Heritage Audio unveil the Tubestrip Said to be Heritage Audio's most ambitious piece of outboard gear to date, the Tubestrip combines a preamp and EQ section with a pair of compressors, all of which have been carefully designed to function as a single, cohesive tool. 

Mix Buddy instrument mixer from Heritage Audio Equipped with 19 inputs and eight outputs, the Mix Buddy has been designed for both studio and stage use, and boasts a high-quality design that promises to preserve the tone of any source. 

Disk Polishing Goes Open SourceOptical media is great — it’s pretty high density, relatively durable, and decently long-lasting if
“That’ll buff out” is very often true when it comes to disks.
well cared for. If not well cared for, well, it’s only relatively durable, and we’ve probably all picked up a second-hand disk that’s too scratched to use. The X-Box 360 is notorious for causing circular damage, and while decent disk cleaners were easy to get in the 90s, we’re not sure how far we trust what’s on offer at retailers today. Hence [Dennis], aka [RetroGameRevival]’s RGR ezBuff polishing machine, which does exactly what it says on the tin: buffs disks to a polish, easily.
We’d say the whole thing is 3D printed, but of course you still need a motor and controller — if you had to turn a crank, that would just be a Buff polishing machine, no ez — and we’ve yet to see a printer poop out polishing compound. If you build it, keep in mind that you’re taking the top layer of material off the disk to polish scratches away, so don’t overdo it. It’s entirely possible to ruin a disk beyond repair with too-aggressive buffing; it’s also possible for disks to be scratched too deeply to save. Polishing can’t save genuine disk rot, though in our experience you’re more likely to find scratched disks than rotten ones. Still, [Dennis]’s birthday gift to the community — it was apparently released on his birthday — should keep more than a few disks out of the trash.
With Sony getting out of the disk game, physical media is becoming more precious than ever, so it’s good to see what looks like a quality polishing option for those of us who either never had a polisher or didn’t save theirs. If you really want your disks to last, maybe we should bring back CD caddies.
Thanks to [Dean] for the tip, via timeExtension.com.

This KVM runs a P4 instead of a Pi.If you asked us to build you a KVM last week, we’d likely have reached for a Raspberry Pi. Now, thanks to [JonathanRowny], we’d seriously consider an ESP32-P4, because his IP KVM seems pretty capable.
He’s using the P4 hardware to its fullest, getting the supported 1080p graphics, and doing so in an interesting way– he’s got a commercial adapter board to try and translate HDMI signals to the camera input on his dev board. Conveniently enough, it’s the same ribbon-cable pinout as the RPi, which is not guaranteed by the CSI standard. Writing a driver to take that signal proved the hardest part– aside from the usual chip revision confusion that plagues this chip– and we can’t help but wonder if the client on the other side of the KVM-IP link might have an easier time doing the image processing that was required for a good image. Regardless, he’s got the code as it is now up on GitHub under the Apache license. 
As of this this writing, there’s no audio, and ironically for an ESP32 project networking is wired-only– but much more importantly, there is no security. So it’s a work in progress, but great to see the P4 in the wild doing something other than emulation. Not that we haven’t seen the P4 at work before–the Tanmatsu handheld also makes use of Expressif’s most powerful chip for a handy little terminal. Between the KVM and the handhelds, we cannot help but wonder how many of the projects that were once the provenance of a Pi will get squeezed into these overpowered microcontrollers. Sure, they can’t even match the original Pi in horsepower, never mind a modern Pi5, but how many times have you seen a Linux SBC seriously under-taxed in a project like this?
If you’re swapping Pi for P4– or doing anything else interesting– please let us know on the tips line.

Tidal won’t remove AI-generated music – it’ll just stop paying those behind itIf you’ve generated an AI album and were hoping to cash in on streaming royalties, Tidal has some bad news.
The streaming service has announced a new AI music policy that allows AI-generated tracks onto the platform, but draws a firm line when it comes to monetisation. From 29 June, music it identifies as “wholly AI-generated” will no longer earn royalties or be eligible for direct-to-fan sales.

