Bitcoin price tussle at $70K may hint that market bottom is not inBitcoin price dipped under $70,000, but a bull-friendly set-up on the lower time frames forecasts a swift rebound.

Jeff Bezos reportedly wants $100 billion to buy and transform old manufacturing firms with AIThe Amazon magnate has a new project centered around acquiring industrial firms and revamping them with AI technology.

What are chord inversions? A music theory guide
Learn about what chord inversions are and explore ways to use them for better voice leading and more nuanced emotional impact.

Retro Weather Display Acts Like It’s Windows 95Sometimes you really need to know what the weather is doing, but you don’t want to look at your phone. For times like those, this neat weather display from [Jordan] might come in handy with its throwback retro vibe.
The build is based around the ESP32-2432S028—also known as the CYD, or Cheap Yellow Display, for the integrated 320 x 240 LCD screen. [Jordan] took this all-in-one device and wrapped it in an attractive 3D-printed housing in the shape of an old-school CRT monitor, just… teenier. A special lever mechanism was built in to the enclosure to allow front panel controls to activate the tactile buttons on the CYD board. The ESP32 is programmed to check Open-Meteo feeds for forecasts and current weather data, while also querying a webcam feed and satellite and radar JPEGs from available weather services. These are then displayed on screen in a way that largely resembles the Windows 95 UI design language, with pages for current conditions, future forecasts, wind speeds, and the like.
We’ve seen some fun weather displays over the years, from graphing types to the purely beautiful. If you’ve found a fun way to display the weather (or change it) don’t hesitate to notify the tipsline. Particularly in the latter case.

Streaming fraud man who pocketed $8m using hundreds of thousands of AI songs streamed billions of times by bots pleads guiltySmith is scheduled to be sentenced on July 29
Source

FT1-EMU plug-in from Freqport FT1-EMU delivers a virtual recreation of Freqport's Freqtube FT1 saturation unit, and offers optional integration with the hardware version.

A Song That Changed My Life: Sparks the Rescue on Fugazi and Old 97'sA Song (or two) That Changed My Life: Sparks The Rescue’s — Marty McMorrow: Fugazi’s “Waiting Room” and Toby McAllister: Old 97’s “Timebomb.”

The Band Members: Alex Roy, vocals; Marty McMorrow, vocals, keyboards; Toby McAllister, guitar, vocals; Patrick O’Connell, guitar; Ben Briggs, bass; Nathan Spencer, drums.

The Storytellers: Marty McMorrow and Toby McAllister

The Songs: The instantly recognizable, heavily dissected, bassline-driven opening of Fugazi’s “Waiting Room” — punctuated by a brief drop to silence at the 22-second mark — unsealed a sonic fault line, releasing a reverberation where hardcore punk and precise musicianship fused into a singular soundscape. The moment served as a tectonic shift, establishing a benchmark for how musicians could remain fiercely independent and DIY while achieving global influence, a feat few have matched.

Conversely, the frenetic, full-speed intro to Old 97’s “Timebomb” — propelled by a breakneck, train-beat rhythm — landed as a seismic sonic tremor, where Western musical textures collided with an unfiltered independent spirit and propulsive alt-rock. The song carved out a unique space, showing how Americana and punk melodics intertwine, the lyrics capturing a mind teetering on the edge of detonation, creating a distinctive sonic signature.

Both tracks, though sonically distinct, are propelled by an unmistakable sense of momentum — internal and external — capturing a unique urgency that refuses to sit still.  For McMorrow, “Waiting Room” embodies the inner pressure to act, grow, and claim a personal life path. For McAllister, “Timebomb” reflects the external, anticipatory tension of knowing something is imminent —a mental fuse counting down. In different ways, each song channels the restless energy of time pressing forward, mirroring the impulses that turn thought into action and creativity.

The Background: Emerging from Portland, Maine’s all-ages punk rock scene in the mid-2000s, Sparks The Rescue built their musical foundation on a blend of high-energy punk sound with hints of hard-edged melodics, and an old-school DIY work ethic. A road-tested band shaped by relentless self-promotion — including booking many of their own tours — they steadily built a faithful following that eventually caught the attention of indie stalwarts, Fearless Records.

Over the years, the band expanded their reach from Maine to mainstream — including international festivals and runs on the Warped Tour — helping them grow a loyal fanbase well beyond the Pine Tree State.  As their sound evolved and members shifted, at the core, they remained the same, anchored in punk rock with a melodic, lyrical drive.

