Gems from Song Athletics & BORO Song Athletics’ latest project has been developed in collaboration with BORO, a Montréal- based creative sound studio led by composer and sound artist Noah Cedar Sherrin.

Instagram shares How Reels Algorithm Works as new App Rumors riseInstagram shared more about how Reels algorithm works in a blog post and video including some good news for emerging creators. The reveal comes alongside word that Meta is considering a separate short video app.
The post Instagram shares How Reels Algorithm Works as new App Rumors rise appeared first on Hypebot.

The Hi-Fi-way to Hell: Pro-Ject’s AC/DC-inspired turntable is ridiculous, but we want itAudio systems brand Pro-Ject has released an AC/DC-themed turntable, with a lightning bolt design that will really leave you Thunderstruck.
Pro-Ject took inspiration from the band’s electrified logo for the new turntable, which it says is engineered and handmade in Europe for audiophiles and music enthusiasts. It will be available to purchase from March.

READ MORE: This two-in-one Bluetooth turntable and wireless speaker might just be a serious vinyl lover’s dream

The turntable hosts a heavy glass platter and acrylic sub platter with fiery red LED lighting, as well as an 8,6-inch acrylic, low-resonance tonearm of a “completely new” design with spring anti-skating.
Its plinth is made of MDF, and a flat silicon belt builds the connection to its AC motor for stable speeds in playback. There’s also a premium, pre-adjusted Ortofon 2M Red MM phono cartridge that blends in seamlessly with its rock-ready aesthetic. Take a closer glimpse at this lethal-looking machine below:
Image: Pro-Ject

The turntable isn’t the first Pro-Ject model to take inspiration from a legendary band. The brand has a number of creative products in its Artist Collection, spanning turntables themed after Metallica, Pink Floyd, The Beatles, and more – it even has one in the shape of a yellow submarine.
Another brand who has just released a creative range of turntables is Gadhouse. Its COSMO Solar turntable range newly welcomes fresh colours that blend “nostalgia with innovation” and upgraded sound quality. Its three new colours channel the retro-futurism aesthetic of the Y2K era, when countless gadgets were given a clear tech makeover, revealing their inner mechanisms while remaining playful and vibrant.
The Pro-Ject AC/DC turntable will be available this March for £1,149.00/€1.299. Find out more over at Pro-Ject.
The post The Hi-Fi-way to Hell: Pro-Ject’s AC/DC-inspired turntable is ridiculous, but we want it appeared first on MusicTech.

“The story began 15 years ago when I was repairing Soviet synthesizers”: Eternal Engine’s tube-powered MARS is the wildest synth we’ve seen in ages – here’s how it came to beEternal Engine has unveiled a new polyphonic synth based on vacuum tubes, and it claims it is the first of its kind.
The synth, called MARS, is a hybrid instrument offering the power of oscillators based on the famous R-2R DAC TDA1387 digital-to-analogue converter, combined with the original fully tube audio path based on the APPARATUS synthesiser circuit.

READ MORE: One of the Bay Area’s top ambient producers has created a sample library for Soundbox – and it’s totally free

Though vacuum tubes were first integrated into synths all the way back in 1939 with the Hammond Novachord, few modern synths have integrated them into their designs, and where they have, these have been monophonic – like the Korg Volca Nubass, for example.
MARS’ sounds can range from punchy aggressive FM leads and acid basslines, to soft classic pads and strings. It also supports full software control and easily integrates into any DAW via plugin. Each one is assembled by hand, and they are produced in limited quantities. Hear it in-play below:

It has a compact rack format, which is five units high, and four oscillators operating in modes: Basic (Sine, Triangle, Sawtooth, Fixed Pulse Width 1/2, 1/4, 1/8); Pulse; Ensemble and Noise with Hi-Pass and Low-Pass filters.
Further features include:

Voltage-controlled tube filter of the second order with self-oscillation with overload
Voltage-controlled amplifier, following the traditional architecture of tube opto compressors
Triode asymmetric overdrive
Indicator based on Nixie lamps
Four channels of 4xCV and Gate for integration with Eurorack format synths
External Input for processing the audio signal of external audio devices
Two HADSR envelope generators with pre-delay and multiple retriggers
Sub-audio frequency generator LFO with restart and synchronisation Clock, smooth waveform transition sawtooth-triangle-sawtooth, pulse-square-pulse, as well as Sample & Hold and Noise with reconfigurable Hi-Pass and Low-Pass filters
Auto and continuous modes of portamento / legato
Mono, duo, and four-voice polyphony modes
Flexible four-channel modulation matrix
PC connection with galvanic isolation