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“Starting today, AI-generated music will not be monetisable,” says the company. “Tidal’s priority is ensuring royalties go to original works directly produced, written, and performed by people. We will therefore not knowingly attribute royalties to music we identify as wholly AI-generated.”
That doesn’t mean AI music is being banned altogether. Tidal says it will continue accepting AI-generated releases, provided they comply with its content standards and distribution agreements. Beginning in mid-July, tracks identified as 100% AI-generated will also receive a dedicated label, with broader tagging planned (“we will expand this tag to content that is substantially AI-generated”) as AI detection technology improves.
The company is also cracking down on what it describes as “fraudulent” AI uploads. Music generated to impersonate artists, mislead listeners, manipulate streaming activity or flood the platform with mass-produced releases may be blocked or removed entirely.
“We will not tolerate AI-generated music that exploits an individual’s or group’s music, name or likeness, deceives listeners, or diminishes the quality of our service,” Tidal states.
The policy also extends to Tidal Upload, the platform’s self-service distribution tool for independent artists. If Tidal determines that an Upload release is wholly AI-generated, it will still be allowed on the service and tagged as such, but it won’t qualify for monetisation or direct-to-fan sales.
The move comes as streaming platforms continue to grapple with an explosion of AI-generated music. Viral acts like The Velvet Sundown have amassed millions of streams across platforms, igniting debate over AI-generated content, artist compensation and whether streaming services are doing enough to distinguish machine-made music from human-created work.
Earlier this month, Deezer launched a free online AI music detector that allows users to check whether their playlists contain AI-generated tracks. The tool is powered by Deezer’s existing AI detection technology, and is compatible with 20 of the most popular music streaming platforms in the market.
More information is available at Tidal.
The post Tidal won’t remove AI-generated music – it’ll just stop paying those behind it appeared first on MusicTech.

OpenClaw is finally available on Android and iOSThe free open source agentic program is finally invading your phone.

Tracktion releases Waveform 14 Free: our best FREE DAW for macOS, Windows, and Linux
Tracktion’s Waveform Free has been updated to v14, remaining our best free DAW for macOS, Windows, and Linux. We’ve covered Tracktion’s Waveform Free multiple times, and we like it. So much so that we named it our best free DAW in 2026, despite sme stiff competition from the likes of Cakewalk and GarageBand. The reason [...]
View post: Tracktion releases Waveform 14 Free: our best FREE DAW for macOS, Windows, and Linux

ADDAC System has designed a modular synth that can be played like a guitarWhat if a modular synth was also a guitar? ADDAC System is answering that question. The Portuguese brand has just announced the Four String Series, which will incorporate physical strings into your Eurorack.
Originating from a desire to incorporate some synth tech into a lap steel guitar, the Four String Series utilises tactile modules and mechanisms to pluck each string. The design allows your Eurorack layout to twang and vibrate the strings from below, with the option to expand and customise as you please.

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The most important attachment of the bunch is the base ADDAC120 Headstock and Bridge module. Developed so that your strings can be elevated high enough to accommodate your modules underneath, it allows string gauges up to 0.055, has four locking tuners and costs €210.
While you can pluck the strings yourself from the top, there’s no reason you can’t leave it all to your synth to do the legwork. An ADDAC124 Plectrums module was designed for exactly that reason; designed with little metal ‘picks’, the module can pluck each string independently. Priced at €280, it can send triggers through buttons or via a MIDI input.

The ADDAC124 Plectrums module has two modes: Pluck mode, which will properly twang a string, and Harmonic mode, if you’re after more of a light string tap.
An ADDAC121 Humbucker module has also been developed to capture string sounds. However, it’s not like a conventional humbucker you’d find on a standard electric guitar. Instead, it uses an ADDAC122 Quadrophonic Pickup configuration, with a pickup for every string, to fully capture your experimental sounds. And it also allows for independent string volume control, for maximum configuration.
Elsewhere, there is a Rotary Exciter, which generates a rotating magnetic field to excite strings that are at the same frequency as the motor rotation speed. Another new module, the Ebow slider, was then developed to create a harness and sliding mechanism, making it possible to produce an Ebow effect on any string.
Credit: ADDAC
Other ways of stimulating your strings include the ADDAC126 Rotary Exciter, which generates a magnetic field that can have an impact on strings at the same frequency as the motor’s rotational speed. The ADDAC127 Ebow Slider also offers a unique Ebow-like effect, thanks to its “harness and sliding” mechanism.
An ADDAC125 Strings Mute module is also available, which can help dampen unwanted vibrations. The company likens its sound to a palm mute, but one that your tech can do without having ‘hands’; the attachment uses a servo motor, raising and lowering a piece of foam to dampen the vibration of your strings.
Credit: ADDAC
Though, if you’re keen to get involved, ADDAC System has also considered those who might prefer to play with a bow. As a result, there’s a nifty Bow Arch Attachment, which can be popped onto your headstock. The attachment essentially raises the two middle strings, which should make it easier to play each string individually while wielding your bow.
Of course, all of this sits most comfortably in the ADDAC120F Strings Frame. Sitting at €360, the custom-built frame is designed specifically for the Four String Series and can comfortably accommodate all of the available modules. The frame also has a dedicated power supply and should serve as a great base if anyone hopes to expand or customise their frame.
The Four Strings Series will begin shipping in July. For more information, head to ADDAC System.
The post ADDAC System has designed a modular synth that can be played like a guitar appeared first on MusicTech.

