Cool WAV Vitality Vol. 10 - Vital100 Presets. 7 Custom Themes. Analog Synthesizers sampled: Sequential Take 5, KORG Minilogue XD. Wavetables used: Cool WAV, *Dash Glitch, Ocean Swift, Producer Hive. Great for Trap, Hip-Hop,... Read More

TuneCore launches new ‘Advanced Trends and Analytics’ dashboard for for self-releasing artistsThe new dashboard features cross-platform performance tracking and real-time engagement metrics, among other functions
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BBC Radiophonic Workshop archive will be made available for the first time for use by musical artists and producersPreviously labelled the “unsung heroes of British electronica”, the BBC Radiophonic Workshop had a pivotal impact on electronic music. Their legacy is everywhere, from the grandiose, whirring sci-fi soundtracks of Hans Zimmer to the pulsing dance tunes of Brian Eno. Now, the BBC has compiled the sound effects unit’s rich archive of experimental sounds and samples into one bundle.
The BBC Radiophonic Workshop archive contains a wealth of samples, ranging from vintage synthesisers, tape loops, as well as iconic sounds crafted by the unit. The 98 presets and 1,087 unique sounds allows you to play with the sounds that helped breathe life into shows like Doctor Who – from crafting the theme song, giving the Daleks a voice and even allowing the TARDIS to take flight.

READ MORE: Qrion: “My process is to first sit down in a chair and think about a specific moment – a memory, sound, or smell”

The gang helped soundtrack The Hitchhiker’s Guide to the Galaxy and Quatermass and the Pit, and plenty of samples tap into the unit’s love of eerie, unnerving sci-fi. Mark Ayres’ The Top of the Stairs captures a dark, creeping tension, while James Malpas’ Secret Tunnel sample emits a sense of discovery, brighter synths pulsing with curiosity.
The library will also contain recordings from a variety of microphones, as well as the EMT turntable and Rogers loudspeakers made especially for the BBC. There’s also the Maida Vale plate and spring reverbs, modular synthesizers, tape machines, EMS Vocoder, Echo chamber, Roland Vocoder SVC-350 and Eventide H-3000.

While the bundle boasts ample archival offerings, there’s also a slew of newer performances and samples to patch-up older recordings; remaining members of the Workshop such as Dick Mills, Mark Ayres, Glynis Jones have all stepped into the studio yet again to clean up old recordings. There’s also some new collaborators involved, such as ex-The Prodigy drummer Kieron Pepper.
While the original recordings were hand-crafted, Spitfire Audio’s Solar engine will allow even more ways to tweak and manipulate the original samples. Speaking about the new, digital potential of the bundle, composer, sound designer and Radiophonic Workshop archivist Mark Ayres hopes that the bundle will inspire the next generation of electronic musicians.
“As a kid born in the 1960s, I realised there was a department at the BBC that was purely for making bonkers noises. It blew my mind!” he says. “I’m the youngest member of the core Radiophonic Workshop – and I’m 64! We’re not going to be around forever.”
“It was really important to leave a creative tool, inspired by our work, for other people to use going forward,” he continues. “I hope we’ve made an instrument that will inspire future generations.”

Spitfire Audio’s Head of Recording, Harry Wilson has also said that he hopes the bundle will inspire future generations. Just like the forward-thinking unit, the new digital bundle should be perfect for creating even more unique, innovative sounds.
“We’re not just looking back at what the members were doing way back when,” he explains. “We’re projecting a strand of their work into the future and saying: if the Workshop was engaged with a similar process now, what would it sound like?”
The BBC Radiophonic Workshop archive is currently available at an introductory offer of £119.00 until 17th March.
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“It was like six in the morning…”: How Ian James produced the beat for Doechii’s Denial Is A RiverThis year, Doechii’s Alligator Bites Never Heal was crowned Best Rap Album at the 67th Annual Grammy Awards. The mixtape also saw Doechii herself being nominated for Best New Artist, as well as Nissan Altima earning a nomination nod for Best Rap Performance. However, Denial Is A River has proven to be the stand-out track of the bunch, amassing over 132 million streams on Spotify at the time of writing.
Back in October, producer Ian James took to YouTube to explain how he coined the track’s beat. Inspired by the sound of MF DOOM, James’ first version of the beat was created in 2022 by fluke. It was a last-minute panic, pieced together just to upload something for his followers. “It was like 6:00 in the morning… I’m scrambling through my record collection, trying to find drum breaks to chop up, trying to find samples,” he recalled.