A polyphonic tube-powered synth is a wild thought, so MusicTech reached out to Alexander at Eternal Engine to learn more.
“The story of MARS began 15 years ago when I was repairing and modifying both Soviet and imported synthesizers,” he recalls. “I worked on iconic models like the Polivoks, Aelita, Alisa 1377, Minimoog, Jupiter-8, Prophet-5, Yamaha CS-80, and many others.
“By studying their circuits and designs, I learned what made them great, as well as their limitations. This experience helped me understand how different engineers approached sound design and problem-solving.
“Besides repairs, I also worked on synth modifications – fixing design flaws, adding new features like MIDI, and expanding their capabilities. Over time, I started to imagine what my ideal synthesizer would be and how I could build it.”
Alexander says he began developing his first tube filter in 2017, a process which took him over a year, and one which led to his first tube synth, Apparatus, which arrived in 2019. But while MARS only arrives now in 2025, he had been working on it for some time before the launch of Apparatus.
Credit: Eternal Engine
The first version, MARS-1, was a hybrid synthesizer with a modified Polivoks filter and an analog three-phase chorus. It had a lot of potential, but the project was too complex for one person, so I focused on developing modules for the tube-based Apparatus.
“In 2020, during the pandemic, I finally had time to return to the MARS-1 project. With all the experience I had gained from Apparatus, I was confident that I could combine powerful digital oscillators with a rich tube sound. The result exceeded all my expectations.”
Alexander says designing MARS’s interface was one of the biggest challenges of the process, as it “had to be compact enough to fit in a standard rack while staying intuitive and easy to use – without making the musician feel overloaded with too many controls”.
“I always liked the idea of having one or two knobs with parameter indication for each section,” he says. “This way, you can always see the stored value, have instant access to any parameter, and avoid overcrowding the front panel with unnecessary controls.
“It took several years to refine the design, and now MARS is finally ready for production. I believe it offers a unique mix of modern digital flexibility and rich analog depth. This synthesizer can create everything from deep, evolving textures to aggressive, expressive tones while keeping a dynamic and organic sound.”
MARS is priced at $2199. To find out more, head over to Eternal Engine.
The post “The story began 15 years ago when I was repairing Soviet synthesizers”: Eternal Engine’s tube-powered MARS is the wildest synth we’ve seen in ages – here’s how it came to be appeared first on MusicTech.

Machina Bristronica 2025 Join Sound On Sound at Machina Bristronica 2025 Bristol on 27-28th September for a weekend of world class live...

Arturia’s best soft synth is now half price at Plugin Boutique – but this deal’s not around for longPlugin Boutique is running a huge winter sale until March, with a large number of Arturia products on offer.
Its Analog Lab Pro and its new Pigments 6 plugins currently have 50 per cent off each with savings of nearly £95 – the latter of which recently scored a shining 8/10 review by MusicTech. These deals run until 11 March only.

READ MORE: One of the Bay Area’s top ambient producers has created a sample library for Soundbox – and it’s totally free

Pigments 6 is an all-in-one software synth, offering six synthesis engines, a colour-coded interface, drag-and-drop modulation, premium effects, and advanced sequencing. Its six forms of synthesis are: Modal, Granular, Wavetable, Sample, Harmonic, and Virtual Analogue, alongside the Utility engine. Pigments also hosts 1600 presets, expandable with the sound store.
Analog Lab Pro, on the other hand, lets you access the “most iconic synth and keyboard sounds of all time”, fresh from the Arturia award-winning V Collection. It boasts a large selection of both vintage and modern presets, and is “geared up to inspire, not confuse”, with super simple controls. Its library has 2000 presets and patches for varying musical styles curated by renowned sound designers. Both Pigments 6 and Analog Lab Pro are now just £94.96 each via Plugin Boutique’s sale.
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Other plugins with 50 per cent off are virtual instruments MiniFreak V and the KORG MS-20 V, ideal for those “in search of the meaner side of analogue”, with abrasive and punchy tones. You can also save on Arturia’s Fragments software effect, its Tape J-37 emulation of the Studer J-37, or its ARP 2600 V, plus more.
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In more Arturia news, the brand gave its DrumBrute Impact analogue drum machine a new, retro-inspired makeover earlier this month. First launched in 2016, the DrumBrute was designed to “deliver raw, unapologetic drum sequences for producers and performers alike”. Now, the limited edition DrumBrute Impact 1984 sees the same 10-voice machine reimagined with an off-white finish.
To find out more or shop now, head over to Plugin Boutique.
The post Arturia’s best soft synth is now half price at Plugin Boutique – but this deal’s not around for long appeared first on MusicTech.

