help make the pad sound brighter and dirtier, and you can shape the the dynamics and tone with compression and EQ. And finally, thanks to the drive module in the Cableguys ShaperBox 2, my bass is no longer static.

Build the synth pads
With the melody and bass in place, start writing the chords. In my session, I want to create some of the midrange elements with Simpler, treating each layer purposefully.
Using the same sample, design the first synth pad. First, I select the high-pass PRD filter in Simpler. For the pad to swell, increase the attack time and toggle the Portamento setting from the Glide menu.
Trap the sound with a band-pass EQ and use some saturation — I used Klanghelm’s free saturation plugin IVGI2. Other free plugins that come in handy are the TENSjr and Valhalla’s FreqEcho, injecting depth and width to the sound.

I’ll follow a similar strategy with three other sampler instruments that I’ve built out of different portions of the same recording. As you design each layer, try to pay attention to what’s missing in the frequency spectrum.

By transposing and processing short audio samples from the performance, you can create deep background vocal textures. You can try plugins like the Antares Harmony Engine to create vocoder-type layers, increasing the density of the production.

Design drum sounds with transients and sibilance
I want to implement some impact drum elements and light percussion, so I search for moments in the vocal take that can be repurposed through pitch shifting and effects processing.
First, I sample a particularly sibilant “s” and transform it into a hi-hat. Some Ableton Live stock plugins like Spectral Resonator, Vinyl Distortion, EQ Eight, Echo, and Hybrid Reverb will help give it some extra character.

The same clip easily becomes a rainstick-like texture when I slow it down. With Grain Delay, iZotope’s free Vinyl plugin, Valhalla FreqEcho and Hybrid Reverb, I can make it longer and smoother.

The “c” of the lyric, “coming down,” turns into a deep impact sound with a couple of transient shapers, Soundtoys’ Devil-Loc distortion, Ableton’s Spectral Resonator and tons of reverb. I dial the sound in with EQ and compression.
Unfortunately, my clip doesn’t have much of a transient tail. To imitate the natural decay of a kick drum, I’ll copy it, pitch it down 13 semitones, and paste it 5 times back to back in decreasing volumes.

To design the snare sample, I cut out the “p” at the end of the word “wipe”. Transient shaper, distortion, and reverb effects like Valhalla’s free Supermassive plugin play key roles in shaping the sound here.

Final touches
After some volume, panning and effects automation, it’s time to clean up the mix.
A sidechain compressor on the Vocal Sub channel, routed to the Vocal Impact drum, resolves masking issues. I’ll also group the impact and snare to compress, saturate and EQ them together for a tighter mix.
Next, I group all the layers in the midrange and employ FabFilter’s dynamic EQ, the Pro-Q 3. By sidechaining a smile curve band to the lead vocal, I can carve out enough space in the mix for the performance to shine.
With some light mastering, everything sounds even more glued together.

The post How to use sound design to turn a vocal take into a creative instrument appeared first on MusicTech.

Stimming breaks down the production techniques on his new single, ‘Lucky Me’Beloved for his delicate, detailed, and highly emotive production style, Martin Stimming has carved out a niche in the world of experimental IDM. Based in Harmburg, Germany, the producer is currently on part two of a trilogy of albums; each one dedicated to his three sons. 2021 brought us Ludwig; a glorious subversion of the artist’s more club-centric work, while the recently released Friedrich retains that sonic freedom but arguably dives even deeper into the emotional resonance that electronic music can offer.

READ MORE: Who is the next Aphex Twin? Meet the producers warping the future of electronic music

We catch up with Stimming to get the inside story on how he produced his recent single, Lucky Me.