READ MORE: It looks like Spotify lossless audio is coming later this year

He’d set himself a goal to post a new beat every day, and he’d realised he’d forgotten to make something that day. Luckily, he came across a vinyl of Paul Nice’s 5 Fingers Of Death. “I was going through it, and I was like ‘ooo, this has some drums, this has some a sample I can chop up,” he said. “So, I’m making the beat… and I’m super tired. [Eventually,] I’m like man, this beat’s not finished, but I’m just kind of stuck.”

The original beat is called MF DOOM Type Beat – Golden, and can still be found on his YouTube. Despite James not being fully satisfied, it gained traction online. With thousands of people loving the beat, James felt like he was on to a winner. “So, I pitched it around!” he explained.
Walking through the beat, he explains that the original beat was created from a single stab from a sample. Unfortunately, label didn’t have much time to clear the original sample – but it was a quick fix, as James just tweaked one chord. “Luckily, all I had to do was replay one chord and then just pitch it back around!” he said.

Elsewhere, he points out more Paul Nice samples – like the opening vocal snippet of “hey, I thought it was all over.” There’s also another vocal chop right as the beat drops to heighten the “impact”, in James’ words, as well as scratch splices, horn samples, and vocals with added delay.
Throughout, James is adamant that the beat is “simple.” Besides the samples, there’s kick drums, snares and hi-hats, and a simple bassline. “You don’t need to do anything crazy!” he insisted. “You don’t have to have all these layers, it just has to have a vibe… don’t overthink it.”

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University lecturer claims to have created a new dance genre using AI – but does it sound that new?Lecturer by day, DJ by night, Dr. Somdip Dey has spent years researching how AI might impact the music industry. While his Data Science research at York St John focuses primarily on generative AI and large language models, his latest project could potentially revolutionise EDM forever.
With the help of AI, Dr. Dey has analysed current trends to predict the next successful EDM sub-genre. After processing festival lineups, streaming numbers, online social media popularity and news coverage, the AI cherry-picked the most popular sonic elements and structures. The final product is, in theory, the future of EDM: Infinity Wave.

READ MORE: AI training on copyrighted content ruled not “fair use” by US court – how could this impact the music industry?

Using the AI findings as a guide, Dr. Dey himself then produced the world’s first Infinity Wave track released under the lecturer’s DJ alias, InteliDey. I Don’t Think is EDM on hyperdrive, melding melodic techno with a sprinkle of progressive house. It’s a track bursting with trance-y beat drops, with a thumping beat well-worthy of a packed dance floor.

This isn’t InteliDey’s first time working with AI, either. Back in April 2022, InteliDey released the entirely AI-generated Twerk That Ass, and in 2021 he also released Wake Me Up For The Party.
However, Infinity Wave strives to remain human-produced. The AI research is merely intended to help pinpoint what audiences want. “Infinity Wave introduces an entirely new production methodology that bridges traditional electronic music production with AI-enhanced creative insights,” Dr. Dey explains. “I actively encourage students to experiment with AI as a tool for ideation and sound design.”

The project will not only push forward Dr. Dey’s personal research, but also inspire his students. “Infinity Wave presents an exciting intersection of music and technology that directly benefits our students,” Dr Dey explains. “My research into AI-driven music analysis showcases how machine learning and big data can be applied to the creative industries.”
“Students at York St John are increasingly exploring how AI can generate insights beyond traditional sectors, and Infinity Wave offers a real-world case study,” he concludes.
Dr. Dey’s work is a peek into how AI’s data analysis skills could pave the future for music. And this is only the beginning of Dr. Dey’s musical journey; he hopes to expand the world of Infinity Wave. In the future, he plans to fine-tune “visuals, lighting and evolving landscapes” for a fully immersive live experience.
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Brian Eno: “I am probably one of the most prominent turd polishers in the business”According to Brian Eno, you should never delete even your most horrendous musical creations as you never know when they may come in handy.
Eno himself never deletes anything, with his logic behind keeping and working on his most tragic drafts is that they can’t really get any worse. Because of this, he’s sometimes able to work them into something completely different or even use just a part of a piece for another project.

READ MORE: Brian Eno: “‘Why do we like music?’ is as interesting as ‘How did the universe start?’”