As Sparks The Rescue prepares to hit the road again with all six original members, Marty McMorrow and Toby McAllister reflect on the early moments that shaped their drive —  songs heard years ago from riding stow-and-go to shotgun that quietly laid the foundation for everything that followed: the architectural, quiet-loud defiance of Fugazi’s “Waiting Room” and the rockabilly, narrative search for a ‘no-way-out’ solution of Old 97’s “Timebomb.” 

The Story: Where Fugazi’s “Waiting Room” offers stated architectural boldness — using self-determination to battle stagnation — its outward urgency, absorbed in an enclosed, internal space; the Old 97’s “Timebomb” captures rowdy entropy — its internal tension, experienced outward in the open air. Though experienced differently — headphones versus car radio — both moments found common ground as personal awakenings, crossing physical and emotional boundaries in opposite directions, inversely fueling their creativity.

McMorrow’s memory of “Waiting Room” was planted at 12 or 13 years old, sitting in the back of his family’s Astro Van after a trip to the city. Borrowing his brother’s old-school Walkman, he pressed play on track one from Fugazi’s seminal 13 Songs, and the effect was immediate. Enclosed in the van, with headphones on, Fugazi’s music became private yet powerful. 

“Being 13, feeling all these very intense emotions and having big thoughts, and for the first time hearing the music that made you feel like that was okay…. I felt excited… like there was this ember burning inside of my heart that was about to burst aflame,” McMorrow recalls.

At the same time, the song’s  lyrics struck just as hard, cutting through the dynamic, angular soundscapes as a fixed point within the moving memory:

“’Waiting Room’ evoked this feeling of impatience and unhappiness, with a desire and need for change,” he says tapping into the song’s underlying tension between waiting and action. “’I’m gonna fight for what I want to be’ — that line stands out.” 

From that plugged-in moment, Fugazi became a guiding light, showing McMorrow how to express himself through music — writing songs, performing, or staying true to his ideals.

“Fugazi wasn’t just a band; it was an entrance into the world of true artistry, raw emotion, and following your heart. That moment has inspired every move since I first heard the song… Every step of the way, Fugazi was the key that unlocked the door to the rest of my life.” In McMorrow’s words: "Magic is experienced, not explained. Listen to it.”

While McMorrow’s experience was introspective and contained, seeking ways to channel internal discoveries into the external world, McAllister’s was expansive and outward. Hearing “Timebomb” in the open air, while absorbing its inward-looking narrative of resolving conflict; both profoundly transformative, yet each in its own distinct way. McAllister first heard “Timebomb” around age 14, as a passenger in his father’s doorless Jeep on a summer evening.

“I vividly remember the doors and roof were off, and it was a summer evening. The soaring chorus and melody hooked me. The energy of the song is undeniable,” he recalls. “It was a new sound to me. I was getting heavily into bands like Blink-182 and The Offspring, discovering my love for punk music. Old 97's presented punk music with a country twang that I had never heard before.”

“Timebomb” also opened a door to storytelling and songwriting. “Frontman Rhett Miller has a particular way with words that has always inspired me. The lyrics are dark and humorous all at the same time. I’m forever a fan of sad songs that sound happy.” McAllister adds, “It showed me that songs could tell a story by painting a picture with words” Case in point: “My favorite lyric. ‘she's gonna kill me, and I don't mean softly.’" 

Ultimately, these two distinct moments of creative autonomy — one found in the wired-in sanctuary of a Walkman and the other in the open-air rush of a summer evening —converged into a singular professional path. Whether it was McMorrow finding the spirit in what it means to "fight for what I want to be" or Toby discovering the sublime nature of sardonic storytelling, both musicians used these tracks to navigate their sonic experimentation and step out of the passenger seat and drive their musical visions.The post A Song That Changed My Life: Sparks the Rescue on Fugazi and Old 97's first appeared on Music Connection Magazine.

“Play an instrument – now more than ever”: Flying Lotus says AI-generated music will make demand to see real musicians go upFlying Lotus has encouraged musicians to continue playing a real-life instrument, explaining that the rise of “one-click” AI-generated music will increase the demand by audiences to see artists who can actually play.
The American producer, DJ and rapper offers the advice in a new interview with MusicRadar, in which he’s asked about his views on the rise of AI in music production workflows, and how he thinks it will impact the future of the industry.