Franc Moody: “We don’t wait hours for the perfect take; we catch a vibe and move on”Performing at Glastonbury is a career highlight for any artist, whether it’s headlining the Pyramid stage or holding it down with an ambient set at Strummerville. But for Franc Moody, their 2023 appearance at Glastonbury didn’t go exactly as planned.
While Elton John was making history over at the Pyramid, Ned Franc and Jon Moody were playing on the Silver Hayes stage, having an epiphany about the direction of their project.

READ MORE: Emma-Jean Thackray: “Moog synths are so recognisable in a track but you can make them do anything, it’s an amazing paradox”

“The show got to a point where it was stagnating. We’d come to the end of a cycle,” says Ned Franc. The duo felt fatigued from playing the same song in the same way. Something had to change — and fast. Franc and Moody sat down, chewed the fat, and mapped out where they were going next.
“We knew we wanted to do something different, and so, by a process of conversing and going through various iterations of what finally became the album, it felt quite apt. Chewing The Fat,” Moody says of their new album title, set for release on 7 March. After those conversations, they decided their new direction would take them even deeper into the synthesizer world.
In their early years, before Franc Moody came together in 2016, the two multi-instrumentalists had started “many, many” bands. Their goal was to capture the sound of the 50s and 60s “Americana swamp pop soul,” as they describe it, but of all the people they worked with throughout that time, they were the only two who were equally committed to their vision.
Image: Press
They opted to go their own way as partners, but their studio couldn’t fit a drum set, so they started working with drum machines and began collecting synths, starting with Moody’s Juno 60. This genesis established the foundation for their electronic-meets-instrumental sound. Heavy on the tech, but fueled by styles with deep, live grooves.
“We spent so long desperately trying to make a record that sounded like it was cut in 1952,” says Jon, “but I bought my first synthesizer, a Juno 60, and that led [us down] a slightly more interesting path.”
“That mix of a kick that’s quantised, or an arp that’s quantised with Jon and my natural feel and phrasing behind it,” Franc adds of their sound.
The metronomic foundation is so essential to their music, that when they’ve tried to bring in their touring drummer Dan Hale to record, his natural feel creates a separate energy from Franc Moody. They know some producers who bring in drummers and then quantise the recordings, but they’d rather build from a less manipulated rhythm section.
“I’m an analogue purist at heart, but [software emulation] is definitely getting better” – Jon Moody
“We layer up natural percussion fills and hi-hats so it doesn’t sound like a techno record. Obviously, it sounds far from it,” Moody says. Then when they record bass, guitar, keys, and other live instruments, that dichotomy creates a level of human error they hear in their original influences.
“We don’t sit there for hours getting the perfect take. We catch a vibe and then move on,” continues Moody. “These rhythm and blues tunes and swamp pop tunes become this subconscious layer. Whatever we do now with different tools, those bits of music that have seeped into your subconscious always find a way out in melody or in the way you arrange a song or the groove. The fundamental songwriting of those references is just so bulletproof.”
With those fundamentals inseparable from Franc Moody, the biggest change on Chewing The Fat came one layer up. They used tech they had never touched before making the album, most of which was in the new London studio they rent from Damon Albarn, the legendary frontman of Blur and Gorillaz.
“It’s insane. [The equipment] is all in weird languages or one-of-one collections of really obscure things,” Moody says of Albarn’s gear arsenal, remarking that when they hit the presets on the machines they would often stumble upon sounds from one of Albarn’s many hits over the last 30 years. “They’re iconic sounds that he’s got in this closet of joy.”
Image: Press
Said closet includes classic analog gear such as the ARP 2600, the Roland SH-101, and the Hohner String Performer. There are also historic organs and keyboards including the Orla Tiffany 4 organ, a Clavinet D6, and a “really early” Hammond C3 organ. The Hammond was key to producing the bass line on Pressure Makes Diamonds.
“It’s got buttons on the side like an accordion to play a bass line,” says Moody. “We realised if you rag it through enough compression it turns into the heaviest bassline.”
Of the synths in different languages, one they knew was the Soviet PIF (which was designed as a children’s toy). Some of the other Russian instruments they can’t name because there is no English on them, but after fiddling with one, they discerned it was a string machine.
“The Russians do amazing string machines. They have amazing high-end and are really good for lead lines,” Moody says.
One of these lead lines takes centre stage on the album’s closing track: The Light You Bring. The buoyant, glittery melody that launches the song comes from the Russian string machine, which took a bit of getting used to.
Image: Press
“It’s so weird. You turn it on, and the tuning goes mental. There’s a sweet spot; you have to quickly record when it’s settled,” Moody says.
“It has a 12-pin power chord. It’s mental,” Franc adds.
“It’s the most beautiful-sounding synth. It’s polyphonic with four oscillators, really warm and rich,” Moody continues.
However, because they couldn’t read the labels, they had to balance their longstanding knowledge of tech with their intuition (a process they liken to their foundational combination of instrumental and synthetic styles).
“You just have to learn it, which is quite cool. This one has a woodwind patch, an organ patch, and a string patch, but they’re all similar. There’s a resonance dial, a cutoff, and a tuner. It’s quite simple. It’s not like looking at the face of an Arturia MatrixBrute when there are three million knobs,” Moody says. But as quickly as they were able to adjust, the language barrier still created a deeper sense of experimentation. “It makes you use your ears. It makes you really tune in.”
For Chewing The Fat, Franc Moody had a second closet of joy to explore: 64Sound in Los Angeles. One of LA’s most classic studios, the website lists not only the clients who have recorded there (St. Vincent, Maroon 5, Vampire Weekend) but also guest producers and engineers including Danger Mouse, John Congleton, and Rob Schnapf.