MusicTech attended a series of workshops from Eno ran by the School of Song earlier this year, where he advised participants to work on their crappy demos: Try to polish a turd,” he said. “I am probably one of the most prominent turd polishers in the business.”
Eno also confessed that he’s got thousands of song ideas that he’s collected over the years, and though you may need some strong organisational skills to keep hold of all your off-cuts, it’s a method that he believes can be really useful. He further explained, “I don’t ever let anything go out of play, the point about the archive is to keep all the saucepans on the stove… Sometimes I will give it a title like, ‘Possibly the shittest piece of music I’ve ever done.’”

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Eno is known for his unconventional and freeing approaches to making music – the ambient legend has previously shared that he loves to use gear in ways it wasn’t designed for: “Most equipment is invented to do an existing job faster, or cheaper, more cleanly, or more easily,” he wrote in an op-ed for the Financial Times. “What I like to do is to discover what you can do with it that isn’t historical – something that it wasn’t designed for, something new (I’m sure the inventors of early microphones didn’t anticipate that their tools would lead to totally new ways of singing, just as the inventors of multitrack recording probably didn’t imagine Bohemian Rhapsody).”
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Music mashup creation tool MashApp launches in the US with licensing deals from all three major labelsMashApp, a new music mashup tool, is now available in the US via the Apple App Store, with licensing deals from all three major labels.
The app allows users to easily mash popular hits together without the need for extensive music production knowledge. It hosts a catalogue of tracks from labels such as Universal Music Group, Sony Music Entertainment, and Warner Music Group (including Warner Chappell Music and Warner Recorded Music), as well as Kobalt Music and Universal Music Publishing Group (UMPG). Featured artists include the likes of Peggy Gou, Doja Cat, Dom Dolla, and a whole lot more.

READ MORE: Looking to give your studio space a makeover? Nanoleaf has permanently slashed the prices of some of its LED light packages by 30%

Artists, songwriters and rightsholders are provided with content attribution for all user creations made within the app. Users can weave together tracks available through the platform into a single, personalised playback, and can experiment with simple, intuitive settings for duration, start and end points, plus the use of vocals, instruments, and tools for tempo adjustments.
Fans can also share web links to allow MashApp’s userbase to experience their audio combinations as well as follow other creators on the app. Members of the MashApp community can use parts of select tracks and listen to ‘mashups’ for free, or subscribe to MashApp’s Premium tier for unlimited, ad-free mashup listening and to unlock the app’s “full creative potential.”
Check out the video below to see how it works:

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A post shared by MashApp (@mashappmusic)

“MashApp’s mission is to bring the joy of playing with music creation to non-musicians, to let people play with their favourite music, as they have long done through DJing, mix tapes, mashups, and karaoke,” comments MashApp CEO and founder, Ian Henderson (a former Spotify executive). “We want this new creative play to be a great experience for fans, but also for artists. This requires close partnerships with record labels and music publishers, and we’re excited that our partners have embraced our vision.”
Find out more about MashApp or download it now from the US Apple App Store.
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Facebook is deleting all live streams: Act Now!Facebook is deleting all live streams and live video recordings that are 30 days old or older starting on February 19th.
The post Facebook is deleting all live streams: Act Now! appeared first on Hypebot.

Study shows major growth in Patreon Creator incomeThere have been a major growth in Patreon creator income, according to the new State of Create report based on internal data from its creator community.
The post Study shows major growth in Patreon Creator income appeared first on Hypebot.

Analog Obsession Just Released FREE Attractor Dynamics Plugin for Mac and Windows
Developer Analog Obsession is back with its latest release – Attractor, a dynamic processor with transient manipulation for Mac and Windows (VST3/AU/AAX). Analog Obsession has released a swathe of free plugins in the last couple of years, gaining a solid reputation among both professionals and hobbyists in the audio community. The developer is perhaps best known [...]
View post: Analog Obsession Just Released FREE Attractor Dynamics Plugin for Mac and Windows

Can any other synth match Arturia Pigments 6’s astonishing sonic diversity?€199 for new licences 
Free update for existing users
Arturia Pigments has been my number one synth plugin since 2021. It’s my go-to instrument for serious projects or when I’m just looking for some sound-design fun, yet I still discover new sounds and techniques almost every time I fire it up. Those pleasant sonic surprises, and moments of inspiration sparked by a new sound, come thick and fast while exploring Pigments 6.
Crucial to Pigments’ versatility is a semi-modular design that allows a wide choice of tone generation, filter and effect models to be loaded into various slots that host them. Unsurprisingly, the recently launched sixth generation of the synth features new models in all of these areas.

