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Mixed Notes June 2026: Leena Punks, ZHU, Paris WYA, and MoreLA ZORRA ZAPATA REIMAGINES A CLASSIC WITH “PALOMA”

Peruvian artist La Zorra Zapata unveils “Paloma,” a haunting reinterpretation of the classic “Cucurrucucú Paloma,” marking the first release from her upcoming covers album. Now based in Mexico City, she reshapes the beloved song into an atmospheric, introspective piece, reflecting her personal journey across cultures and her evolving connection to Latin American musical traditions.

THUNDERCAT RETURNS WITH DISTRACTED

Six years after his last LP, Thundercat has released Distracted via Brainfeeder. Blending humor with introspection, the album explores modern distraction and connection, with contributions from A$AP Rocky, WILLOW, and Tame Impala, alongside a previously unreleased collaboration with Mac Miller.

GLOBAL POP ARTIST PARIS WYA DEBUTS NEW EP MANNEQUIN

Globally raised pop artist Paris WYA has released her new EP MANNEQUIN, a trilingual, emotionally charged project exploring identity, pressure, and self-reclamation. Created with Adrian Cota and Morgan Taylor Reid, the EP reflects her upbringing across Shanghai, Paris, and New York, blending ethereal pop production with diaristic songwriting as she steps into a new creative chapter.

KOKO LOVE RECLAIMS HIS NARRATIVE WITH THE COST OF FREEDOM

Montreal-born artist Koko Love reemerges with The Cost of Freedom, a debut album shaped by reinvention and intention. After shedding his former moniker and keeping the project off streaming for a year, he built momentum through live shows and word of mouth. Now arriving widely, the album reflects his commitment to authenticity, connection, and redefining the path to alternative success.

LEENA PUNKS TEAMS UP FOR RETRO-TINGED SINGLE “HOLD ON ME”

Leena Punks joins forces with REYUS and Lauren L’Aimant on “Hold On Me,” a cinematic progressive house track infused with ‘80s-inspired synthwave textures. Released via Interstellar Recordings, the collaboration blends euphoric production with a striking vocal performance, as the rising London-based artist continues to build momentum with support from major electronic tastemakers.

SOMBR BUILDS MOMENTUM WITH NEW SINGLE AND ARENA TOUR

Fresh off a breakout Coachella debut, SOMBR shares his new single “Potential” alongside a cinematic video and announces a 39-date North American arena tour. The self-written track follows a string of chart successes, as the rising artist continues to blend indie rock and pop while expanding his global reach after a landmark year of performances and accolades.

ZHU RETURNS TO HIS ROOTS WITH CINEMATIC NEW ALBUM BLACK MIDAS

ZHU unveils BLACK MIDAS, a 14-track return to his club-focused origins, shaped by a year spent rebuilding and creating on the road after the Southern California wildfires. Blending deep house and melodic techno, the album features collaborations with Joyia, HNTR, and others, alongside his evolving BLACKLIZT concept and immersive global live performances.

The post Mixed Notes June 2026: Leena Punks, ZHU, Paris WYA, and More first appeared on Music Connection Magazine.

Adam Baker Reflection: MIDI + Chord ViewerReflection: The chords you're playing, big and bold, on any screen. Reflection came about because I always wanted a plugin with a giant piano and chord viewer that I could see from across the room. My MIDI keyboard isn't in front of my computer, it's next to it, and I'm still (always) learning piano and music theory. None of the existing plugins were big enough for me to see. Once the basic plugin was built, I thought, why not have that broadcast to my iPad? My other app, Grip (for Ableton Live), already had a desktop companion to connect over Wi-Fi, so I reused it for Reflection. And why just one device? A phone and a tablet, or a whole classroom of piano students with iPads, could all show the same thing. Plus, why not be able to teach or share over the web? So, sharing, Jackbox-style, is a part of Reflection too. Reflection has three parts: a free plugin (VST3, AU), a mobile app (iOS, Android in beta), and a desktop app (Mac, Windows). They all have: Real-time chord detection from MIDI. Piano keyboard, grand staff, and equivalent guitar chord notation. Key signature and mode. Tap, type, or (on mobile) speak a chord name to see how to play it. The mobile and desktop apps also have a built-in piano and other sounds, so they work without a DAW. Chord analysis plugins aren't new. What's different about Reflection is seeing the same thing on multiple screens at once: Producer: Stick your phone on your keyboard and see what's playing through your DAW without turning around. Band/jam/collaborators or teachers & students: All of you can see what's being played in your own devices, e.g. to follow a band leader as they play. Either real-time over Wi-Fi in the same room, or over the web. I've got lots of ideas for how to extend this, either into the teaching/learning space, or more for live use, or for production. But starting with the basics and want to hear from producers, teachers, students, and others about what would make Reflection useful to you. Read More

SpaceX valuation balloons to $2.6T, briefly passes AmazonSpaceX's valuation has increased by $1 trillion since its shares started trading on Friday.

