These glam shots of Gadhouse’s new COSMO Solar turntable are so sexy they might just make you buy oneGadhouse has officially launched its new COSMO Solar turntable range, introducing fresh colours that blend “nostalgia with innovation” and upgraded sound quality.
The new additions to the lineup were first revealed during CES 2025 back in January, and are now available for just £199. Three bold, cosmic-inspired lid colours join the range, including Venus Red, Jupiter Green, and Neptune Blue. The COSMO Lucid White also makes a return, known for its plain, transparent design to match any style.

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

These turntables certainly channel the retro-futurism aesthetic of the Y2K era, when countless gadgets were given a clear tech makeover, revealing the inner mechanisms of game consoles, computers, and more – while still retaining playful colours. Just take a look a below:
Image: Gadhouse
As well as their typical vinyl record playback functionality, the COSMO Solar range also offers the ability to stream music, listen to the radio, or even record your vinyl records for digital archiving via a USB port. Analogue sound delivers the “warmth and richness you expect from traditional vinyl listening”, while a portable, multi-functional design lets users enjoy music anywhere with vinyl, Bluetooth, radio, USB and SD card. They also host built-in speakers and a USB-C port.
Image: Gadhouse
Image: Gadhouse
These turntables can support any record format at both 33 ⅓ and 45 RPM, and Gadhouse’s own innovation, the ‘G’ Moving Magnet Cartridge, spins your records “seamlessly”, tackling jarring interruptions or glitches in playback. There are also controls for pitch, tone, and volume onboard, plus various sound mixing modes and a non-stop spinning mode that lets you channel your inner DJ.

The Gadhouse COSMO Solar edition retails for $199/£199. Head over to Gadhouse to find out more or shop now.
The post These glam shots of Gadhouse’s new COSMO Solar turntable are so sexy they might just make you buy one appeared first on MusicTech.

The rise of IRL Immersive Superfan ExperiencesSuperfan experiences are moving beyond the screen and into real life. From fan festivals to brand activations, artists and companies are finding new ways to bring fans together and create fresh revenue streams with IRL immersive superfan experiences
The post The rise of IRL Immersive Superfan Experiences appeared first on Hypebot.

Erica Synths reissue Hexinverter Mutant drum modules The latest addition to Erica Synths' line-up sees the reintroduction of not one, but four of Hexinverter's popular Mutant drum modules.

Is Universal Audio Apollo Twin X Gen 2 really a “disappointing” update to the audio interface range?Twin X DUO Essentials+ €1,319 / £1,135 / $1,199
Twin X DUO Studio+ €1,649 / £1,1420 / $1,499
Twin X QUAD Essentials+ €1,649 / £1,420 / $1,499
Twin X QUAD Studio+ €1,979 / £1,705 / $1,799
uaudio.com
Universal Audio’s Apollo series has become a benchmark in the audio interface world, thanks to a combination of top-spec audio converters, innovative modelling preamps, and flexible on-board digital signal processing (DSP), all backed by a large library of excellent plugins. But with manufacturers such as Antelope Audio, Heritage Audio, Apogee and others increasingly encroaching on UA’s skilfully-manicured lawn, Apollo’s unique selling points no longer look so unique.

READ MORE: “Ultimately, the product is the experience the music maker has when they’re manifesting their creativity”: Bill Putnam Jr on Universal Audio Apollo Constellations

Many producers expected, therefore, that with its newly released Gen 2 Apollos, UA would throw down the gauntlet to competitors; that it’d turn all of those Apollo goodies up to 11 – ramping up the processing power, for example, or moving to 32-bit converters. But UA seemingly favoured evolution over revolution. Judging by some of the online reactions, this disappoints a lot of current and potential Apollo users.
I grabbed a new Apollo Twin X Duo to discover if such disappointment is warranted.