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Is Oeksound’s Soothe3 the most transparent resonance suppressor yet?£199 / £45 upgrade / rent-to own available, oeksound.com
I reviewed Soothe2 in 2020. At the time, it was the undisputed champion of resonance suppression plugins. But since then, there’s been a tidal wave of competitors vying for the crown. Not content to rest on its laurels, Oeksound has finally released an update with improved sound, a streamlined interface and unique new features. It may be just enough to keep Soothe at the top of every producer’s essentials.

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Soothe is the perfect tool to reach for when you’re wanting to tame multiple unwanted resonances. Although you could potentially notch these out using a standard EQ, it would be incredibly time consuming, whereas Soothe reacts dynamically in real-time to remove these out as they appear. The plugin window has had a re-jig since version 2, but it won’t take long to readjust if you’re upgrading. The separate controls for Sharpness and Selectivity have been simplified to a single Detail dial which you turn up if you want to target narrow notches, or down to make broader reductions.
Other controls, like Attack and Release have been made more prominent, and the stereo section that lets you switch between and edit the Left/Right and M/S balance has been moved to a collapsible sidebar. It’s here that we find the Tilt section, which is one of Soothe3’s new features. This lets you increase or decrease the Detail, Attack and Release amounts in the upper or lower portions of the spectrum. This is a welcome addition as it gives you more flexibility to target something like a kick drum more broadly, whilst narrowing in on sharp cymbal resonances within the same instance. That said, it would be even better if you could control the Detail amount via each node instead, which is something you can do with Baby Audio’s Smooth Operator Pro. Technically, the more you boost a node, the narrower the cuts become, but we find the results relatively negligible in practice. In fairness, the Tilt controls are effective for most tasks.

The sidebar also includes a new Max Cut control that raises a line to set the maximum amount of reduction Soothe is allowed to make. This is useful to drive the processing harder without any massive cuts from rogue frequencies.
The largest part of the interface provides a live visual of the suppressed frequencies. I’m not sure what tweaks have been made to the ballistics, but it feels smoother and easier to read than its predecessor. Here you can double-click to add up to eight nodes, with eight shapes including a new tilt and bandpass. I’m especially happy about the bandpass as it means you have a much quicker way to focus on a small region whereas before, you had to use a combination of low-cut and high-cut.
There are Soft and Hard modes, as before. Soft is the mode that most will use as it has an adaptive threshold that reacts to the relative levels of resonances, and works well with more dynamic sources. Hard mode has a fixed threshold and is used for more aggressive control, or when using the plugin to sidechain duck another instrument. Both algorithms have been improved to give a cleaner, more transparent output.
Oeksound Soothe3 Max Cut. Image: Press
To get a better idea of how they sound, I push things to the extreme and compare the delta (removed) signal of Soothe3 with both Soothe2 and Waves Curves Equator. There’s a positive leap in cleanness between Soothe 2 and the Waves, and then a further leap with this new algorithm. On Ultra quality Soothe3 is silky smooth, with an open high end and minimal artefacts. It also has an improved ability to focus on resonances when the Detail control is turned up, which means less damage to the surrounding material. More than the various new features and user interface, this is what really makes the upgrade worthwhile to me. Some engineers complain that these kinds of tools can ruin mixes by making them sound over-processed, but this new algorithm allows you to dig into the signal while keeping things more transparent. Of course, you do still need to use your judgement to make sure you don’t overcook things.
Quality settings have been simplified to just Normal, High and Ultra in version 3, with no separate controls for oversampling. You can engage a separate feature in the settings menu that will always render on Ultra, giving the cleanest and most accurate sound. Also added is the ability to run Soothe3 in both linear phase and low latency mode. Linear phase might give better results if you’re processing in parallel, or provide more stable panning when using unlinked stereo. Oeksound released Soothe Live a few years back to provide an ultra-low-latency option for live sound and tracking, but this new version improves on that even more, with zero samples of latency at base sample rates. This makes it a fantastic option for controlling unpredictable live performances whether on-stage or whilst tracking.
For anyone working in Atmos and surround, the final new feature will be a legitimate game-changer; Soothe can now function in multichannel setups up to 9.1.6. There are various options for grouping and linking channels, and you can assign nodes to only affect certain channels. You also get separate metering and delta controls so you can hone in on problem areas, making Soothe3 a useful tool for taming multichannel masters.
Oeksound Soothe3 controls. Image: Press
If you’re looking for a simple resonance suppressor plugin and you don’t need some of Soothe3’s features such as the super transparent sound, low-latency mode and surround support, then there are cheaper options available such as Baby Audio’s Smooth Operator Pro and Three Body Technology SpecCraft, to name a couple.
Soothe3 isn’t cheap, but it’s a worthwhile investment if you’re serious about audio. Tweaks and new additions have refined an already excellent plugin. The sound quality now keeps up with—and often surpasses—the competition, while the interface is quicker and more pleasurable to work with. It’s definitely worth the upgrade price of £45 for existing users.
Despite a flood of competition, it turns out the real Soothe2 killer ended up being Soothe3.