READ MORE: Softube’s Model 77 might be the most impressive Yamaha CS emulation out there

What is Pigments’ new Modal synth model?
Pigments 6’s tone generation stage has a pair of slots for loading synth engine models, plus a Utility Engine that provides noise sources, a single analogue-style oscillator, and an optional audio input path. We have the Analog, Wavetable, Harmonic and Sample engines from Pigments 5; the latter’s granular mode now has a Scan parameter that shifts the grain playback position while a note is held, creating extra variation and evolution in the resulting sound.
New here is Modal, a physical modelling synth engine built on Karplus-Strong String Synthesis foundations. This engine is particularly effective for emulating plucked and struck instruments because it closely models their acoustic properties.

At the start of Modal’s synthesis chain is a choice of different impulse sounds, plus the option to use an audio input to seed the resonator. I have marvellous fun plumbing in drum hits and other percussive noises, and the results are enticing, especially when Modal’s other tools get involved.
The resonator section offers a choice between String and Beam models; these are essentially comb filters with incredibly narrow bands that tune the impulse to a more rarefied and controlled series of partials. String produces brighter tones with many partials, while Beam produces hollower, purer tones containing fewer partials.
Arturia has also added an Exciter stage on top of these Karplus-Strong foundations. This feeds additional impulses into the resonator while a note is held and sustained – think of a bow scraping across a violin string, or a hammer bouncing on a hammered dulcimer’s strings. Like the Impulse stage, the Exciter offers a choice of sounds and noises and, again, there’s the option to feed an external audio input to the Exciter. Modal’s potential as an effect processor gets better and better!
The actual sound produced is determined by various factors: the shape of the filters, the number and decay rate of partials, whether the partials are harmonic or enharmonic, and so on. But Arturia has done a first-rate job of distilling this complexity into a straightforward and understandable set of parameters. You still have to explore how to coax interesting tones from the engine, but Pigments’ integrated help system provides tutorials to keep you on the right track.
Modal adds a completely new and distinct voice to Pigments, and its acoustic realism (and, if you like, surrealism) both complements and contrasts with the analogue and digital synth tones the instrument was already so adept at creating.

What’s new in Pigments’ Filter section?
The MultiMode filter found in previous Pigments incarnations has been overhauled and renamed the Classic filter. All variants now include input overdrive for injecting additional harmonics into a sound, and can now switch between Digital and Analog modes. Resonance behaviour changes so that, in Analog mode, there is less loss of overall loudness when resonance is increased, which in turn gives smoother, warmer-sounding filtering.
New to Pigments 6 are the Cluster and LoFi filters. The first of these creates up to five filter bands centred around the chosen cutoff frequency, and control over the frequency spread of those bands (a nice target for an LFO, perhaps…). Cluster works particularly well on pads, giving movement and variation, and can create immediately striking results when its output is mangled through the synth’s Bitcrusher.
LoFi is a downsampler wrapped in filter’s clothing. This filter creates consistent degradation, no matter how complex or loud the incoming signal, while steep low-pass filters at the downsampler’s input and output allow welcome fine-tuning of the effect. The downsampling frequency can be jittered to give variation and, more fascinatingly, can be modulated by the synth’s modulators or the output of either tone generation engine. This results in exceptionally ear-catching tones and effects.