Image: Simon Vinall for MusicTech
What’s new in the Apollo Twin X hardware?
Like its predecessor, the Twin X Gen 2 connects to a computer via Thunderbolt 3 and is presented in a similar stylish, wedge-shaped desktop format.
The new unit’s top and rear panels are now a lighter shade of metallic grey, and the large central data wheel, used for controlling input gain and output levels, has been revised to have a firmer yet smoother turning action.
Button caps have been made less chunky, although they are only slightly smaller and retain the same sensible layout as on the previous version. These are used to select which preamp or output the data wheel is controlling. Depending on which is active, the remaining buttons provide direct access to preamp settings such as input type and phantom power, or monitor controls like muting, dimming and activating the built-in talkback mic.
The Gen 2 Twin X features updated converters to deliver small improvements to total harmonic distortion and noise performance on inputs and outputs, plus a 1dB extension to the dynamic range of outputs.
In practice, you have to listen quite closely to hear these improvements when comparing to a Gen 1 Twin X. It’s subtle, but the overall soundstage is a tiny bit crisper and clearer. When compared against similarly-priced interfaces with higher in/out counts (that is, interfaces where your money is paying for lots of inputs and outputs rather than high-end circuitry), the difference is distinct. You may think your Focusrite or Arturia interface sounds stellar but Twin X’s sonic accuracy is on another level.
Image: Simon Vinall for MusicTech
What can I plug into the new Apollo Twin X?
The Twin X provides two analogue input channels, with mic and line signals connected via rear-facing XLR/jack combi sockets. The first channel can also receive an instrument input via a convenient front-mounted jack socket.
UA’s Unison preamps are on both inputs. This design allows UAD-2 Unison plugins running within the interface to modify the analogue characteristics of the preamp while applying processing and modelling in the digital domain. This gives Twin X’s inputs a chameleon-like ability to accurately mimic the sound and characteristics of sought-after classic preamps, channel strips and guitar amps.
New to the Gen 2 hardware is an Auto-Gain system that sets the input gain for you based on the incoming signal, interacting with any Unison plugins you may be using. This is certainly handy but the biggest benefit – that is, effortlessly setting multiple input gains in a few seconds – is a bit lost with Twin X’s humble input count.
Also new to Twin X is the ability – previously only available on the rackmount Apollos – for line signals to bypass the preamps altogether by changing an option in the software mixer, giving a super-clean input path for outboard preamps and other sources.
A single optical input allows the connection of either S/PDIF or ADAT signals. S/PDIF mode gives an extra stereo input and has built-in sample rate conversion, negating the need to slave Twin X’s clock to the S/PDIF signal. ADAT mode gives up to eight inputs, dependent upon the sample rate.
Using these additional inputs requires an external converter, but there are options out there that cost less than stepping up to a larger Apollo. But, with no sample rate conversion in ADAT mode, the absence of an ADAT or wordclock output does mean having to slave Twin X to the potentially inferior clock of an external converter.
The four analogue line-outs and single, front-mounted headphone output are all individually addressable. The first pair of outputs is intended as the main monitor feed – this routing can be modified from within the UAD Console software. Also, a slightly hidden option in the software assigns the second pair of outputs as an alternate monitor feed.
Image: Simon Vinall for MusicTech
What versions of the Apollo Twin X are available?
The Apollo range is revered for the flexibility of its onboard DSP, which can run UAD-2 plugin effects and processors, and which powers the Unison preamps. Many of the plugins are modelled on classic hardware – preamps, EQs, compressors and such – so you can assemble some impressive recording chains to use during tracking.
What’s more, in this configuration, the processors are applied directly at the input stage, with near-zero latency, thereby ensuring accurate and special-sounding cue mixes for performers. There’s also the option to add reverbs and delays via auxiliary sends that, again, make for better headphone mixes.
All of this is managed via the UA Console mixer software, which follows a conventional analogue mixing desk layout and offers clear metering for, and control over, all of Apollo’s input and internal buses.
Hardware control is closely integrated with UA’s Luna DAW and, coupled with the UAD-2 library’s strong focus on modelled vintage hardware, this makes for a pleasing, analogue-like workflow and sound. Things are slightly less integrated when working with other DAWs, and so you have to switch between the Console mixer and your DAW during tracking, but this is standard practice with the vast majority of other audio interfaces.
What makes Apollo’s system particularly flexible is that there’s the option to exclude any input processing from the signal being sent to the DAW for recording (it remains on direct monitor feeds). This input conditioning can then be recreated when mixing using wrapped versions of the UAD-2 plugins, allowing you to continue to tweak and adjust that conditioning (or change it completely) all the way to mix-down time. As an extra bonus, with the wrapped plugins still running on the Apollo DSP, this doesn’t add extra strain on the host computer, making them useful for other mix processing too.