READ MORE: Native Instruments CEO issues new update on insolvency proceedings: “We are working to secure a healthy, financially sustainable future”

Asked to offer some advice on budding producers who are trying to make it in today’s uncertain music industry, FlyLo says: “Play an instrument. Don’t forget to play your shit.”
He continues: “More and more, as we are getting into the world of Suno and one-click music, the playing will be more valuable. People will want to go and see human music, to see people performing and playing. So play your instrument, don’t forget your instrument, now more than ever.”
In terms of whether he views artificial intelligence as a good or ill for the music industry as a whole, FlyLo reckons AI does have a place in the creative process.
“I think everyone should do whatever the fuck they wanna do, at the end of the day,” he says. “I hear these conversations with people talking about this stuff, and all I hear is ‘Auto-Tune sucks, get rid of it.’ I hear, ‘Drum machines have no soul.’ I hear, ‘You can’t make hip-hop on a laptop, computers have no swing.’ It goes to the same place.”
He goes on: “I just want everyone to do whatever they believe in. Just go with your fucking spirit and make some dope shit, if you’re going to use the AI to make that shit better than the shit that you’re doing. Be better than the machine, be greater. 
“I haven’t heard it yet, but I would hope that people use the shit to make a new genre, instead of trying to create what we’ve already done. Use these things to make the next version of electronic music that could only be possible with this technology. That’s what I want to see.”
AI music generators are becoming more and more prevalent, reflected in Suno’s recent $2.45 billion valuation following a $250 million investment round.
“We’re seeing the future of music take shape in real time,” said Mikey Shulman, Co-Founder and CEO of Suno. 
“In just two years, we’ve seen millions of people make their ideas a reality through Suno, from first-time creators to top songwriters and producers integrating the tool into their daily workflows. This funding allows us to keep expanding what’s possible, empowering more artists to experiment, collaborate, and build on their creativity. We’re proud to be at the forefront of this historic moment for music.”
The post “Play an instrument – now more than ever”: Flying Lotus says AI-generated music will make demand to see real musicians go up appeared first on MusicTech.

“DJing isn’t just about playing tracks; it’s about creating space”: Inside Foundation FM’s DJ workshop with Apple Music and AlphaThetaEarlier this month, women-led music station Foundation FM teamed up with AlphaTheta, Apple Music, and Platoon to host an International Women’s Month DJ workshop. Leveraging the recent streaming integration between Apple Music and rekordbox, Foundation FM gave novice DJs a masterclass in building playlists and mixing tracks.
Foundation FM’s aim with the event was to prove to DJ newcomers that you don’t need high-end CDJs or an extensive record collection. “The whole idea was to show just how accessible DJing can be,” says AlphaTheta’s Amy Francesca.
Participants were taught the tech and workflows by Francesca and Charisse C (an artist and DJ at Platoon). They also offered insight into how streaming platforms, radio stations, and community spaces can inspire and support upcoming DJs. Wider discussions unfolded after, exploring ways to navigate the early stages of a DJ career and the music industry at large. A key focus was on building audiences and communities around events, and developing a distinct artistic identity. Community radio came into play here, highlighted as a useful platform for visibility and creative development.
“Everyone jumped on, played their favourite sounds, and you could really feel each person’s individuality come through,” says Amy Francesca. “Naturally, it turned into a bit of a mixer afterwards, with people connecting, sharing music, and getting to know each other, which is exactly the kind of energy we’d hoped to create. DJing isn’t just about playing tracks; it’s about creating spaces where people feel confident to express themselves. This is where new communities can form through music”
IWM x Foundation FM, Apple Music, AlphaTheta & Platoon. Image: Leanne Dixon
Charisse C adds: “Spaces like these are so important. Spaces where women in music, from all disciplines, genres and tastes, are able to come together to knowledge share, skill share and access priceless information that is often hard to come by…We’ve come a long way in terms of equity for women in music, we still see certain tropes and systemic barriers being repeated. It’s never been a question of talent. Spaces like these are reminders of the incredibly eclectic range of talented women”
While this session was a one-off, it demonstrates the ongoing efforts across the industry to break down barriers in DJ culture. No further sessions by Foundation FM, Apple Music, Platoon and AlphaTheta are planned, but we may see a continued effort from similar brands to continue inspiring creators.
“We believe this music and culture needs to be shared, and are committed to supporting partners like Foundation FM through our various programs to do so,” concludes Apple Music’s Stephen Campbell.
The post “DJing isn’t just about playing tracks; it’s about creating space”: Inside Foundation FM’s DJ workshop with Apple Music and AlphaTheta appeared first on MusicTech.