Finding the feeling
A big part of Stimming’s creative process involves building up an archive of melodies, tones, beats, and field recordings, which might then chime with an experience or emotion he wants to explore on a track.
In the case of Lucky Me, the original musical material came from a small family pump organ situated under the staircase of his parents’ home. Having kicked everyone else out of the house so he could get a clean, ultra-close recording using a pair of LOM microphones, Stimming says he started performing with no clear idea of where the audio would eventually end up. “I knew what I wanted to capture,” he recalls of the process. “But, when I do a recording like this, I just think of it as sampling material; I know I will use it somewhere, but I don’t know where.”
The next element grew out of a jam session on Erica Synths’ PĒRKONS HD-01 drum machine. “It’s four voices of digital synth,” Stimming says of the instrument. “The special thing is the UI and the sequencer – the sequencer can change the patterns and the sound settings independently, and you can jump between snapshots seamlessly in an instant, which is crazy.” However, rather than use it for percussion, Stimming says the PĒRKONS HD-01 instead provided Lucky Me’s bass tones: “Drum synths are very good at baselines because they have this punch. So, I found a way of creating this ‘whoof whoof’ sort of dubstep bassline.”
Once Stimming brought together those organ recordings with his drum machine baseline, it resulted not only in great music but also produced a sound and a feeling that spoke to a deeply personal time in Stimming’s own life.
Two years ago, the producer received a cancer diagnosis — the treatment was successful, but it left an undeniable impact on him:
“Especially after I was first diagnosed, there was a feeling of being frightened but also of being challenged. After the surgery, it was like being released from it. I recognised that if I combed the pump organ recordings that I did at my parents, those tones together with this very deep bassline… it got very close to expressing what I really felt at that time.”
Image: Press
Pragmatic percussion
When it comes to percussion, rather than overthink it, Stimming’s approach is much more pragmatic – if it sounds good, use it.
“I wouldn’t be surprised if many of the drum sounds in Lucky Me come from the OP-1 Field,” he admits with a laugh. “Teenage Engineering really put great sounds in there. This other track from the album, Sugar and Lemon, the main chord is just a preset from the OP-1 Field, which I combined with the Behringer TORO. To have this €2,000, tiny, high-tech thing alongside a cheap clone from a German company made in China, I did it just for fun.”
Of course, he didn’t stop there. The next step was to add in some real hand claps and run the percussion bus through some outboard gear. “I layer things up,” he says. “And then it’s going to be sidechain compressed. I think the whole groove on Lucky Me went through the API 2500 compressor, for that old school glue.”

Avoid Anything Annoying
Stimming says one of the biggest and most time-consuming challenges in production is figuring out how to develop musical ideas. “Let’s say, theoretically, the whole time to create a track is twenty hours,” offers Stimming.
“Fifteen of those hours are spent trying to grasp how to proceed. While the actual procession, the improvements or expansions actually happen very fast. On Lucky Me, the two and a half minutes which are the really important moments came out naturally. Then, of course, there’s lots of work needed to make it into a five-minute track.”
His trick for knowing when a section is finished and it’s time to move on? Repeated listening.
“It’s a technique that I heard Kraftwerk also use,” says Stimming. “I listen to the loop for ages — sometimes it feels like four, six, seven hours—and if there’s nothing popping out that annoys me, then I’m good to go.”
Image: Press
Jamming, recording, and compiling
Stimming is known for the intricate sonic details that fill up his productions. On Lucky Me, there are a number of musical elements that gradually shift their tone and timbre as the song unfolds. Rather than automating changes after the fact, Stimming says he performs those evolutions live and then listens back to find moments of magic. “I record quite a lot of material,” Stimming emphasises. “For the bass, it’s just one jam, which I was going crazy with. Then, afterwards, I listen to it and cut all the parts that I like. All the sections I find have a meaning or they play into the story that I want to tell.
“I’m not sure if it’s the most clever way to do it,” he continues. “It’s very time consuming to listen to it afterwards. It’s just like a vocal session – and I hate vocal sessions so much. Not the session itself, but choosing which take to use afterwards is the hardest part.”
Stimming uses a similar process—capturing long sections of audio and then comping—in his field recordings. Throughout his career, found sound, nature recordings, and sonic oddities have been a mainstay of his production style. Lucky Me is no exception, featuring watery clicks, chirps, and thuds.
“Every so often, I have a phase where my ears open up to all the surrounding sounds, and I start recording them,” Stimming says of his love of field recording. These days, however, he’s not content to present those field recordings in their natural state. “I feel like using field recordings on their own isn’t that interesting anymore,” he muses. “It’s like… here’s a sound from the city, yeah, we get it. So, the way I use it right now is to throw it in a granular synth, for example, and all of a sudden it becomes an interesting texture. The GR1 is an incredible synth for that: it can handle really loud impulses, and, if they’re even a little bit atonal, you can use that tonal element to morph it into a pad or a chord.”