Image: Simon Vinall for MusicTech
I expected to see a boost to the DSP power in this new generation of Apollo hardware, especially because some of UAD’s recent plugins can gobble up more than their fair share of the available DSP. Unfortunately, this hasn’t happened, and the processors remain fundamentally unchanged.
The DUO version of Twin X, then, has enough power to run Unison plugins on both inputs, along with some input conditioning if needed. The QUAD, of course, supports more plugins and should be able to manage both input processing via Console and additional mix processing from the DAW without running out of steam.
It is a shame that UA didn’t take the opportunity to up the power of the DSP cores. I don’t think it’s a deal-breaker, though, as higher-powered DSP would have had an inevitable impact on pricing, and, in any event, even a small boost in processing power is better than no boost at all!
The hardware also comes with a bundle of UAD-2 plugins with which to start (or expand) your collection, and here you have a further choice. Essentials+ comes with over 20 plugins, while the Studio+ bundle takes this to over 50. Both bundles cover all the important plugin bases – delays, EQs, reverbs, compressors, etc. – and also include a selection of Unison channel strip and guitar amp emulations.
There is a fair bit of repetition within the bundles, especially when it comes to models of UA’s own hardware (1176’s, LA-2A’s, etc.), where there are older and newer models to choose from. Whilst this repetition can be confusing, the older models are always marked as ‘Legacy’ so it’s easy to know which you are using, and these are still perfectly usable.
Whether or not the Studio+ bundle is worth the extra outlay will depend very much on how you intend to use Apollo. Also, as a registered Apollo user, UA will regularly offer attractively-priced bundles and deals, so it may prove more cost-effective to opt for the basic Essentials+ pack and to buy any specific plugins that you need when those offers come along.
Image: Simon Vinall for MusicTech
What are the Sonarworks add-ons for the UA Apollo?
The Twin X hardware provides hands-on control over the most important aspects of your input and output settings, but accessing the full suite of Apollo features means loading up the UAD Console software. This has been given a significant update, with a refreshed look to bring it into line with UA’s Luna DAW, which integrates tightly with Apollo.
More excitingly, UA has teamed up with Sonarworks to bring monitor and headphone correction to the Apollo platform. This flattens-out any frequency colouration caused by your monitors and room, or by your headphones, so that what you hear is exactly what is there. Such accuracy is key to creating mixes that sound as impressive as they possibly can on any playback system.
Sonarworks’ SoundID Reference software is used to create monitor response profiles (a straightforward but lengthy process) and access 500+ headphone profiles. These profiles are then passed over to the Sonarworks Apollo add-on which applies the necessary correction curves using 24-band, minimum-phase EQ processors.
The Sonarworks components do require some outlay. The headphones-only version licence is €99, while headphones and stereo monitors cost €249. Additionally, if you wish to include one of Sonarworks’ measurement mics, whose specific response data can be accessed online by the SoundID Reference software, you’ll need to add an extra €50 to the cost (the system will work with any measurement mic for which you have the response data in a readable file format). In addition, you also need the Apollo Monitor Correction add-on from Sonarworks (yet another €50 on top).
Extra expense is never welcome, but on the plus side, this impressively effective system is available to all Apollo users by updating to the latest UAD Console software.
.
Image: Simon Vinall for MusicTech
Should I buy the new Apollo Twin X?
The original Twin X shoehorned much of what makes Apollo so special into a package priced to compete with other interfaces that have similar audio performance specs. The inclusion of a whole pile of well-modelled processors and the flexible DSP system on which they run simply added to the attractiveness and value of the offering.
Owners of that original unit will gain only small benefits in updating to the matching Gen 2 version, although upgrading from a Gen 1 DUO to a Gen 2 QUAD for double the DSP power is certainly worth considering.
There’s a bigger leap in audio performance between the original ‘Black’ edition Twin and Twin MkII. It isn’t a stark difference, but it’s noticeable. And, again, if using a SOLO or DUO version of that original, upgrading to a Gen 2 Twin X QUAD will bring an unmissable boost to the number of UAD-2 plugins you can run.
Up to four Apollos of any generation can be connected to a single host computer, so existing Apollo users will benefit from additional I/O and DSP if adding a Gen 2 Twin X to their system. This is particularly true for users of rackmount Apollos because, with Twin X now matching the Gen 1 rackmount audio specs, it’s an excellent way to add a convenient desktop monitor controller to a rig whilst also upping its capabilities.
There was little to dislike about the Gen 1 Twin X, so it’s a challenge for the Gen 2 to be miles better. Nevertheless, in dozens of small ways it is better, and cements the Twin X’s place as the perfect gateway into the Apollo universe.