“We found [this studio] years ago and it looked like we wanted our music to sound,” Moody says. As much as they loved the look, they also loved the hundreds of instruments, microphones, synths, and other gear the studio made available to them. Their favourite piece was the coveted Yamaha CS-60 analogue synth, which was a core piece of the single, Driving On The Wrong Side Of The Road.
“We went into those [sessions] being like ‘Let’s turn everything on and fuck about with it’,” Moody continues.
Unfortunately, as much as they revelled in playing around with uber-rare vintage synths to make Chewing The Fat, as they prepare for their upcoming tour, there is no way they can bring the Yamaha CS-60, the Hammond C3, or that obscure Russian string machine with them on flight after flight.
Instead, they’re now in “intensive” live rehearsals with a completely different live setup. They’ve changed the size of the band from six members to four, and they are also, much to their dismay, trading out analogue gear for digital hardware and software.
Moody swapped his beloved Juno 60 with a new Juno X and, while he has a deep love for analogue, he appreciates the 60 and 106 emulations within the X. Plus, the MIDI capabilities of the X will allow him to sample some of those relic synths to play during the show (“I’ll be sampling the synths and playing them straight there. I don’t even have to get another keyboard, which is fantastic.”)
“The Russians do amazing string machines. They got amazing high-end” – Jon Moody
“I’m an analogue purist at heart. I’m happiest when I’m sat on my C3 Hammond with the 147 and playing my Clavinet D6. But you just can’t fly it everywhere,” Moody says. “But [emulation] is getting better, and as long as I’ve got enough analogue juice on stage somewhere — I tour my SH-101, which is just amazingly horrible in analogue, in a good way. Filthy. [And the] Arp 2600; There’s enough analogue grit going on amongst the emulation stuff.”
Relying more on digital gear for the live show channels the same spirit of experimentation as diving into their various analogue treasure troves when they were making the album. Their intention was to take Franc Moody in a new direction, and now that they have done that to satisfying results, they have a template of where to go for the next few albums.
“This thing that we’ve stumbled on has loads of room to explore in itself. This first record being done this way is really exciting, but it’s got way more legs in it,” says Franc.
Change is rarely easy and it’s often intimidating. But, for Franc Moody, forcing themselves to evaluate their music and how they create it opened up myriad opportunities. Now, with new gear, new outlooks and a keen eye on the influences that shape them, they’re ready to wow crowds at any stage they play on. And, if they need to, they know how to evolve themselves again — it just takes some chewing of the fat.
Read more interviews with music producers, beatmakers and DJs.
The post Franc Moody: “We don’t wait hours for the perfect take; we catch a vibe and move on” appeared first on MusicTech.