Playing with space
The details of Stimming’s sonic creations are easily matched by the nuances of his stereo mix. Spreading out across the stereo field, Lucky Me blends distant and close sounds to achieve a highly dynamic result.
Though he now mixes on a pair of Kii Threes at home, Stimming says his approach to space was shaped by his experiences using 4DSOUND, a spatial audio system, back in 2013. “I was playing on the 4DSOUND system for quite some time,” says Stimming. “It gives you these 3-dimensional containers for mono signals and you can move those containers around. Working with that system, using that dimensionality as part of the musical expression, it really helped me a lot even when moving back to 2D sound.
“On the one hand, the mixing happens quite intuitively,” Stimming continues. “But at the same time I do have some strict rules about what I put where – for example, if you want to open up a space, you have to close it beforehand, or if you want to make something appear louder then you have to remove the loud sound so that you can then jump back to it. This thinking is something I learned working with the 4DSOUND system.”

Keep pushing yourself
Perhaps more than anything, Lucky Me is a track that shows how important it is to challenge ourselves as producers and songwriters. After years spent perfecting his house and IDM skills and having built a dedicated following, it would have been easy for Stimming to stick to tried and true approaches. Instead, he chose to eschew formula in favour of experimentation – and the results speak for themselves. “This album came out of a desperate need to get rid of the strict 4/4 formula,” he states. “Once you get rid of the straight bassline, everything gets shaken up and pretty soon you’re in uncharted territory.”
The post Stimming breaks down the production techniques on his new single, ‘Lucky Me’ appeared first on MusicTech.

Excite Audio’s new Motion: Fractal plugin gives audio “endless motion” and textureExcite Audio has released Motion: Fractal, a granular plugin that can transform and manipulate audio in real time through dual granular engines and rhythmic effects.
The launch marks the third plugin within its Motion series, joining Motion: Dimension (space and time modulation) and Motion: Harmonic (dynamic distortion modulation). Excite Audio says Fractal can offer “endless motion, texture, and modern sonic transformation”.

READ MORE: Waves’ ILLUGEN text-to-sound engine can create sounds nobody has heard before using ultra-specific prompts – here’s how it works

Just like its Motion siblings, Fractal offers a unique UI with a hexagon controller – an upgrade to the traditional XY pad. Here you can assign and morph between granular parameters, gated rhythms, and loop behaviours in real­time.
Users can also experiment with Fractal’s trance gate and beat-­repeat engines. Customise intricate patterns via a 32 ­step trance gate sequencer, sync rates to the tempo of your project, and shape dropouts smoothly or sharply with envelope controls.
The Repeater can also assist in crafting “complex, dynamic stutters” using adjustable repetition counts, interval triggers, and sync or free timing. Hear it in action in the video below:

For plugin recommendations selected by the MusicTech team, you can check out our rolling guide of the best free and paid-for plugins on the market. If you want more from Excite Audio, Plugin Boutique is currently selling its Lifeline Space reverb for only $5. You will have to act fast though, as the offer ends on 31 May at 09:59 BST.
Motion: Fractal is priced at £79, but is currently available for an introductory price of £39 – running until 30 June. You can also purchase it as part of a wider Motion or Excite Audio bundle. Find out more via Excite Audio, or purchase now via Plugin Boutique.
The post Excite Audio’s new Motion: Fractal plugin gives audio “endless motion” and texture appeared first on MusicTech.

NIVA shares 2025 conference sessions, sets State Of Live revealThe National Independent Venue Association (NIVA) has announced an impressive agenda for fourth annual national gathering, NIVA ‘25, in Milwaukee on June 22 - 25.
The post NIVA shares 2025 conference sessions, sets State Of Live reveal appeared first on Hypebot.

Instagram Shares replace Likes to boost engagementAs engagement falls, Instagram Shares replace Likes for successful creatores. If your posts aren’t landing in DMs or group chats, you’re missing the metric that matters most.
The post Instagram Shares replace Likes to boost engagement appeared first on Hypebot.

Apple release Logic Pro 11.2 & Logic Pro for iPad 2.2 Apple have announced the launch of significant updates that introduce some powerful new features to Logic Pro for both Mac and iPad users.