Key features

Thunderbolt 3 audio interface
Up to 192 kHz / 24-bit recording quality
2 (DUO) or 4 (QUAD) processor cores
2 analogue mic/line inputs with Unison preamps
1 front-mounted instrument input on channel 1
4 analogue line outputs plus stereo headphone output
Optical input supporting S/PDIF and ADAT
Built-in talkback mic
Sonarworks integration

The post Is Universal Audio Apollo Twin X Gen 2 really a “disappointing” update to the audio interface range? appeared first on MusicTech.

“I wanted to create something that pushes the boundaries of what a DJ set can be”: James Hype’s upcoming Hï Ibiza residency will bring visuals which are synced in “real-time” with his musicJames Hype is welcoming music lovers on a multi-sensory journey this year in Ibiza. From June to September, Hype will incorporate game-changing visuals to his DJ sets, thanks to new SYNC technology.
SYNC’s full LED DJ booth perfectly pairs every action with a corresponding visual, meaning every button, scratch and beat drop triggers a visual shift. Hï Ibiza’s Theatre room will be hosting the 16-week residency, moving Meduza & James Hype’s collaborative production, Our House, up to a grander room following on from their majorly successful three-year Club Room residency.

READ MORE: So…How did Apple Music become a hero of streaming services, and Spotify a supervillain?

In a video teasing SYNC’s dazzling potential, the pulsing red lights match perfectly with Hype’s DJing. It brings the sound come to life, amplifying the hit of each sonic shift. The intention is to fully immerse a live crowd in each track – and it’s sure to feel even more incredible on a packed dance floor.

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A post shared by JAMES HYPE (@jameshype)

“SYNC is more than a performance; it is a statement,” Hype explains. “I wanted to create something that pushes the boundaries of what a DJ set can be, integrating technology and artistry in a way that’s never been done before. Hï Ibiza’s Our House is the perfect place to bring this vision to life.”
Hype’s connection to music has always felt intuitive. In the past, he’s shared videos of him creating mixes in as little as 20 minutes, each sound slotting into place with ease. We’re keen to see how SYNC influences mixes in future – and how it will transform the live experience of tracks like 7 Seconds.

Meduza & James Hype’s Our House will be performing every Monday for 16 weeks. The shift from the Club Room to the Theatre is also set to allow SYNC to shine. “It’s something we’ve been building towards from day one,” Hype says. “It’s also so nice to be able to have Hannah Laing on supporting duty in the Club Room and have her join the OUR HOUSE family. She’s absolutely amazing and I’m sure she’s going to destroy that room week in, week out.”
The new residency will expand on Our House’s MEDUZA³, Meduza’s latest evolution. MEDUZA³ aims to craft a hybrid live show, which has involved toying with live piano, experimental new MIDI controls, and dynamic visual elements – Hype’s SYNC will be the latest way of pushing forward this goal alongside his Meduza peers.

“The launch of MEDUZA³ marks a new era for us, this isn’t just a performance, it’s a complete reinvention of the DJ experience,” the Italian production trio explain. “By blending live instrumentation with cutting-edge digital elements, we’re creating something truly unique, where no two sets will ever be the same. There’s no better place to launch this than Hï Ibiza, where we’ll be delivering an experience you won’t find anywhere else in the world, setting the standard for a new kind of club experience. Get ready, because this is going to change everything.”
Hï Ibiza always strives to be at the forefront of experimental DJing. This year, they’re set to open a brand new premium hyperclub, [UNVRS], which promises to offer a “high-end luxury” experience that will reach “the scale and ambition of arena events.”