How Did They Make View-Master Slides?The basics of producing a stereophotograph of real life places were well-established by the time the View-Master arrived, but producing images of imaginary scenes was a bit more involved. [View Master Travels and Peter Dibble] took a look at how the fairy tale and media tie-in reels may have been made.
Staring with simple dioramas, View-Master eventually developed an entire team to work on fairy tales. One of the most influential members was sculptor [Florence Thomas]. She was instrumental in updating many of the original fairy tale reels from small scale miniatures to 1/6 scale dioramas for the scenes. Unfortunately, the department was eventually cut and all the original miniatures thrown away.
Before VCRs, View-Master was the primary way people could interact with their favorite TV shows and movies when they weren’t being broadcast. TV shows could be photographed while in production in Hollywood with a stereo camera giving great visual detail. Some cartoon and movie reels were less engaging, having been made from promotional images, giving more of a paper cutout appearance rather than “real” 3D. In either case, many of these visual techniques have been lost with little documentation on how they were achieved.
We previously covered [View Master Travels and Peter Dibble]’s History of the View-Master and how you can digitize the disks for posterity.

Cherry Audio recreate the Ensoniq ESQ-1 Cherry Audio's  the new virtual version of the Ensoniq ESQ-1 captures the sound and character of the original hardware while introducing some handy modern extras. 

The music industry is closing in on a billion global subscribers – with Spotify out in frontMIDiA Research estimates that the global subscriber count grew 10.1% YoY in 2025
Source

GForce launches official Prophet~5 plugin with original hardware functionality and classic factory presets
GForce, best known for its virtual instrument emulations of classic gear, has partnered with Sequential to launch an official Prophet~5 plugin.
The Prophet~5, an analogue polysynth, was originally released in 1978 by Sequential Circuits. Heard across records from Genesis, Radiohead, Madonna and Aphex Twin, it introduced a new era of polyphonic synthesis, combining analogue resonance, patch memory and hands-on control. GForce’s plugin version marks the first ever official plugin version.

READ MORE: Imagine Plugins is changing who gets to make plugins

The plugin “faithfully recreates” the distinct character of the Rev1, Rev2 and Rev3 hardware revisions, and captures the sound, response and musicality that made the original instrument a trailblazer, from SSM warmth to the punch of the Curtis filter designs.
Alongside all original hardware functionality, the Prophet~5 plugin also introduces modern enhancements. It includes newly redesigned X-Modifiers and dual layer architecture with Layer, Split and Alternate modes with up to 10 voices per layer.
It also offers two selectable FX slots for Chorus, Phaser, Filter, Distortion, Tremolo and Compressor, plus dedicated Delay, Reverb and Pan Spread effects. There are also over 460 professionally designed presets, including the original 38 factory patches from 1978.
Additionally, there’s full MPE support, comprehensive MIDI CC mapping throughout, a patch browser with tagging and search functions, plus a resizable interface.
Learn more in the walkthrough below:

David Gibbons, CEO of Sequential, says, “The Prophet~5 holds a special place in Sequential’s history and in the wider story of modern music. GForce Software approached the instrument with real care, and no one comes closer capturing the character and musicality of the hardware. We’re excited to see their plugin introduce a new generation of musicians and producers to the Prophet~5.”
The Prophet~5 plugin is priced at £99.99, but right now you can get it for an introductory price of £69.99 until the end of July. Find out more via GForce.
The post GForce launches official Prophet~5 plugin with original hardware functionality and classic factory presets appeared first on MusicTech.

“We often see compromises between sound quality, isolation and durability – we aim to change that”: beyerdynamic launches DT 30 IE professional in-ear monitorsBeyerdynamic has unveiled its new DT 30 IE in-ear monitors, which boast “no compromises on sound quality”, and are aimed at musicians from the rehearsal room to the big stage.
Designed to meet the demands of modern live performances, the DT 30 IE in-ears boast powerful 11mm dynamic drivers, delivering a balanced sound across a range of 5 – 20,000 Hz. They also offer high passive noise isolation of up to 39 dB, meaning their personal mix isn’t disrupted or muddied by the loud elements around them like drums, guitar amps or loud audiences.