Does Pigments 6 have new modulators or effects?
Despite already possessing one of the best modulation systems of any synth, Pigments 6 brings even more polish to this vital part of the instrument.
Hovering over a modulated parameter pops open a panel that shows tiny pie charts that visualise (and allow adjustment of) the strength of all assigned modulators. This is incredibly handy but is made all the more useful by the newfound ability to create modulator side chains by dragging a source to one of these pies.
The modulators have received some attention too. Combinator modulators have gained an Envelope Follower mode that can be triggered from any tone generator or filter output, or from an external audio input. This is perfect for creating modulations that are synced to something other than tempo.
The Random mode of the Random modulator group has been made even more… err… random, with the addition of a Jitter setting. Conversely, it is now more tameable too, thanks to Distance and Smooth parameters that limit the magnitude and rate of change (respectively) of the modulator’s output.
Envelope Follower. Image: Press
Random modulators have a new Voice Modulator mode. This allows a sequence of up to eight values to be defined that Pigments can step through in various ways each time it needs to produce a new voice. I particularly enjoy using this to emulate the imperfections of vintage synth circuitry, recreating the subtle differences in tuning and waveform that an aged synth may produce.
The last modulator improvement is a revamped Function Generator. These are drawable modulation curves that either loop repeatedly to give LFO-like results, or can be fired once per note like an envelope. In either case, the shape of the LFO/envelope is entirely customisable, and so can be used for anything from creating ultra-slow risers to intricate rhythmic patterns.
Function Generators now have a Free Running option in which the curve continues to loop irrespective of incoming notes or other retrigger events. Meanwhile, the remaining retrigger options have been relabelled to make their action clearer. Creating custom curves is less fiddly now, thanks to a drawing grid and snap-to-grid option, while a tracer now runs over the curve so you can better understand what it is doing and when.
Finally, Pigments’ effects section has a new Vocoder processor. This can produce up to 40 filter bands with three different filter modes (vintage, modern and dirty), while the cross-modulation signal can be sourced from any synth, utility or filter engine output, as well as external audio input. It’s remarkably flexible!
There remains a slight gripe in the effects section — some parameters of some effect models can’t be used as modulation destinations. These are never vital parameters, but frustrating on those odd occasions when you want to, say, control an EQ boost/cut with an envelope generator.

Is there any reason not to get Pigments 6?
Pigments is resource-hungry, much like other powerful soft synths. If your machine matches the minimum specs you’ll have no problem running at least one instance – probably more – and in the studio, it’s not a big deal thanks to track bouncing and freezing. But an option to disable all of Pigments’ (admittedly beautiful) animated graphics may help free up resources for additional Pigments instances, or for other instruments and plugins to use.
Its taste for CPU cycles aside, there’s everything to love about Pigments 6. The additional sound design pathways opened up by Modal just beg to be explored, and the expansion in the ways external audio inputs can be used means Pigments is heading to being an awesome effects processor as well as a truly awesome synth.
The €199 asking price isn’t a bank-breaker, but it’s no impulse buy either. However, due to its semi-modular design and wide choice of synth, filter and effects models, Pigments is a veritable chameleon of an instrument – an ‘every synth’, if you will. It’s an analogue monster, a digital dream, a sampling powerhouse, and now a physical modelling marvel (or indeed any combination thereof). Add to this an exquisitely rich and detailed sound quality, and the asking price starts to look reasonable. That all of this is free to existing users is astonishing, given the updates alone are worth the full asking price.
Vocoder. Image: Press
Key features

Standalone and plugin instrument for Windows 10+ and macOS 11+
Large library of presets included; additional libraries available
2 synth engines with choice of Analog, Wavetable, Sampler, Harmonic and Modal
Utility engine with noise, simple analogue oscillator and optional external audio input
2 filter engines with choice of Classic, Cluster, Phaser, Formant, Surgeon, LoFi, Comb, Mini, MS-20, Matrix 12, Jupiter 8, SEM and
Lowpass Gate
2 insert effect chains and send/return effect chain
3 effects per chain with choice of spatial, dynamics, filters/EQs, distortions and modulations
Pattern sequencer/arpeggiator
24 modulation sources with easy mapping and side-chaining

The post Can any other synth match Arturia Pigments 6’s astonishing sonic diversity? appeared first on MusicTech.

UT Twin 48 from United Studio Technologies The UT Twin 48 is built around a NOS EF86 pentode valve, and offers two modes of operation that mimic the behaviour of both the U47 and U48.

“Your subscription goes to the artist you listen to”: Deezer boss explains what it does differently to other streaming platformsAlexis Lanternier, Deezer’s CEO, has shared how the platform acts differently to other streaming competitors to tackle low royalty rates.
Lanternier was appointed CEO of the platform back in July 2024, with a mission to make its royalty system “user-centric”.
Currently, Deezer is a smaller contender in the global market and has nearly 10 million subscribers, with larger competitors like Spotify coming in at 263 million. However, it recorded an 11 per cent growth in its last quarter, and was also the only music streaming brand to add its name to the global statement on AI training back in 2024.