The post “I wanted to create something that pushes the boundaries of what a DJ set can be”: James Hype’s upcoming Hï Ibiza residency will bring visuals which are synced in “real-time” with his music appeared first on MusicTech.

FLUX, Soma’s wild theremin-inspired synthesizer controlled by hand motions, is shipping nowNearly two years after it was first announced, Soma Laboratory’s FLUX synth is finally shipping.
The highly anticipated instrument reimagines expressive electronic performance by allowing musicians to control sound entirely through hand motions. Unlike traditional synthesizers, FLUX eliminates the need for physical touch, using magnetic sensors and handheld bows to shape pitch, volume, and synthesis parameters in real time.

READ MORE: Here’s your chance to win a signed Oberheim Matrix-12 synthesizer worth $20,000

At its core, FLUX draws inspiration from the Theremin (yes, that instrument that makes a sound when you move your hands and fingers around its antenna) but operates on an entirely different principle.
Rather than relying on capacitive coupling between the hands and antennae, FLUX uses magnetic sensors to track the motion of two handheld bows. This enables players to manipulate sound with unparalleled fluidity, creating a uniquely organic and dynamic playing experience.
By using a multipolar magnetic sensor, the instrument accurately detects the player’s hand positions and movements: The right-hand bow controls pitch (via the X-axis) and volume (via the Z-axis), while the left-hand bow influences various synthesis parameters through its X, Y, and Z coordinates.
Since magnets have two poles, FLUX can also detect the angle of the bows. A simple flip of the right-hand bow on the Y-axis shifts the octave, granting players access to six continuous octaves without traditional transposition.Tilting the right-hand bow left or right on the X-axis controls two independent modulation parameters.
Meanwhile, the left-hand bow shapes timbre: the sensor has six poles, and independently registers positive and negative magnetic fields. This lets the user change which parameters are controlled by flipping the bow, enabling control of up to twelve independent sound parameters.
Together with the pitch, volume and two additional tilt parameters on the right-hand bow, you have access to a total of sixteen sonic controls you can use during performance, without ever touching the surface of the instrument.
Image: Soma Labs
Additionally, FLUX’s digital-to-analogue converters are designed in-house by Soma using high-end principles. The instrument works in monophonic, duophonic and polyphonic modes. Staccato-enabling and quantisation modes are also available, and unlike a theremin, FLUX features a clearly marked note scale, making it easier to learn and play in tune. The instrument’s synthesis is DSP-based and features spatial effects.
According to Soma, FLUX’s firmware will continue to evolve, with new synthesis engines planned for future updates. Specially designed presets will allow users to save and recall their complete setup, making FLUX an ideal tool for both experimental electronic musicians and academic composers seeking deep, expressive control over sound.
Priced at $1,300, FLUX is now shipping to Soma Laboratory’s international network of dealers.

Learn more at Soma Synths.
The post FLUX, Soma’s wild theremin-inspired synthesizer controlled by hand motions, is shipping now appeared first on MusicTech.

Brian Eno taught me these 10 lessons in his music-making workshopAt the start of 2025, I attended a series of workshops by Brian Eno, run by the School of Song. Sharing his thoughts on creativity, studio methods, and plenty of personal anecdotes, it offered us a rare chance to hear from the master himself on a spectacular music career and a lifetime’s worth of incredible musical advice.
Here are 10 lessons I took away from the sessions — and which you can learn from, too.