Audiomodern releases Spectra Ambient Electronic Bliss, a FREE instrument for Soundbox
Developer Audiomodern has released Spectra Ambient Electronic Bliss, a free instrument for Soundbox. Audiomodern released the Soundbox platform toward the end of 2024, along with a few interesting libraries/instruments. Here’s a brief recap: Soundbox is a fully customizable MPE sampler available in AU, VST, VST3, AAX, and Standalone formats. At the time of writing, Soundbox [...]
View post: Audiomodern releases Spectra Ambient Electronic Bliss, a FREE instrument for Soundbox

“I swear we’re working on it… Innovation is ongoing”: SoundCloud responds to criticisms of “destroying” transients in song uploadsSoundCloud has issued a statement after German producer Nasko publicly criticised the music streaming platform for its audio quality and file compression, causing an outcry from other artists and producers — including those subscribed to SoundCloud Pro.
Nasko urged fans and producers to “stop uploading 48khz WAV” and other high-resolution files to SoundCloud, due to it “destroying [his] transients,” he said in an X post.
“I am so done with this platform!!! ”, he wrote, with a side-by-side comparison of his music’s waveform from four sources: the original 16-bit WAV export, a SoundCloud download, a YouTube 1080p download, and a YouTube 144p download. Nasko’s comparison intends to draw attention to ‘smeared’ transients in the SoundCloud playback version of the track.

Some People pointed out that YOUTUBE decouples Audio from Video so Resolution doesn't impact audio quality.
Here's a comparison between the same Video at AAC 320kbps and AAC 96kbps (lowest quality).
Soundcloud has a serious codec issue. https://t.co/tbgfHLXfB0 pic.twitter.com/T0g69XlPVA
— Nasko (@Naskomusic) February 17, 2025

“Soundcloud audio is cooked, ESPECIALLY for EDM”, continues Nasko. “Transients are integral to this genre and the regular SoundCloud audio has some really bad issues with messing them up.” The track in question is Virtual Riot & Modestep (ft. Frank Zummo) – This Could Be Us (Nasko Remix). You can hear his highlighted moment at 1:42.

The issue, according to Nasko and other users on X, lies in the AAC audio codec SoundCloud uses to process and play tracks hosted on the platform.
“SoundCloud seems to be using a REALLY bad version of a codec called AAC, which absolutely ruins audio quality for free listeners and artists that use SoundCloud Pro,” says Nasko. According to other users and commenters, SoundCloud uses the FFmpeg AAC encoder, which the developer says is known to be “problematic”. This allegedly impacts the quality of audio uploaded to SoundCloud.
“Obviously you should be using Opus if you want high quality audio”, says FFmpeg — a sentiment that Nasko and other users have shared online.

Big companies use our (known problematic) AAC encoder yet none are willing to sponsor improvements https://t.co/NEX3vL7bnL
— FFmpeg (@FFmpeg) February 18, 2025

SoundCloud responded directly to Nasko’s X post, writing: “Shoutout to our community for keeping us on our toes! We use different transcoding setups depending on what you upload. They’re for sure not perfectly dialed in. But we’re always working on it, testing out new encoders and settings based on your feedback. Right now, we don’t support lossless-to-lossless, so yeah, some info gets lost along the way. But we hear you, and I swear we’re working on it. Stay tuned—more updates are coming.”
In a statement to MusicTech, SoundCloud added: “At SoundCloud, we’re always evolving to deliver the best experience for our community of creators and listeners. Innovation is ongoing, and we remain committed to iterating based on feedback, new advancements, and our passion for great sound.”
MusicTech also reached out to Nasko for further comment. The producer said: “What I’d like to add to the whole situation is that the sort of ‘outcry’ we managed to generate isn’t necessarily to stomp SoundCloud for its bad audio quality — it’s quite the opposite! Soundcloud is still relevant for a lot of the electronic scene and as a primarily audio-based platform, we care about the impression it has on regular listeners and fans of the music posted on it. For Soundcloud to continue to be a place for the EDM scene, it needs to at least get the basics right. There are great free audio codecs (like OPUS) that they can look at implementing, but it’s important that they do this right, showing us that they care.”
“They tried this in the past and failed, apparently due to using an older OPUS codec at way lower quality than what they should have used,” Nasko continues. “Now, they have a plethora of people who want better audio quality, which would be a perfect opportunity to do things right this time around. I hope they introduce beta testing for important changes to the platform, like the audio codec they are hopefully working to fix.”
SoundCloud is yet to publicly provide a roadmap of next steps on this issue, but you can keep an eye on its newsroom and on MusicTech for updates.
Read more music technology news. 
The post “I swear we’re working on it… Innovation is ongoing”: SoundCloud responds to criticisms of “destroying” transients in song uploads appeared first on MusicTech.

