Shoegaze Fuzz by ShoegazeFuzz by Shoegaze. Two fuzzes, a plate reverb, and a delay that falls apart on purpose. Fuzz is a wall-of-noise machine for guitar and bass. Two independent fuzz circuits sit at its heart, each one morphing continuously between a tight, hard-clipping RAT and a scooped, cascading Big Muff — not a switch between two models, but a real sweep through the topology in between. Run them in series to stack one into the other, or in parallel to keep a clean leg underneath. Each fuzz gets its own six-band EQ, so in series you can shape the signal between the two stages, which is where the interesting damage happens. From there, a single Blend knob bleeds the fuzz into a plate reverb and an analog-voiced delay. Everything destructive in the delay happens inside the feedback loop, so each repeat is dirtier than the last — bandwidth collapses, the clock drifts, bits fall away. Swap the order of the two and the reverb tail gets chopped and repeated instead of the repeats being washed into the plate. Pick the op-amp — LM308 for slow, dark and compressed, or the fast one for brighter and squarer. Lean on the Bias control and the whole thing gates and splutters like a dying battery. Read More

AI PACs spent millions trying to shape Congress — here’s how they faredAI industry PACs spent millions influencing the 2026 midterms, with mixed results. Political groups are already looking toward the next election cycle.

And Now, Two Bits From Geza XBIT ONE: Dub Russell and his INSANE BEAT MACHINE

Picture the console of a spaceship that jumps between dimensions. That’s 2020, a semi-modular beat machine that ditches the timeline for a single window where you manipulate, randomize, wire and perform beats in real time. Its website describes it as a German DAW, a Swedish hardware groove box and a cable-tangled modular synth torn apart and fused into one. Four probability-driven grid sequencers, a sample slicer, loopers, a dozen samplers, a kick synth and two FM synths feed 14 patchable effects, including granulators, bitcrusher, glitch and repeater, with freely configurable routing. Then comes “Dejavu,” which turns every parameter randomizer into a generative sequencer that recalls its own past values. Millions of patterns, and it still surprises. Map it to MIDI, OSC or keyboard shortcuts, sync it through Ableton Link, and let it run. 

A Beat Machine That Thinks for Itself

Yotaro Shuto, who performs as DUB-Russell, started DJing at 15, inspired by the Invisibl Skratch Piklz, then moved to breakbeats on an MPC. He has no formal training in code. He taught himself Max, then C, then C++, all for the love of sound.

The idea behind 2020 was there from the start, back when Shuto first opened Max (ableton.com/en/live/max-for-live/): a beat machine that could semi-autonomously evolve its own patterns. For years he refined it for his own live shows, then decided to pull all of it together into one standalone application.

The crowd agreed. When 2020 hit Kickstarter, it reached 670 percent of its funding goal. “It was much more successful than I expected,” he says. (This was where I first discovered 2020 and I’ve been a fan ever since.)

The hard part came after. The first version lived in Max, and Shuto kept supplying it to his backers for a long time. But staying in Max would make stability and new features ever harder, so he rewrote the whole thing from scratch in JUCE, a C++ framework. “That was really, really hard. I underestimated how difficult it would be,” he admits, recalling how new problems forced him to start over “again and again.” His verdict: “I never want to go through that again. Haha.”

The payoff is a semi-modular environment with enormous routing freedom. The interface looks complicated, but it is built for live improvisation onstage. Shuto’s DJ experience shaped it, and the design pairs open routing with several ways of “taming randomness and making it musically useful.” The result surprises even its creator. “Even I, as the developer, can sometimes create beats that surprise me.” (Editors note: That is the understatement of the century!)

He keeps it moving on his own. Nearly every feature gets reworked and improved regularly, and he does it all alone. He’s also 2020’s “biggest and most obsessive user,” so he enjoys the work. Sometimes he links multiple computers running the app to one another or uses multiple screens and projectors.

Glitch With a Tribal Pulse

Shuto’s own music is where the machine’s personality shows. He describes his approach as using noise and Japanese glitch techniques “while aiming for something that feels more like tribal music.” On paper that clashes with software that looks IDM-oriented, and he knows it. What he’s chasing is “a much more raw and organic groove.” Add to that the sophisticated and surprising self-evolving elements created inside 2020, and you have a whole new form of magic! 

Intelligent Dance Music (IDM) is an experimental genre of electronic music from the early 1990s characterized by individualistic studio experimentation rather than fixed dancefloor conventions. Key artists include Aphex Twin and Autechre.