Apple Logic Pro 11.2 and 2.2: Stem Splitter, Flashback Capture, ChatGPT and everything else you need to knowApple has unveiled surprise updates to Logic Pro for macOS and iPad, with Logic Pro 11.2 and Logic Pro for iPad 2.2. New features include an enhanced Stem Splitter, Learn MIDI for iPad, a ChatGPT integration and a revamped feature that you probably never knew existed.
READ MORE: “You don’t always need to mix a song — hear me out…”: Grace Davies on DIY production, breaking studio rules, and trusting your ears
The new versions of Logic Pro are out now and available for current owners to update to immediately. But, before you head over to the App Store and click download, here’s a rundown of what you’re in for.
Logic Pro’s Stem Splitter gets an upgrade
Logic Pro 11.2 Stem Splitter. Image: Apple
Stem separation, once considered an impossibility, has made its way into Logic Pro and other DAWs such as FL Studio, much to the joy of many producers. However, Apple has gone even further with its Stem Splitter in Logic Pro 11.2 with improved audio fidelity and added support for guitar and piano stems.
Now, you can separate a track by up to six stem tracks: Vocals, Drums, Bass, Guitar, Piano and Other. The new submix feature also lets you export any part of the audio you want. That means you can easily extract an acapella, a bassline or other part to study or remix — just get permission to use the sample if you intend to release anything.
Flashback Capture records even when you forget to hit record
Did you know that in earlier versions of Logic Pro, you could restore MIDI performances when you forgot to hit record? It was previously called Capture Recording and was supposedly a mystery to myriad Logic users. Now, it’s in plain sight as Flashback Capture and comes with a few extra handy features.
Flashback Capture lets you recover any audio and MIDI performances with a click, even if you forgot to hit record. The new Cycle mode also captures multiple takes and automatically organises them into a take folder. Note that you’ll need to have a track armed with audio or MIDI signals coming through for Flashback Capture to pick it up.
This is available on both Logic Pro for macOS and for iPad, and will surely be a boon to many producers. Who hasn’t forgot to hit record when making some magic at least once?
Logic Pro 11.2 and Logic Pro for iPad 2.2. Image: Apple
Learn MIDI comes to Logic Pro for iPad 2.2
At last, the Learn MIDI feature arrives on Logic Pro for iPad. Now, you can easily map custom parameters to your MIDI controllers, letting you get hands-on with plugins, virtual instruments and other parameters in Logic. A new interface for the feature makes this a breeze, too. Easy.

New Sound Packs for electronic music
Apple has added a few new Sound Packs to the Logic Pro library on Mac and iPad. This includes over 400 samples for drum ‘n’ bass genres in the Dancefloor Rush packl; a progressive metal Sound Pack with Tosin Abasi; and Magnetic Imperfections, which brings “the raw, unpolished essence of analogue tape,” according to Apple.
ChatGPT in Logic Pro…?
One of the minor additions to Logic Pro 11.2 is the integration of Apple’s ChatGPT-powered Writing Tools into Logic’s notepad. This is to help producers explore musical ideas for song lyrics, chords, and generate other notes one might need.
In addition, Undo History is now saved within each project, and you can now send MIDI Clock data to Ableton Link. Elsewhere, Apple’s DAW sees tweaks to the Logic Mixer, Smart Tempo, Step Sequencer, and more.
Sound Packs in Logic Pro for iPad 2.2. Image: Apple
How much does Logic Pro 11.2 and Logic Pro for iPad 2.2 cost?
For current Logic Pro owners, the upgrade path is free for both Logic Pro 11.2 and Logic Pro for iPad 2.2.
If you’re not an owner of Logic Pro, the price is £199/$199 for the macOS version — note that it’s not available on Windows, Linux, or any other desktop OS.
Logic Pro for iPad 2.2 is sold on a subscription basis at £5/$5 per month or £50/$50 per year.
Is Logic Pro any good?
In short, yes. Logic Pro is one of the world’s leading DAWs and is used by countless professionals. MusicTech checked out Logic Pro for macOS and Logic Pro for iPad last year, both of which were reviewed favourably. There are competitive alternatives, for sure, and your decision on a DAW will ultimately come down to your personal needs, but we certainly recommend it as a consideration.
Speaking on Logic Pro 11, we said: “Logic Pro offers an unbeatable combination of features and value.”
In our review of Logic Pro 2 for iPad, we said: “Logic for iPad is powerful enough that you really can use it for end-to-end music production, entirely on its own.”
Learn more at apple.com 
The post Apple Logic Pro 11.2 and 2.2: Stem Splitter, Flashback Capture, ChatGPT and everything else you need to know appeared first on MusicTech.