Key features

Resonance suppression plugin
VST3, AU, AAX (requires iLok account)
Updated algorithms
Transparent Soft mode with adaptive threshold
More aggressive Hard mode with fixed threshold
New Low Latency mode adds zero samples at base sample rates
Streamlined, resizable window with simplified Detail control
Flexible nodes with 8 band shapes
Tilt controls for Detail, Attack and Release
New Linear Phase mode & Max cut parameter
Up to 9.1.6 multichannel support

The post Is Oeksound’s Soothe3 the most transparent resonance suppressor yet? appeared first on MusicTech.

ADDAC System’s new Four Strings Series ADDAC System's latest creation comes in the form of the Four String Series, which comprises a collection of modules that make it possible to incorporate guitar strings and pickups into a modular synth rig.

News Sites are Blocking Internet Archive over AI Scraping FearsEspecially in this era of the Internet, the role of the Internet Archive’s Wayback Machine has become increasingly essential as more and more web content vanishes into the ether or is surreptitiously altered to hide salient details. More recently a new worry has seemingly cropped up in the form of scraping of data for so-called AI systems, or at least that’s part of the excuses being offered for blocking the Wayback Machine’s web crawlers, with [Andrew Deck] and [Hanaa’ Tameez] of [Nieman Lab] detailing the impact and reasons provided.
Some news outlets like The Baltimore Banner insist that they’re only blocking the Wayback Machine crawlers because they are worried that LLM chatbots would otherwise ‘improperly cite’ the source of content, while outlets like The Atlantic have put a blanket anti-scraping policy in place. Meanwhile news outlets are generally happy to let paid commercial news archiving outlets like ProQuest and LexisNexis index their content, showing a potential financial incentive.
Whatever the reasons, the direct effect is that as content is modified or vanishes during for example a system migration, buy-out or bankruptcy, researchers who rely on the Wayback Machine are pretty much forced to rely on paid offerings by ProQuest and kin, without the pure archiving focus and free access to information. It will also leave big holes in what the Wayback Machine can cover in its archives, with news especially becoming very spotty.
Incidentally there’s an ongoing petition over at SaveTheArchive.com which people can sign.

oeksound introduce Soothe3 Soothe3 is powered by a redesigned algorithm that promises a significant improvement to processing transparency and a wider ‘sweet spot’, as well as introducing support for immersive channel layouts and more. 

Eventide & Newfangled Audio release Fixate:Midrange Fixate:Midrange employs intelligent EQ processing that quickly identifies and tackles ‘muddiness’, and promises to deliver professional-sounding results with minimal effort. 

What is microtonality in music? Definition and why it matters
Learn about what microtonality is, dive into its history, and explore how you can apply it in your own music.