Animate by Mastering The Mix is FREE at Plugin Alliance until March 24th
Plugin Alliance currently offers Animate by Mastering The Mix for free (regularly $66). The offer lasts until March 24th and is limited to one license per user. If you missed our own Animate freebie offer a couple of years ago, here’s another chance to get it for free. Animate works on Windows and macOS in AU, [...]
View post: Animate by Mastering The Mix is FREE at Plugin Alliance until March 24th

Milab to restart production Legendary Swedish microphone manufacturer Milab have announced that production is now fully underway, and microphones are leaving their factory once again!

Doc Martin on mixing vintage and modern gear, and why you should try releasing your music independentlyCalifornia’s Doc Martin has cemented himself as a house music veteran, with almost 40 years of experience in the studio and behind the decks, and running his own label, Sublevel, for 25 years. The producer and DJ has performed around the world, alongside iconic acts such as Larry Heard, Frankie Knuckles, Jeff Mills, Carl Cox, and even Daft Punk in their early days; but Doc Martin hasn’t slowed down after decades of success, and has continued creating and performing for the love of the game. This year, he’s releasing a slew of new original music, remixes, and collaborations with the likes of Harry Romero and D’Julz.
With such an extensive career, we’ve taken the chance to access Doc’s workspace in this issue of Studio Files, to learn how he balances vintage and modern gear, why he’s streamlining his setup, and what advice he’d give to producers looking to release music on their own terms.
Hey Doc! Your DJ career has taken you across the globe and onstage with some musical icons. How much does this impact your creative decisions when you sit down and make music in the studio?
I try not to get caught up in what’s hot at the moment. I’m pretty genre illiterate when it comes to that. I might hear elements that excite me in different styles of music, and bring them into a song or groove I’m working on.
Before social media, different cities and countries had their own musical vibe. England, Germany, Japan, New York, Chicago, and Detroit all had their own thing going on, for example. That was one of the things that was exciting to me: experiencing different sounds and vibes from city to city.
You’ve seen and been part of some massive changes in the dance world. What can the new wave of producers and DJs learn from earlier eras of electronic music?
There are a ton of new producers who are coming up with fresh ideas, but there are people who’ve been at this for a while who you can learn from. The most important thing is to have your music be a reflection of you. Sometimes songs come together in a day, sometimes it’s weeks or months. I wouldn’t use AI just because the notes fit; you should try to experiment. You might come up with something that is completely your own.
Image: Doc Martin
Your latest release is a remix of Jeremiah’s Move — what’s your general approach to an edit or remix?
The original was a record that I played through at least three copies of. This was a staple at the Sublevel parties. I wanted to keep the integrity of the original while giving it that West Coast vibe. I added congas, drums, stuttered hi-hats, fattened the bass up a bit, and played a dub-style keyboard part in the background, with a few acid edits and ran it through my Soundcraft board. It was more of a re-edit with post-production added to it. I wanted to keep the integrity of the original.
Tell us about your studio.
My studio is located in a storefront by the beach in Oceanside, California, between Los Angeles and San Diego. It started as a place where I could do pre-production, and it transformed into a lot more than that — I can really take my time and experiment with sounds and effects. It’s a mixture of analogue and digital equipment, and after all this time, I’m still learning how to get different things out of my gear. I’m pretty much self-taught, so I have my own way of doing things. I’ve always said that I’m just a DJ who makes records.
Your gear collection is practically a museum — particularly in the drum machines. How often are you reaching for the vintage Roland drum machines, and what do they bring to your music?
I use my vintage gear a lot and will run them through effects. I love my Studio Electronics SE-1X, and use it a whole lot. The bass is so warm, and hits in all the right places. I’ve found that my Roland machines all have their own personality. Whereas modern gear often all sounds the same, so then it’s up to you to make it sound different. I will also still use my TC Electronic Fireworx effects if needed. As most people know, there is no right or wrong; it’s just what works for you!
TR-909. Image: Doc Martin
Tell us about how you use the DJM V10 — this isn’t a DJ mixer for the lighthearted, right?
I absolutely love this mixer. I did product testing for this with Pioneer DJ. I love the compressors on each channel, which help make a tighter blend when mixing newer tracks with older ones, which I do a lot. The crossover on the mixer is also a plus. The way you can blend records together on this mixer is super smooth as well. In the beginning, most people would see it and get intimidated — so many knobs and features — but I think now it’s become an industry standard. I love the AlphaTheta Euphonia 4 Channel Rotary mixer as well. I have an affection for rotary mixers, as I helped with the development of the Rane MP2015 mixer.