READ MORE: 10 lessons everyone in music can learn from Quincy Jones

Boredom is important
“I’m almost sure that [Music for Airports] would have never happened had I not been sitting in an airport bored,” says Eno — before adding, “and [being] slightly annoyed by German disco music”.
It was perhaps a lot easier to be bored in the 1970s before the invention of the smartphone. These days, most of us spend hours avoiding being bored by scrolling through content platforms. “Consumerism is the fear of boredom embodied,” Eno goes on to explain, but we need not be afraid of boredom. The next time you wake up, don’t consume anything he suggests — not anything on your phone, not even your breakfast. Instead, see what enters your mind. “Something will appear,” he says. For Eno, that ‘something’ planted the seed for one of his best-selling albums.
Brian Eno with a guitar and synthesiser at home in the 1970s. Image: Erica Echenberg/Redferns via Getty Images
Taking things out is as important as leaving things in
Challenging yourself to remove the main hook or riff in your song might seem self-defeating, but Eno thinks this is a powerful way to open up the rest of your mix and see the potential of each part.
There are two ways it can go: By removing the most important part, you might realise that none of the other instruments are doing much at all. On the other hand, as Eno explains, it might “make you realise that the least revolutionary part is the bit that you’re hooked by”.
One thing Eno would do at the end of every recording session is to create what he called the “film mix”, that is in other words, taking the piece apart, leaving stuff out, and seeing if he could create something with the parts that were left.
Push the limits of your parameters
Eno believes that most of the truly interesting stuff happens at the outer limits. For any given parameter, he’s more interested in what happens at the “edges of controls”, than the comfortable middle range that most people stay in. After a lifetime of turning the knobs on all manner of studio gear, Eno says, “I’ve realised that the most interesting thing about controls is what happens at the extreme end of them”.
Brian Eno performing with the Baltic Sea Philharmonic, conducted by Kristjan Järvi, at The Royal Festival Hall on October 30, 2023 in London, England. Image: Jim Dyson/Getty Images
Take note of what grabs your attention
Creating good music starts by knowing what you like. At a time when algorithms vie for our attention, he repeatedly stressed the need to notice our thoughts and feelings. Eno often repeated the phrase, “If I do a double take, I do a triple take.” In a production context, this means noticing when something feels off or identifying what really clicks — then asking yourself why.
Break the grid
Ignoring the gridlines in your DAW or opting for an unusual time signature are just some techniques Eno suggests for adding unpredictability to your work process.
It was something that he noticed while watching the young producer and his apprentice, Fred Again.., effortlessly navigate Logic Pro. Ignoring gridlines entirely, he would start by dropping sounds into the middle of the timeline.
“If you work in Logic and you’re not a Fred, you tend to work in straight lines,” Eno says, but what is key to Fred’s music is that he ignored the boundaries that constrained most artists and acted more like a “collage artist”, fluidly placing bits of music next to each other that completely ignored the grid.
Brian Eno at the Bestival Festival in 2006. Image: John Horsley/Avalon/Getty Images
Constraints are good
We’ve all felt the urge to buy more gear or invest in some sprawling software mega bundle, but Eno cautions against this. He believes limitations are something that drives our creative thinking and stops us from getting paralysed by endless options. “The kiss of death,” warns Eno. “Is software that says, ‘Now you can do anything.’” In the digital age, self-imposed constraints are essential, says Eno, and goes so far as to suggest ideas like banning artificial reverb from the studio, forcing yourself to write a song in 20 minutes, flipping a coin to choose your chords or limiting the number of tracks in a session.
Double the tempo
Alongside his pioneering avant-garde work, Eno has written plenty of chart toppers and produced some of the world’s most famous bands. Along the way, he’s picked up some recurring tricks that “nearly always make a song better”.
One of these tricks he calls the Klaus Dinger beat, also known as the motorik beat. Named after the drummer from Neu!, it effectively doubles the tempo of a song. While working with U2 on Beautiful Day, Eno says the song wouldn’t gel until he asked the band to try the Klaus Dinger beat. That simple repeating 4/4 beat gave the track momentum and turned it into the hit we know today.