Xilentech releases XMLimiter V2, a FREE transparent Limiter Plugin
Xilentech has released XMLimiter V2, a free transparent peak limiter plugin for macOS and Windows. XMLimiter V2 is a clean and simple mastering tool developed by an industry professional who previously worked as an audio engineer for Netflix, Blizzard, and Ubisoft. It appears that he’s now transitioning into plugin development, and I’m excited to see [...]
View post: Xilentech releases XMLimiter V2, a FREE transparent Limiter Plugin

Warm Audio WA76-A and WA76-D2 review: The most versatile ‘76-style compressors ever?Single-channel models: $699 / € 749 / £629
Dual-channel models: $1199 / €1299 / £1159
warmaudio.com
Warm Audio’s WA76 compressor/limiter has been performing stellar dynamic control duties in studios worldwide since its launch way back in the before-times of 2014. Indeed, your MusicTech correspondent here was one of the first to sing its praises; so much so, I bought a pair of them.

READ MORE: Are KIT Plugins’ BB F66 and F67 convincing emulations of classic Fairchild compressors?

Now, WA head honcho Bryce Young and his team have expanded the range to include four new models. Two of them are inspired by traditional mono 1176s, while the other two have two channels. Of course, all of the WA76s are based upon the classic Urei 1176, launched in 1967 and revised several times throughout the 1970s and beyond.
The WA76-A (mono) and A2 (stereo) emulate the sound and style of the original ‘67 ‘Blue Stripe’ model, while the WA76-D and D2 mimic the ‘Blackface’ Rev D version from the early 70s. As the mono and stereo units of each model share the same sonic signature, I asked to check out the single-channel WA76-A and the dual-channel WA76-D2.
WA76-A. Image: Press
Both models are referred to as a Limiting Amplifier on the facia; however, the ‘Blue Stripe’ A model is described as a vintage-voiced discrete FET compressor, while Rev D is a clean gain discrete compressor.
In practice, this means A models offer the more obviously coloured, harmoniously saturated and aggressive performance of the original late 60s units. It’s a gloriously vintage vibe that seems to beef up audio processed through it, much like the early solid-state consoles of the era.
By contrast, D revisions sound cleaner, more transparent and, significantly, operate with less self-noise. It’s those attributes that made original Rev D units so revered from the mid-70s onwards, yet with modern ultra-clean recording mediums, the more characterful Blue Stripes are enjoying a resurgence in popularity.
WA76-D2. Image: Press
Internally, each model has ‘built-to-vintage-spec’ input and output transformers from CineMag, with the Blackface models incorporating a lower-noise preamp stage.
For those unfamiliar with the classic mono 1176 design, these latest single-channel incarnations feature all the dynamic control of historic units, while incorporating extra features to facilitate modern recording practice. As ever, there are rotary controls for Input and Output as well as Attack and Release. Four push buttons allow the selection of compression ratios (4:1, 8:1, 12:1 and 20:1) and of course, the famous ‘all buttons in’ mode that engineers love for a smashed drum sound, for example. New to these units are selectable 10 kΩ input impedance, to better match for modern interfaces, a variable sidechain high-pass filter that operates between 30-300 Hz and a Wet/Dry mix control, which is particularly useful for parallel compression when using heavier compression.
A large back-lit VU meter shows either gain reduction or output level (+8 dB or +4 dB), while around the back, Input and Output can be used with either XLR or balanced jack cables. Stereo Link sockets and External Sidechain Access (for the single-channel units only) are also located there.
Dual-channel versions manage to squeeze two channels into the same-sized 2U chassis as the mono models, so if space saving is important, this is a great cost-effective way to get stereo 1176 dynamic control without using up double the rack space required for a linked mono pair.
WA76-A. Image: Press
There are three ways these two-channel models can be configured, two of them for stereo use and the third for dual-mono use on two separate sources. As there are no external side-chaining options available on these models, the way the compressor works with stereo or dual-mono signals is controlled by a toggle switch on the front panel. In standard stereo mode, the compressor reacts as you would expect, providing even compression determined by the fastest attack and slowest release settings. With the A>AB mode engaged, the left channel also controls the response times of the right channel.
A/B mode is for dual mono processing, however as there is only one set of ratio controls on the unit, you can’t select different compression ratios for each mono source, although you can of course set the response times to suit the separate input signals as well as independently adjust the input and output levels.
Used on a variety of mono and stereo signals, each model works to its own strengths. Although the Blue Stripe is a little noisier in operation, it does impart a real, classic analogue sound, thickening things up and adding unique sonic colour even with little (or no) compression taking place. Dialling up the input gain injects a lovely touch of saturation that mimics that slightly overdriven sound often heard on recordings from the late 60s. For tracking electric guitars, bass and hard-edged vocals, Bluey is hard to beat if you want hot, gritty glue. It’s also brilliant at breathing life into digital synth sounds that might otherwise appear flat and sterile.
WA76-D2. Image: Press
On the other hand, Rev D is more transparent, but without losing any of the grippy compression characteristics I love about ‘76 type units. It does add a noticeable degree of analogue thickening to audio and, if you drive the unit hard with high input levels, welcome harmonic distortion provides a larger-than-life sound.
Used on a stereo drum bus, the sound pumps rhythmically, with little self-noise even at extreme compression levels. Here, the Wet/Dry control comes into its own, allowing for a continuously variable blend so that you can precisely achieve the right amount of parallel compression without the need to set up additional channels. This is a wonderful feature not available on vintage units.