SEC has closed its investigation into Gemini, says WinklevossGemini co-founder and president Cameron Winklevoss said the decision marks another milestone to end the war on crypto.

Avride’s sidewalk delivery bots land in JapanAvride sidewalk bots will start delivering restaurant orders and groceries in central Tokyo this week through a partnership with e-commerce giant Rakuten, the latest commercial expansion by the Yandex spinout into Northeast Asia. The Austin-based autonomous vehicle startup is one of four projects under Nebius Group, a Netherlands-based company formerly called Yandex NV that sold […]
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Want a Truck with a Short Bed and a Long Camper Shell?Camper shells are a time-honored piece of truck gear, but with modern trucks having increasingly vestigial beds, the length of your overnight abode has increasingly shrunk as well. To combat this problem, [Ed’s Garage] built a camper shell that extends once you’ve arrived at your campsite.
[Ed] wanted to keep things relatively low profile while still tall enough to sit up in for convenience, leading to a small bit of the shell peeking over the truck’s roof. To keep the cold Canadian winter out, attention was paid to proper weather sealing around the sliding portion of the shell so that it stays warm and dry inside.
While this would work on any truck, the mains power plugs in the bed of some modern trucks mean that certain glamping conveniences like a heater and projector can be easily powered while you’re in camp. We get to see the camper shell in action at the end of the video where the pros and cons of having your sleeping space also being your storage while en route become apparent.
If you’re looking for something a little less conventional for your camping experience, how about this solar camper or this retro bike camper?

CAPITOL RECORDS PRESENT GOOD NEIGHBOURS WITH PLAQUE TO COMMEMORATE THE RIAA PLATINUM CERTIFICATION OF THEIR DEBUT SINGLE "HOME"Capitol Records is proud to present rising British duo GOOD NEIGHBOURS (Oli Fox and Scott Verrill) with a platinum plaque to commemorate the RIAA certification of their debut single “Home.” “Home” marks the only Platinum certification for an Alternative debut single released and certified in 2024 and one of two Platinum debuts released and certified in 2024. Additionally, Good Neighbours had the only Platinum Alternative single on RIAA’s Class Of 2024.The single is the second most streamed debut single from a new artist in 2024 with over 500M streams. “Home,” which entered the singles chart in 13 countries including the UK and US, ranks in the top 5 of new Alt/Rock songs released in 2024.2024 was filled with momentous milestones for Good Neighbours.  In the midst of their first US headlining tour, they made their late night television debut on Jimmy Kimmel Live! and went on to release their debut self-titled EP in the fall. Counted amongst the duo's numerous accolades was a nomination for “Best New Artist (Alternative & Rock)” at the 2025 iHeart Radio Music Awards and a Billboard Music Award nomination. Good Neighbours were also named Vevo DSCVR Artists To Watch for 2025. The duo are currently on tour with Foster The People, where they have been debuting new music to enthusiastic audiences across North America.The post CAPITOL RECORDS PRESENT GOOD NEIGHBOURS WITH PLAQUE TO COMMEMORATE THE RIAA PLATINUM CERTIFICATION OF THEIR DEBUT SINGLE "HOME" first appeared on Music Connection Magazine.

Soundiron Click Click BangClick Click Bang! is a hybrid sound-effect and percussion instrument designed for sound designers, experimental musicians, and music producers. Originating from our M1 Garand Rifle library, it... Read More

Patrick Moxey’s publishing company must cease using ‘Ultra’ name within 6 months as Sony wins trademark battleUnder a court order, Ultra International Music Publishing has 180 days to change its name
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