READ MORE: Focusrite ISA C8X’s preamps aren’t its only impressive feature

Additionally, the new in-ears sport an IP54-certified design, meaning they’re resistant to dust, water splashes and anything else the stage might throw at you.
Comfort has been a focus of the design process, too, with an ergonomic design that fits snugly in the ear and weighs just 2.7 grams per earpiece. Each set of DT 30 IE in-ears comes with three pairs of silicone ear tips and three pairs of foam ear tips in sizes S, M and L, catering to a range of different ear sizes and material preferences.

They’re durable, too, with Kevlar-reinforced detachable cables with an MMCX connector system – replaceable if necessary. Meanwhile, gold-plated connectors and integrated memory wire ensure a stable connection.
“With in-ear monitors for live use in particular, we often see compromises between sound quality, isolation and durability,” says Kevin Nietsch, Product Manager for Pro Audio at beyerdynamic. “A truly balanced combination of these requirements is still rare. With DT 30 IE, we aim to change that – by consistently bringing this valuable balance to the stage.”
“Whether I’m on an arena tour, performing at a festival or playing a club show with SDP, GReeeN or DJing myself, I can always count on my beyerdynamic in-ear monitors,” says DJ and producer Qris.
“Their clear, balanced sound and excellent noise isolation on loud stages provide me with the same sound quality live as I’m accustomed to hearing from my beyerdynamic headphones in the studio.”
The DT 30 IEs are available now from the beyerdynamic online store and from authorised retailers, priced at £99.
Learn more at beyerdynamic.

The post “We often see compromises between sound quality, isolation and durability – we aim to change that”: beyerdynamic launches DT 30 IE professional in-ear monitors appeared first on MusicTech.

DT 30 IE: New in-ears from beyerdynamic Designed with the demands of real stage environments in mind, the new DT 30 IE promise to deliver a balanced sound, exceptional passive noise isolation and robust durability to performers at every level.

Shadaloo Audio DSP releases Vinland Drive FREE tape emulator plugin
Shadaloo Audio DSP has released Vinland Drive, a free vintage tape emulator plugin for macOS and Windows. We recently covered Wide, Shadaloo Audio DSP’s free stereo and spatial enhancement plugin, and the developer also released H, a free tone and loudness enhancer, earlier this year. Those were both decent plugins, and Vinland Drive continues in [...]
View post: Shadaloo Audio DSP releases Vinland Drive FREE tape emulator plugin

Fred again.. to lead FREE production workshop and networking event at Abbey Road Studios this FridayFred again.. is to lead a two-and-a-half hour session at the inaugural Trans+ Future Sounds workshop at London’s famous Abbey Road Studios, an event celebrating trans+ music creators.
Presented by Trans Creative Collective (TCC) and We Are Moving The Needle – an organisation which campaigns for more women, non-binary and trans representation among music producers and engineers, founded by Grammy-winner Emily Lazar – the Abbey Road event will see Fred again.. joined by an “extraordinary lineup of artists and industry leaders” for an afternoon of mentorship, skill-building, community and networking.

READ MORE: Legendary DJ Carl Cox awarded an OBE

The free event is the first in a series, which will bring together 15 trans+ songwriters, 15 trans+ producers and 15 industry professionals spanning the spheres of production, songwriting and industry.
In keeping with the Trans Creative Collective’s ethos of inclusivity not exclusivity, the Abbey Road event is completely free to attend. All genders are welcome, with priority given to trans and queer creatives, organisers say.
“Since we started TCC in 2021, our whole mission has been to make space for trans+ creatives to thrive, not just survive, in the music industry,” says co-founder charlieeeee. 
“Trans+ Future Sounds – made possible alongside our incredible partners We Are Moving The Needle – feels like the fullest expression of that yet. Getting to welcome our community into Abbey Road, one of the most iconic recording spaces in the world, and to have artists like Fred again.. want to give his time and expertise to that community is genuinely moving.
“We want every trans+ producer, songwriter and creator who walks through those doors on Friday to feel celebrated. Because they are forging new ground, and we’ll be behind them every step of the way.”
The Trans+ Future Sounds event at Abbey Road Studios will take place on Friday, 19 June from 3-8pm. Abbey Road Studios is located at 3 Abbey Road, St John’s Wood, London, NW8 9AY.
The post Fred again.. to lead FREE production workshop and networking event at Abbey Road Studios this Friday appeared first on MusicTech.