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What’s been the biggest investment in your studio?
I’ve been very fortunate when it comes to acquiring equipment. Finding unheard of deals on gear. Getting a 909 for $300 back in the day from an ambient producer. I guess you could say I’ve got good gear karma. I would say the Akai MPC X is the most expensive piece of gear that I’ve bought in the last few years. The jury is still out on this one for me. I got it fully loaded. I’m still comparing it to my MPC 2000; I definitely need to spend more time with it.
How do you see your sound and studio evolving in the next few years?
I’m going to streamline even more. I’ve got a ton of great analogue gear sitting here that someone could be using on their own journey. I’m always learning new things, and have been fortunate to work with people who live in their studios.
Have you felt yourself actively changing your productions to align with what streaming platforms seem to desire right now? Is that something you have to consider?
To be honest, not really. There are very few labels that can keep up a crazy release schedule and deliver quality, interesting music. It becomes more cookie-cutter, just to fill a release schedule. I look for stuff that I can pull out five years from now and will still sound good. To me, it’s not who has the most new records that wins. Believe me, I’ve been sucked into that mind frame before. I really love having a relationship with the music I play.
TC Electronic Fireworx. Image: Doc Martin
You’ve released music on some of dance music’s most iconic labels and have 20 years of experience running Sublevel. Is there any advice you’d give to new producers looking to sign their music to labels?
I’ve been so fortunate to have been released on so many great labels. Not all of them were big records at all, but it was 100% us. Sublevel was an outlet for me and Lillia to release our own music, as I didn’t have a big budget to release a ton of other people’s music. We were vinyl-only when we started. 25 years in now, and we are working harder than ever to cut through the noise. I would recommend that every up-and-coming producer release music on their own to see how it’s done. It will give them a better understanding of what’s involved in releasing music.
Don’t get discouraged if you send stuff out and don’t hear back from the labels. Keep grinding and working to get your music out there.
What’s a music production myth you think needs debunking?
That whoever has the most gear wins. I’ve been to studios where there are tons of keyboards just sitting there collecting dust. I’ve been guilty of this as well. I remember doing a record in the early 90s in Hackney, London. We turned the finished project in on a metal cassette mixed on four channels. The label was like, ‘How did you get it to sound this good on a cassette?’ We used maybe four pieces of gear.
Who gave you the biggest lesson in your career? Can you tell us about how it impacted you?
In the early days, I would say Blakkat (Mark Bell). I spent endless hours in Blackpool, England, learning about techniques, effects, and live mixing. Now I would say Joeski (his way of putting together music is crazy), Harry Romero (how can everything sound so fat and big and still have vibe?), Homero Espinosa (so good on those deep vibes), and Andreas Henneberg has really impressed me as well. All of these I’ve got to sit in the studio with, and can feel their love for what they do.
The post Doc Martin on mixing vintage and modern gear, and why you should try releasing your music independently appeared first on MusicTech.

Roland says its new AI melody generator, Melody Flip, puts “human intent” at the centre of the processRoland has introduced Melody Flip, a new AI tool that generates melodic ideas based on your own audio and works directly inside your DAW.
Developed in collaboration with Sony Computer Science Laboratories, Melody Flip combines research in AI-assisted music creation with Roland’s long history of building tools for musicians.
“Melody Flip is designed to expand creative possibilities, embodying Roland’s vision of technology as a partner that coexists with the creative process,” says the company.
Throughout development, Roland worked closely with artists to ensure the software reflects how musicians actually create, experiment, and refine ideas in the studio.