Is he more programmer or DJ? “Both. I really enjoy doing both.”

What’s Next

Shuto says he finally has a clear path to the features he originally imagined for 2020. After that comes a Windows version, and he says there is plenty left to explore.

Get 2020: Available now on the Apple Store. More at 2020.dubrussell.com.

BIT TWO, WHY VINYL?  

Files And Artwork

Last time I promised to walk you through the obstacle course of vinyl production. Fasten your seat belt, it’s a trip. Let’s start at the first hurdle, the one that trips up almost everybody: the files you hand the plant.

Your audio is a size problem, not just a mixing problem. 

Vinyl is a physical format, and a groove can only hold so much. For a 12-inch LP, the commonly recommended maximum is about 22 minutes per side, and 18 to 20 is safer for loud or bass-heavy material. The more minutes you cram onto a side, the quieter and thinner it has to sound. The loudest record I can think of is Daft Punk’s Around The World, which is notorious for skipping on some record players. That’s what hot BASS is all about.

Heavy low end that’s wide in stereo, harsh sibilance and hot, overloaded peaks can all cause trouble when a lathe cuts them into a groove, and that can mean skipping or distortion on the finished record. A mastering engineer who cuts for vinyl knows how to tame them. Mastering for streaming and mastering for vinyl are NOT the same job. Abandon all hope when ye enter here. For the record (pun intended) a dynamic range of 12db is recommended and its best to minimize everything below 30 hz and above 12k.

Then check the plant’s spec sheet, because it is never the same twice. Every plant publishes its own requirements for audio format, track labeling and side breaks. You will want to provide a “cut sheet” listing track titles, the order, the gaps, length of each track and total per side.

Artwork is where deadlines go to die. Your jacket and label art must be built on the plant’s own templates, not a generic one from the internet. Expect requirements on resolution, color mode, bleed and safe zones. Don’t be surprised if the plant sends your art back a number of times if it’s the wrong format, created in the wrong art app, doesn’t fit the template right…I mean it can be daunting to say the least. Using an artist who is familiar with print specs is recommended.

Before you send anything:

• Check each file against the current spec sheet, not an old email. Requirements change frequently.

• Listen to your master on more than one system. Make SURE it isn’t over compressed.

• Have someone else proof spelling, track order and credits. A typo on a printed jacket lasts forever.

• ALWAYS get a test pressing. If you’re short of cash or in a hurry, a “digital test pressing” is ok since it’s made from an actual pressed disc.

Or hand the project to someone who jumps through these hoops for a living. This is exactly why I do what I do. A professional vinyl broker and project manager knows each plant’s quirks, catches problems before they become rejected orders and missed release dates, and gives you one honest, all-in price. You stay focused on the music while someone else keeps the process on track.

Next time, we’ll look at what happens once the files are accepted. That’s when the real fun begins.

Geza X has legendary status as an independent producer and proponent of the DIY recording scene. He can be reached at gezaxrecords.com.

The post And Now, Two Bits From Geza X first appeared on Music Connection Magazine.

Harry Styles residency boosts MSG Entertainment as revenues rise 37% to $217M in calendar Q3Plus: what MSG Entertainment’s CFO said on the earnings call about bookings, residencies, and demand
Source

It’s DOOMDirt cheap toy cameras have long been a target for the curious camera hacker, and we’ve seen plenty of lens swaps and other hardware hacks. Until now their internals have remained something of a black box though, so it’s very interesting indeed to see [Spode] breaching the firmware on one and making it run DOOM. Yes, it runs the game, but the value is in opening up this platform.
The Achiles’ heel on this particular camera is its easily updatable firmware, allowing new firmware to be placed upon it with ease. The SoC is an HX3302B which [SpriteTM] has done some work on, so he’s not going in entirely blind. A neat hack to dump the camera’s memory into EXIF data on photos completed the puzzle. He was able to benchmark the thing and find it to be surprisingly powerful, certainly enough for a game from 1993. Doomgeneric looked promising, but first there was the matter of the device’s RAM.
In another clever move he was able to keep only the most-used piece of the doom code in memory and the rest in flash, allowing the game to run. A custom synthesizer completed the experience, and on the write-up there’s a chance to travel back to the early ’90s and hear that music again. All that was left were the controls, and with a few quirks, this thing becomes a playable DOOM console. It’s probably better at that than it is at being a camera.
If you’re hungry for more, we’ve taken a look at similar devices before.