Collaya launches in-DAW co-producer plugin for Apple Silicon Macs
Collaya has launched a new co-producer plugin and standalone app for Apple Silicon Macs. The idea behind Collaya is to bring an AI-assisted writing partner directly into the DAW, rather than sending musicians to a separate browser tab or a prompt-based music generator. It runs as an AU/VST3 plugin in supported Mac DAWs and is [...]
View post: Collaya launches in-DAW co-producer plugin for Apple Silicon Macs

W.A. Production offers the Vocal Splitter plugin for FREE for a limited time
W.A. Production is offering Vocal Splitter as a free download with the coupon code GETWAVS. Vocal Splitter normally costs $29, but you can add it to your W.A. Production account for free by applying the GETWAVS coupon at checkout. I don’t see an end date listed for this offer, so it’s worth grabbing sooner rather [...]
View post: W.A. Production offers the Vocal Splitter plugin for FREE for a limited time

Focusrite ISA C8X’s preamps aren’t its only impressive feature£1,900, focusrite.com
Industry behemoth Focusrite can, so the story goes, trace its success back to one key event. Eager to find a better-sounding preamp and EQ for use in his AIR Studios, Sir George Martin approached the newly-formed Focusrite for a solution. He chose this unknown startup for a very good reason: Rupert Neve was the company’s founder and chief engineer. What resulted was the ISA 110, a transformer-coupled mic/line preamp and EQ module that proved so popular it pushed Focusrite onto the path that’s seen it rise to one of the biggest and most respected players in the industry.

READ MORE: At $159, the SSL 1 is an audio interface that bedroom producers must consider