Never delete anything
You might just find treasure in the trash, but the only guarantee you’ll come across it is if you never empty the bin. That goes for your desktop bin too. According to Eno, he never gets rid of any idea, snippet, demo, or recording, reporting that he’s got thousands of song ideas that he’s collected over the years.
Over time, a well-kept archive becomes a creative library where you can pull out a recording on any given day and pick up where you left off. “I don’t ever let anything go out of play, the point about the archive is to keep all the saucepans on the stove.”
In the case that it’s a total failure Eno will still stick to his rule, although he might leave his future self a reminder: “Sometimes I will give it a title like, ‘Possibly the shittest piece of music I’ve ever done’.”
Find music in everyday life
While living in New York, Eno found himself fascinated with American radio. He would regularly record “shock jockeys” and shouting evangelists using a boom box and a cassette tape. Comparing American radio to the BBC back home, he thought, “This is amazing to live in such a fertile, unfiltered, sonic world.”
This material eventually ended up in the album My Life in the Bush of Ghosts with David Byrne. As he recalls, “I had recorded this guy off the radio… he was stuttering with nerves in a kind of fervent”, that bit contrasted heavily with the host who replied rather flatly with: “Yeah, yeah yeah…”. Taking these everyday recordings to the studio Eno pieced together the funky rhythmic track called America Is Waiting.
Brian Eno (right) and David Byrne (left) in a recording studio in Mexico. Image: Lynn Goldsmith/Corbis/VCG via Getty Images
Polish the turd
“Try to polish a turd,” Eno suggests; it’s one thing you can do with a piece of music you think is completely useless. It’s an interesting take on a classic cliche.
According to Eno, what’s great about something that’s already bad is that there’s no risk you can make it any worse and this frees you to try something utterly different. These bits that don’t become a song on day one might continue to have a life in the future perhaps repurposed into a part for another song. Eno does this so often that he declares with a laugh, “I am probably one of the most prominent turd polishers in the business”.
The post Brian Eno taught me these 10 lessons in his music-making workshop appeared first on MusicTech.

Thousands protest Elon Musk’s DOGE in NYC on Presidents’ DayMore than 10,000 protesters gathered in New York City on Presidents’ Day to speak out against the current Trump administration and the actions in particular of Elon Musk’s Department of Government Efficiency (DOGE).  It was one of several protests that took place Monday in major cities across the country and came during the same long […]
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Argentine lawyers file complaint with US DOJ, FBI amid LIBRA falloutA group of Argentine lawyers have filed a complaint with the US DOJ and FBI that points to the protagonists behind the LIBRA token and asks for President Javier Milei to be investigated.

Probably The Most Esoteric Commodore 64 MagazineThe world of computer enthusiasts has over time generated many subcultures and fandoms, each of which has in turn spawned its own media. [Intric8] has shared the tale of his falling down a rabbit hole as he traced one of them, a particularly esoteric disk magazine for the Commodore 64. The disks are bright yellow, and come with intricate home-made jackets and labels. Sticking them into a 1541 drive does nothing, because these aren’t standard fare, instead they require GEOS and a particularly upgraded machine. They appear at times in Commodore swap meets, and since they formed a periodical there are several years’ worth to collect that extend into the 2000s, long after the heyday of the 64.
Picking up nuggets of information over time, he traces them to Oregon, and the Astoria Commodore User Group, and to [Lord Ronin], otherwise known as David Mohr. Sadly the magazine ended with his death in 2009, but until then he produced an esoteric selection of stories, adventure games, and other software for surely one of the most exclusive computer clubs in existence. It’s a fascinating look into computer culture from before the Internet, even though by 2009 the Internet had well and truly eclipsed it, when disks like these were treasured for the information they contained. So if you find any of these yellow Penny Farthing disks, make sure that they or at least their contents are preserved.
Surprisingly, this isn’t the only odd format disk magazine we’ve seen.

Record companies in India want to join a lawsuit against ChatGPT maker OpenAINews organizations, book publishers, and now music companies want to join a copyright infringement suit against OpenAI being heard by a court in Delhi
Source

Atmos & XR: Latest SOS Case Study now live In our latest SOS Case Study, we take an in-depth look at how the immersive audio capabilities of Antelope Audio’s Galaxy interfaces are being put to work by two very different users.

Here’s your chance to win a signed Oberheim Matrix-12 synthesizer worth $20,000Fancy winning an Oberheim Matrix-12 synthesizer signed by Tom Oberheim himself? Well, here’s your chance.
The Bob Moog Foundation – the nonprofit organisation set up in 2006 following the death of synth pioneer Robert Moog – has announced a fundraising raffle, with the winner taking home a signed Oberheim Matrix-12 valued at $20,000.