Universal Audio capture Capitol Studios Universal Audio’s latest native room-modelling and reverb plug-in captures the sound of one of the world’s most iconic recording facilities, Capitol Studios. 

Sonuscore releases The Score Elements, a FREE cinematic library for Kontakt Player
Sonuscore has released The Score Elements, a free cinematic scoring library for Kontakt Player that turns your chords into orchestral arrangements. The Score Elements joins Sonuscore’s already epic and ever-growing collection of freebies, including The Orchestra Elements and LUX Orchestral Strings Elements. This one brings the arrangement-based workflow of the paid The Score into a [...]
View post: Sonuscore releases The Score Elements, a FREE cinematic library for Kontakt Player

Did Steinberg just surprise-release Cubase 16? Here’s everything you need to knowIt’s been a year since Steinberg surprise-released Cubase 15. So perhaps we shouldn’t be all that surprised that the Hamburg-based company has opted for the same launch strategy this time around for Cubase 16. Still, surprised we were…
Yep, Cubase 16 is here, and with it comes a raft of new features, upgrades and workflow improvements derived from feedback from its global user community. 
Cubase 16 aims to make music production “faster and more intuitive”, with new instruments, effects and sound libraries alongside workflow refinements throughout the DAW to “help users stay focused on making music”.

READ MORE: Steinberg’s Absolute 7 is its most comprehensive virtual instrument collection ever

Cubase 16 arrives in the same three tiers existing users will recognise: Pro, Artist and Elements, with options for aspiring producers and experience, professional musicians alike. Let’s dive into what exactly is new for Cubase 16…
Cubase 16 – what’s new?

Headlining the new features for Cubase 16 is the introduction of Instrument Stacks, which allow you to create your own custom layered sounds by combining multiple VST instruments, Sampler Tracks and Drum Tracks into a single playable instrument. This includes flexible controls for individual layers, allowing for deep customisation.
Cubase 16 also comes with a cornucopia of new creative tools, instruments and effects, including Omnivocal Basic, which powered by Yamaha’s latest NX vocal synthesis engine, offers realistic singing voices directly within Cubase. With two voicebanks, Omnivocal Basic presents a potentially superb way of experimenting with vocal ideas before recording them yourself. This is complemented by a new Lyrics functionality in the Key Editor, which allows lyrics to be entered and edited alongside MIDI notes.
Elsewhere, DrumChain is a new multi-effects processor designed specifically for drums, offering a streamlined approach to shaping drum sounds, while the new VocalTouch plugin offers an easy way to achieve “polished” vocal sounds.
Cubase 16 also brings a new Module FM library with over 200 presets spanning leads, keys, basses and textures, as well as five new sample packs: Afro House, Beats & Breaks, K-Pop, Latin Vibes and Organic Sessions. The new update also features upgraded integration with Waves’ Illugen AI sample generator.
The Key Editor has had a revamp in Cubase 16, with Strum enabling “natural timing variations” to programmed chords, and a new Stretch Selection tool allowing MIDI sections to be compressed or stretched.
Workflow improvements
Credit: Steinberg
Steinberg explains that a “major focus” of Cubase 16 is in “improving everyday production workflows”.
This includes a complete redesign of the Settings area, combining preferences, key commands, project setup, audio connections and other configuration options in one searchable interface.
Elsewhere, Cubase’s Stem Separation capabilities have received a significant upgrade, now with the ability to separate audio into six stems: vocals, drums, bass, piano, guitar and other instruments.
Tempo Detection has also been improved, with a more advanced detection algorithm and streamlined workflow making identifying tempo of freely recorded performances easier than ever.
Other improvements to workflow in Cubase 16 include an extended ASIO-Guard pre-processing buffer for additional headroom in complex and demanding projects, and a new Quick Help system offering quick and easy contextual information about unfamiliar functions and controls directly within the DAW.
Additionally, Cubase 16 brings improved compatibility with external connections, expanded MIDI 2.0 support, a doubling of audio sends per channel from eight to 16, support for Ableton Link, and more.
What is Steinberg saying about Cubase 16?
Credit: Steinberg
“With Cubase 16, we’ve focused on what matters most to our users: inspiring creative possibilities and an intuitive, efficient music production experience,” says Matthias Quellmann, Senior Marketing Manager at Steinberg.
“Many of the improvements in this release are directly inspired by feedback from our community, helping musicians and producers turn their ideas into finished music faster than ever.”
Quellmann continues: “Cubase has so many powerful tools, but our goal should always be to help people get from their initial idea to a finished production as quickly and naturally as possible. That means continuing to improve everyday workflows, making functionality easier to discover and rethinking how people interact with music production software. Ultimately, we want Cubase to become even more intuitive without losing the depth and flexibility that our users value.”
Pricing and availability
All three tiers of Cubase 16 – Pro, Artist and Elements – are available now both via the Steinberg Online Shop and from retailers. Pricing for each tier is as follows:

Cubase Pro 16 – $599.99 / €599
Cubase Artist 16 – $299.99 / €299
Cubase Elements 16 – $99.99 / €99

If you’re had the misfortune of purchasing Cubase 15 since 7 October, it’s actually not misfortune at all, as the good folks at Steinberg are offering such users a free, downloadable grace period update to Cubase 16. Meanwhile, a range of upgrades, crossgrades and educational versions are also available.
Learn more at Steinberg.
The post Did Steinberg just surprise-release Cubase 16? Here’s everything you need to know appeared first on MusicTech.

Karanyi Sounds opens registration for FREE Brigade vocal multiplier
Karanyi Sounds has opened registration for Brigade, an upcoming vocal multiplier plugin that will be free for registered users on Black Friday, November 27, 2026. The regular price is $49, but you can reserve a free copy now by entering your email address on the giveaway page. The offer includes a perpetual license, so you [...]
View post: Karanyi Sounds opens registration for FREE Brigade vocal multiplier

Steinberg unveil Cubase 16 Steinberg have just launched the latest version of their award-winning music-focused DAW, kitting it out with a vast set of new recording, editing, sequencing, composing and mixing tools. 

ROLI – the innovative company specialising in touch-sensitive electronic instruments – has entered administrationROLI – the innovative music technology company specialising in touch-sensitive electronic instruments like the Seaboard Block M and the Airwave – has collapsed into administration, it has been revealed.
Earlier this week (2 November), the company emailed customers to inform them that on 20 October, two insolvency practitioners had been appointed joint administrators of the company, according to Wired.
It follows the reported ousting of CEO and founder Roland Lamb earlier this year, after which a new company, Instrumental Intelligence, was registered in the UK under his name.

READ MORE: How Juan Atkins reimagined the electronic sounds of tomorrow

Following the collapse, the ROLI community has taken to Reddit and other social sites and forums to report missing orders, and no information regarding refunds or when their orders – which range from hundreds to thousands of dollars – will be fulfilled.
One Reddit user even reports that they’ve been waiting to receive their ROLI order since October 2025. “I still haven’t received mine and customer support isn’t responding either,” they write. “My Airwave never came in,” another user writes, while another replies to share a similar experience. ROLI’s website has also been taken offline – with all products unavailable to purchase – as well as the company’s Discord server.
Like a lot of modern hardware, the ROLI ecosystem depends heavily on companion apps and software in order to connect and configure settings. Routine software and firmware updates are part and parcel of modern electronic music gear, and many ROLI customers fear the company’s collapse will, over time, leave their gear degraded or unusable.
Some users have even started conversations about reverse engineering or vibe-coding in order to keep their ROLI gear fully functional, while a new user-generated Discord server has been started, aimed at free and open-source “solutions and workarounds” in light of the company’s collapse.
One of the pioneering companies behind MPE (MIDI Polyphonic Expression) – which lets musicians control pitch and timbre via touch-based movement – ROLI has enjoyed considerable success since it was founded in 2009, with celebrity endorsements coming from Pharrell Williams and Dream Theater keyboardist Jordan Rudess, and even an appearance in the movie La La Land.
The Covid pandemic changed the company’s fortunes, though, going into administration for the first time in 2021, even after benefiting from financial aid from the UK government designed to help struggling businesses during the pandemic.
Last month, rumours surfaced that ROLI had made a number of its employees redundant. The company did not respond to MusicTech’s request for comment.
MusicTech once again reached out for comment following the company’s entry into administration, and were met with an automatic reply confirming the appointment of Damian Webb and Joe Barry of RSM UK Restructuring Advisory LLP as joint administrators of Luminary Roli Limited.
The post ROLI – the innovative company specialising in touch-sensitive electronic instruments – has entered administration appeared first on MusicTech.