READ MORE: It looks like Spotify lossless audio is coming later this year

In an interview with The Guardian, Lanternier says that Deezer is finding better ways to share royalties by fighting back against streaming farms. It does so by identifying “weird behaviour and patterns which don’t make sense” in a track using machine learning.
Lanternier previously spoke on this use of AI detection software back in January, when he released a statement revealing that it had already discovered around 10,000 fully AI-generated songs were being uploaded every day to its platform, amounting to 10 per cent of Deezer’s daily uploads. However, it does not remove the content, but simply labels it.
When questioned if not removing this content makes it harder for actual budding artists to break through, he says, “It’s harder for new artists in general. We now have almost a million songs a week coming, it used to be 150,000 three years ago… It’s harder given the higher competition there is, inherently, in the market.”
Though he declines to give a figure on what Deezer pays out per stream during the interview, he does say that with Deezer, users dictate what is shown to them, and that through its AI technology, it has been able to eradicate a number of white-noise tracks with no instruments in them, and replace them with its own.
By doing this, it provides the background noise some users want, without sharing in the royalty pool. Artists above 1,000 streams a month and more than 500 unique listeners on Deezer are said to receive more, and there are further payments for those actively sought out via search, according to the interview.
“The overwhelming feeling for a lot of people is that their life is more and more dictated by algorithm, and there is this ask that we see from our user base, and especially the young generation, to kind of take back control, understand how the algorithms work and be able to influence it,” he explains. “Your subscription goes to the artist you listen to – nobody can fraud that because you cannot influence the rest of the pool… It’s a long journey, but it’s a journey we’re well into.”
To find out more, head to the Deezer Newsroom.
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Looking to give your studio space a makeover? Nanoleaf has permanently slashed the prices of some of its LED light packages by 30%Planning to give your home studio a makeover? As of this week, LED light purveyor Nanoleaf has permanently lowered prices across over 40 of its best selling products.
The Smartlife Pricing Initiative aims to bring “higher cost products to a more accessible price point.” The cuts vary, but most price drops sit around the 30% mark. Plenty of Smarter Kits are also included in the drops, meaning the Blocks Combo XL Smarter Kit, Skylight Smarter Kit and Elements Hexagons Smarter Kit have all dropped from $249.99 to $199.99.

READ MORE: “I want to push the boundaries of what a DJ set can be”: James Hype’s Hï Ibiza residency is a “real-time” multi-sensory performance

Nanoleaf’s smart lighting innovation is solid fit for any studio. Some products in the Smarlife Pricing Initiative boast Rhythm Music Visualizer capabilities, meaning the lights react to the sound in your studio.
Another great saving comes in the form of Shapes Triangles & Mini Triangles’ 17-panel Smarter Kit. The kit has dropped by $90, now sitting at $159, and boasts rhythm-responsive features, as well as screen mirroring, touch response, and design customisation for scheduled patterns. Elsewhere, the 18-panel Limited Edition Ultra Black Triangles Smarter Kit has also been sliced by $90, now costing $339.96 as opposed to its previous price of $429.96.
“For the past two years, Nanoleaf has been working closely with [its] manufacturing and supply chain teams to completely reexamine, rework and reoptimise processes, materials, and structures to reduce costs,” Nanoleaf explains [via The Verge.]
“The economic climate has made affordability a key concern for many consumers. At Nanoleaf, we believe that lighting should be an extraordinary everyday experience, not just a luxury,” Nanoleaf’s CEO and co-founder, Gimmy Chu, says.
“We’ve had to completely reoptimise our company structures as a whole the past two years,” he continues. “But, with our team’s dedication and commitment to achieving this goal, we’re proud to introduce SmarterLife Pricing – making Nanoleaf products more accessible for everyone in our community.”
Head to Nanoleaf to find out more about the Smartlife Pricing Initiative.
The post Looking to give your studio space a makeover? Nanoleaf has permanently slashed the prices of some of its LED light packages by 30% appeared first on MusicTech.

Norrland samples offers FREE Solo Trumpet instrument for Kontakt
Norrland Samples now offers their entire Solo Trumpet instrument and Kontakt sample library for free. There are a lot of cheesy-sounding brass synths floating around. If you’ve felt your current arsenal in the orchestral domain fall short, we has some good news for you. This enormous package includes almost 6,000 samples recorded with five types [...]
View post: Norrland samples offers FREE Solo Trumpet instrument for Kontakt