READ MORE: You can save hundreds on DAW controllers and Korg synths right now in Reverb’s Presidents’ Day sale

Along with Tom Oberheim’s signature, the synth also features the signatures of Marcus Ryle and Michel Doidic, the principal designers of the Matrix-12. 
It’s also unique in that it was previously owned by Doug Curtis, the late inventor of the legendary Curtis chips used in many classic synthesizers. It was donated to the Bob Moog Foundation by Doug Curtis’s widow, Mary.
Credit: Bob Moog Foundation
Also, it is said to be in “pristine condition”, having been personally restored by Marcus Ryle. Its serial number is P53207 (the seventh unit built in the 32nd week, August 5th – 9th, 1985).
Launched in 1985, 2025 marks four decades of the Matrix-12, so the raffle lines up nicely with its 40-year anniversary.
The Matrix-12 followed the Oberheim Xpander – which launched in 1984 – and features two Xpanders (for 12-voice polyphony), as well as five-octave velocity and an aftertouch keyboard.
Elsewhere, the Matrix-12 features 15 different analogue filter modes, linear analogue FM, and a matrix modulation system to route the 27 modulation sources to the 47 modulation destinations.
Credit: Bob Moog Foundation
“Forty years ago we developed the Xpander, and its big brother, the Matrix-12, with an uncompromising spirit to create the most versatile and amazing sounding instruments we could imagine,” recalls Marcus Ryle. “To this day, the Matrix-12 is still my favorite synthesizer to play.”
“Doug appreciated the Matrix-12 so much that he had two, so our family had to think hard about donating this legendary instrument,” notes Mary Curtis. “At last we decided that Doug would have said yes to the idea out of a love for the Matrix-12 itself, a belief that it will raise money for the important work of the Bob Moog Foundation, and the wish for another musician who loves it to make glorious music.”
The raffle runs from 17 February to 10 March at 11:59 ET, and tickets are available at $25 each, five for $100, 12 for $200 and 35 for $500. Participants who purchase five or more tickets will be invited to an exclusive group Zoom call with Marcus Ryle, to be held in early April.
For more information, head to the Bob Moog Foundation.
The post Here’s your chance to win a signed Oberheim Matrix-12 synthesizer worth $20,000 appeared first on MusicTech.

Beastsamples offers Beastverb reverb plugin for FREE in limited time offer
Pluginomat offers the Beastverb ($69 value) reverb plugin by Beastsamples as a free download for a limited time. Beastverb is a 64-bit-only plugin for Mac and Windows in VST3 and AU, with AAX support on the way. Reverb is an invaluable tool for creating atmosphere, depth and dimension in a mix, and there is an [...]
View post: Beastsamples offers Beastverb reverb plugin for FREE in limited time offer

Hit the Decks! It's GrabbitzElectronic music producer, musician, composer, and DJ Grabbitz started producing around the age of 13."[It was] on my first family computer which came with Garageband," he says. "I made hundreds of beats and learned everything I could about the program, then transitioned to Logic Pro. I learned DJing out of necessity because I was making a lot of EDM at the time, and in order to show it off I had to DJ it. It started to become serious when I started to get attention from labels, got my first few major synch placements, and put out my first few official projects as Grabbitz that got millions of hits. "Today, he describes his sound as, "a combination of rock and electronic music. I exist in both the thriving bass music scene, but I'm trying to incorporate more original songs which I do through my voice and rock influence."His latest album is Big Epic Nothing."It's a collection of songs I really love and I think continues to push that line between rock and bass," he says. "I try not to set boundaries for myself while creating and I think the versatility really shows that on this record."As for gear: "I can make music with any set of tools I have available but when I'm at my home studio, I have a few toys I like to use," he says. "Moog One, Mellotron, my Neumann u87 Microphone, Shure sm7b, my guitar collection."Looking ahead, Grabbitz has plenty planned for 2025."I'm touring on a bus for the next few months, but I'm always looking to push myself further with my recorded music, and looking to collaborate more with my peers in electronic music this year," he says. "We're also going to be doing a lot of headline shows in the fall."Photo by Zach Frank

The post Hit the Decks! It's Grabbitz first appeared on Music Connection Magazine.