Nowadays, Focusrite is just as well known for its Scarlett and Clarett audio interface lines, and it seems obvious that it should combine this expertise with its still-world-class ISA preamp design. This has finally happened with the launch of the ISA C8X.
Image: Press
What inputs and outputs does the Focusrite ISA C8X provide?
Shifting away from the red shades of Scarlett and Clarett, Focusrite has fronted the C8X’s rackmount 2U enclosure with a blue anodised panel liberally adorned with buttons, meters, and soft amber backlighting. The blue is much deeper and richer than the Novation-style blue shown on the Focusrite’s website (and the press shots here). The backlighting, reminiscent of glowing vacuum tubes, adds a delicious retro-tinged garnish atop the sharp contemporary lines of the fascia. It’s an exceptionally stylish thing!
The Focusrite ISA C8X showing its true colours. Image: Adam Crute
Packed inside this handsome exterior is an impressive feature set. Each of the eight analogue mic/line inputs feature both XLR and balanced jack sockets on the rear panel, so you can connect both in an installation then switch between them via the control panel or Focusrite Control 2 (FC2) software. The first two channels can also handle high impedance instrument inputs via convenient front-facing jacks and, located between these, there’s a tiny hole behind in which lies a built-in talkback mic.
This generous output count ensures plenty of flexibility when hooking up outboard processors and routing any of the system’s six internal mixes to different performers or zones. They can also be assigned to any of C8X’s three monitor groups, switched from the unit’s fascia or the FC2 software, and these groups can be anything from two-channel stereo to 7.1.4 surround. Better still, output pairs can be included in multiple monitor groups so, for example, your main left/right stereo monitors can also be included as the front left/right pair in a surround configuration.
Input and output count can be expanded via digital I/O ports: one pair of coaxial in/out connectors and two pairs of optical ins/outs. The exact digital channel count depends on the unit’s sample rate and port configuration, but maxes-out at 16 channels at 44.1 and 48 kHz. Word clock input and output BNCs make it easy to integrate C8X with other digital gear, and I’m pleased to see a pair of old-school MIDI DINs nestled amongst the rear-panel connectors too.
Image: Press
Come on, tell us about these illustrious preamps!
Much to the chagrin of many an online commenter, only the first two channels are graced by ISA preamps, the remainder using the same preamp as found in many of Focusrite’s 4th generation Scarlett interfaces. I get the disappointment, but putting eight ISA pres into C8X would have pushed the price to at least the £5k mark, and the commentariat would instead decry the steep asking price. Besides, Focusrite sells digital output boards for its line of standalone ISA preamps, allowing them to integrate easily with C8X (or indeed many other interfaces), so there’s no problem adding additional ISA pres if you want.
There’s nothing inherently wrong with the non-ISA preamps (Focusrite calls them ‘modern-style’ preamps). They give a clean, well-balanced sound, a healthy 69dB of gain, and feature an Air mode presence peak and variable Drive setting, both aimed at making the preamp sound more console-like.
That said, the contrast between the ‘modern-style’ and ISA pres is immense – the latter are, after all, the real deal, right down to the genuine Lundahl LL1538 transformers, and so exude most of the qualities of the revered original. Low ends are rich and balanced. Mids are detailed and exquisitely defined, and the top end shines and sparkles yet manages to soften and sweeten any hint of harshness. And if the tonal balance and response isn’t quite right, a choice of four input impedances (the original 110’s 1.4kΩ, along with 800Ω, 2.4kΩ and 7kΩ options) aids in matching the preamp to the mic and source. Similarly, the instrument input can switch between 400kΩ and 1.2MΩ for a warmer or brighter sound, respectively.
Adding to the ISA pres are two analogue circuits that can be enabled. The 430 Air option engages an inductor-based high shelf circuit taken directly from the ISA 430 MkII preamp, giving a boost to presence and high-frequency detail. Console engages a soft clipping circuit aimed at injecting some of the pleasing overdrive that can be squeezed from the original ISA 110 by pushing the input into the module’s output transformer, and keeping levels under control with the output Trim control. C8X’s Console mode does a reasonable job of emulating this effect without adding cost, but a genuine trim-controlled output transformer would have been nice to see.
The ISA channels also sport 75 Hz 18dB/octave high-pass filters for removing rumble and handling noise and—one of my favourite features—fully balanced insert points for patching in outboard processors prior to the signal hitting the digital converters.
Image: Press
Is the ISA C8X easy to use?
All configuration of input channels can be performed directly on the unit’s front panel, as can monitor control and group switching, and headphone volume levels. Deeper control—including setting up the six internal monitor mixes—is handled by the FC2 software, which itself can be remote controlled by the FC2 app running on an iThing or Android device.
C8X also features an auto-gain system that monitors a few seconds of input and then sets channel gains appropriately. I have yet to encounter an auto-gain that isn’t overly conservative, and C8X’s system is no different. Better results can be achieved by spending a few minutes to set gains manually, but I can see the benefit in some use-cases (a self-recording drummer springs to mind). Oh, and, C8X’s auto-gain only appears to work on mic and instrument inputs – I’m not sure why the line inputs don’t get a look-in!
Focusrite ISA C8X mix page. Image: Adam Crute
Do those ISA pres make C8X worth the money?
The ISA preamps are clearly C8X’s unique selling point, and are without doubt the thing that will attract the most attention. This is right and proper because they sound incredible! But there’s more to C8X than just a pair of fancy preamps; the remaining six are good too, and Focusrite has packed the unit with all the pro-level features you’d expect from an interface at this price.
The ISA C8X is (just about) affordable enough for smaller studios, yet has the flexibility and expandability to serve as the hub of far larger studios and post-production facilities. And, to top things off, it looks so damned good!

Key Features

USB 2.0 audio interface
2 analogue mic/line/instrument inputs equipped with genuine ISA preamps, 430 Air circuit, soft clipping circuit, high pass filter and balanced insert points
Switchable impedance for ISA preamp mic and instrument inputs
6 analogue mic/line inputs equipped with Scalett-style preamps featuring Air and Drive
12 analogue balanced line outputs
2 independent headphone outputs
2 optical I/O pairs supporting ADAT/SMUX and S/PDIF
1 coaxial I/O pair for S/PDIF
Up to 16 channels of digital I/O at 44.1 kHz/48 kHz (reducing to 8 channels at 88.4 kHz/96 kHz; no ADAT I/O above 96 kHz)
Word clock in/out via BNC
MIDI in/out via standard 5-pin DIN
USB-C socket (USB-C to USB-C cable provided)
Focusrite Control 2 app for iOS and Android allows remote control of hardware
Includes Focusrite Hitmaker Expansion featuring plugins, sounds, tutorials and more
Sonnox Oxford Reverb included and Sonnox bundle discounts

The post Focusrite ISA C8X’s preamps aren’t its only impressive feature appeared first on MusicTech.