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As Roland is keen to emphasise, Melody Flip is not a fully automated composition tool, but a way to give producers a starting point when inspiration runs dry – while still keeping you in control of the process.
So what does that actually mean in practice?
Melody Flip lets creators import an audio file, and the software analyses its musical characteristics – things like structure, BPM, key, chord progression, genre, and mood.
From there, it draws on a library of around 300 “creative palettes” (predefined musical styles and tonal directions) to generate melody ideas that fit the DNA of your track.
Users can then pick, tweak, chop, or rebuild them however they want, treating the technology like an “active collaborator”. Roland says that the result is a new kind of production workflow where humans and software work side by side to bring music to life.
Despite its name, Melody Flip can generate not just melodies but chord, bass, and drum parts as well. All of these can be exported in both audio and MIDI formats.
“Roland has always been committed to supporting the evolution of music culture through electronic musical instruments and production tools,” says Roland CEO and Representative Director Masahiro Minowa.
“Melody Flip represents a significant step forward in the era of responsibly developed AI, introducing a future in which technology and people work together and elevate creativity. As we move forward, Roland will continue to expand the boundaries of musical expression with innovative products and services that amplify creators’ instincts and connect human sensitivity with the full potential of technology.”
Melody Flip is available for macOS and Windows and works as a plug-in within major DAWs. Like other Roland software products, Melody Flip will be delivered via the Roland Cloud Manager, with a free trial scheduled to launch in May 2026.
Learn more at Roland.
The post Roland says its new AI melody generator, Melody Flip, puts “human intent” at the centre of the process appeared first on MusicTech.

Native Instruments CEO issues new update on insolvency proceedings: “We are working to secure a healthy, financially sustainable future”Native Instruments CEO Nick Williams has issued an official update on the company’s insolvency proceedings, reiterating its determination to “secure a healthy, financially sustainable future”.
Native Instruments caused a ripple in the music production world when it announced it was entering preliminary insolvency proceedings in January 2026. NI is one of the world’s leading manufacturers of music-making software and hardware – behind the likes of Massive, Kontakt, Maschine and many more – so the news naturally caused its user base considerable concern.

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Nick Williams sought to partially dispel those concerns a few days later when he confirmed business would “continue as usual” at Native Instruments, as the Berlin-based brand – which also has under its umbrella iZotope, Brainworx and Plugin Alliance – looked to restructure to secure its future.
Now, Williams has issued another update on the company’s restructuring process, commending the “loyalty” of the Native Instruments user base and speaking about its “active M&A (mergers & acquisitions process)”, which is seeing “strong interest from multiple parties with deep roots in audio and technology”.
You can read the statement in full below:
“I want to share a direct update on the restructuring process underway here at Native Instruments. Business continues as usual across Native Instruments, iZotope, Plugin Alliance, and Brainworx. Our products, platforms, services, downloads, and customer service remain fully available.
The support we are receiving from our partners, artists, and community has been extraordinary. This loyalty isn’t something we take for granted, and it’s a reflection of what Native Instruments means to the people and businesses we work with every day.
At the end of January I said: “We are working diligently and responsibly to secure a healthy, financially sustainable future for Native Instruments.” This remains true – and our determination to achieve a sustainable future is strengthened and energised by your support.
We are currently in an active M&A process that is progressing well, with strong interest from multiple parties with deep roots in audio and technology. We see a clear path to achieve our goal to provide continuity for creators, customers, and partners.
As part of the restructuring process, Native Instruments GmbH and a number of our German entities will shortly be moving through expected legal steps, including transitioning from “preliminary insolvency” into formal “insolvency” proceedings where applicable. These are expected steps in the process we are working through.
What gives me confidence in our future isn’t just the progress we’re making – it’s also the extraordinary passion and dedication of the entire team here at Native Instruments. We continue to deliver every day, building and shipping products, and looking after our customers.
We’ll continue to share significant updates as we have them.”
The post Native Instruments CEO issues new update on insolvency proceedings: “We are working to secure a healthy, financially sustainable future” appeared first on MusicTech.

Get the UVI Shade Creative EQ and Filter for only $29 (70% OFF)
UVI is now offering the Shade creative EQ and filter plugin for just $29 (previously $99), in a 70% off deal exclusively available at Plugin Boutique.  The deal expires on March 31, 2026.  Shade is a 64-bit-only macOS and Windows plugin for AU, AAX, VST, and VST3.  When you buy Shade, you can also score [...]
View post: Get the UVI Shade Creative EQ and Filter for only $29 (70% OFF)