Both the WA76-A and WA76-D (mono or dual-channel) exhibit the classic compression characteristics we all love about this type of unit. The many available response times that can be dialled in makes them fantastic dynamic controllers that can handle any audio signal with ease.
If you’re after an unmistakable vintage sound with bags of character and don’t mind a touch of extraneous noise, the Blue Stripe ‘A’ models are the ones to seek out. For a cleaner, less coloured and slightly more ‘hi-fi’ sound that still possesses that authentic ‘76 style from the mid-1970s, the Rev D models are hard to beat.
Warm Audio’s superb build quality and value for money is a given these days, so the additional flexibility of switchable impedance, high-pass filter and the Wet/Dry control makes either version a must-hear audition choice if you’re in the market for a classic 1176-style compressor.

Key features

Analogue, discrete FET design
100% wet/dry control
Impedance switch (600 kΩ or 10 kΩ)
30 Hz – 300 Hz high-pass filter
Active bypass
2 stereo linking jacks (mono unit only)
External sidechain input and output (mono unit only)

The post Warm Audio WA76-A and WA76-D2 review: The most versatile ‘76-style compressors ever? appeared first on MusicTech.

Labor Department rescinds Biden-era guidance for crypto in 401(k) plansThe US Labor Department has officially rescinded guidance issued during the Biden administration that limited the inclusion of cryptocurrency in 401(k) retirement plans.On May 28, the Labor Department revoked a 2022 guidance that had urged fiduciaries to be “extremely cautious” when considering cryptocurrency for 401(k) retirement plans. The move could give asset managers more flexibility to include digital assets in retirement investment options.The government agency removed the guidance asserting that it represented a departure from the department’s “historically neutral, principled-based approach to fiduciary investment decisions.”“We’re rolling back this overreach and making it clear that investment decisions should be made by fiduciaries, not D.C. bureaucrats,” said US Secretary of Labor Lori Chavez-DeRemer. The Labor Department under Biden criticized the practice of marketing cryptocurrencies to 401(k) participants. At the time, the agency claimed cryptocurrencies posed “significant risks and challenges” to participants’ retirement accounts due to their “speculative and volatile” nature and “valuation concerns,” among other reasons.The American Banking Association (ABA) criticized the 2022 compliance release, claiming that it did not make the guidance available for public comment and review prior to issuance.Related: Fidelity introduces retirement accounts with minimal-fee crypto investingTrump administration shifts crypto landscapePresident Trump has pledged to make the United States “the world capital of crypto” during his 2024 campaign.Under his administration, the Securities and Exchange Commission has scaled back several enforcement actions and investigations involving Web3 companies such as Uniswap, Coinbase, and Kraken, while also engaging in policy discussions on topics like real-world asset tokenization and the regulatory status of certain tokens. At the same time, some lawmakers have expressed concerns about Trump’s involvement in the crypto space, including calls for greater scrutiny of his associated ventures.Magazine: Trump’s crypto ventures raise conflict of interest, insider trading questions