Artist Manager on Music Marketing, Artist Branding and Gen AI
Listen on your favorite podcast platform: Spotify | Apple Podcasts | Acast
This week on the New Music Business podcast, Ari sits down with Charlie Stent of Stent Music Group to discuss what it takes to build a successful career in today’s music industry. From artist management and branding to fan communities, social media strategy, and release campaigns, Charlie shares the lessons he’s learned from years of working with independent artists.
Charlie Stent:
https://www.instagram.com/stentmusicgroup
https://www.stentmusicgroup.com/
 
Check out Ari’s Take:
https://aristake.com
 
07:18 – Charlie’s Journey Into Music Management
11:08 – Why Artists and Managers Should Be Partners
17:04 – Building an Independent Artist’s Career
19:02 – Artist Branding: Finding Your Identity
23:32 – Building a Dedicated Fan Community
30:28 – Why You Can’t Manufacture a Viral Moment
34:32 – Pre-Saves, Playlists, and Release Strategy
40:55 – Burner Accounts, Sleeper Accounts, and Music Marketing
48:51 – AI in Music: The Great Equalizer?
57:46 – Distribution, Label Services, and Building an In-House Team
 
Edited and mixed by Ruben Zarate
Music by Brassroots District
Produced by the team at Ari’s Take
 
Order the THIRD EDITION of How to Make It in the New Music Business: https://book.aristake.com

Xikers Opens New Chapter with ROUTE ZERO : The CALLINGSince debuting in 2023, 10-member K-pop group xikers has made its mark with an adventurous sound that moves from EDM and hip-hop to rock and horror-inspired lore. That spirit of experimentation carries onto the stage. At 82WORLD: LA, the group won over the crowd with tightly synchronized, high-energy choreography, even slipping Adéla’s viral dance of "Ain't in LA" into a performance of “Breathe.” The group continues to pursue and challenge their fresh artistic vision with each musical release.

The group’s name blends “x,” a variable representing unknown coordinates, with “hikers,” capturing the members’ journey through infinite time and space. Since signing with KQ Entertainment—the label behind powerhouse group ATEEZ—Minjae, Junmin, Sumin, Jinsik, Hyunwoo, Junghoon, Seeun, Yujun, Hunter, and Yechan have continued to chart their own course. Their eighth mini-album, ROUTE ZERO : The CALLING, opens a new chapter for xikers with several members contributing to its production. Ahead of their 82WORLD performance, xikers spoke with Music Connection about bringing fan favorites to the stage and the making of ROUTE ZERO : The CALLING.

Since we're at 82WORLD: LA today, how would you describe a performance from xikers?

Sumin: it's legit, cool, and hot. And we prepared a lot of songs and also some bangers in there, so look forward to it.

Is there a song you guys like to perform?

Seeun: "Do or DIE" is my favorite song to perform in front of Road𝓨 because it’s a really exciting songs and many Road𝓨 like it.Jinsik: "XIKEY," it’s power is insane.

Do you have any rituals or routines before going on stage?

Yujun: My routine before going on stage is to eat a good, hearty meal—I make sure to fill up so that my energy doesn’t drop while I’m performing.Yechan: Heading onto the stage, I usually run through the songs I’m performing that day in my mind. I also make sure to warm up my voice thoroughly, and—since I’m getting older and my physical well-being has become increasingly important—I take care to warm up my body as well, just to avoid any injuries.

Is there a song that's the hardest to perform live?

Junghoon: "XIKEY," the one Jinsik mentioned earlier, might be a bit difficult to pull off because the performance is so intense, it’s been challenging to execute it live.

You guys are always touring, always on the go, and do some intense choreographies as well. How do you make sure your vocals and your bodies are in tip-top shape

Hyunwoo: Whenever I travel to countries with a significant time difference, I tend to have a lot of trouble getting to sleep. So, I make sure to catch some sleep whenever I can—even if it’s just in short bursts—and I always wear a mask when I sleep.Sumin: I drink some ginger tea and also eat lots of carbs and proteins, and workout everyday.

If you could select one song from your whole catalog to recommend to someone, which song would it be?

Junmin: I think "XIKEY" is the most impressive performance of ours, so I’d recommend that one. It’s a track that’s bursting with high energy from start to finish—I think it’s the kind of song that can really recharge the energy of anyone watching, which is why I’d like to recommend it.

As a group, how do you encourage each other during busy schedules or moments when things become challenging?

Seeun: Well, whenever the other members seem to be struggling or not feeling their best, I go over to offer words of encouragement and support, share some praise, and even give them a hug—I think I help boost their morale that way.

Your comeback is on November 2nd. Can you tell me a little bit about ROUTE ZERO: The CALLING?

Minjae: The title song is "DIENAMITE," and is made by ourselves, all of us. We put a lot of effort into some new and fun ideas in the whole album, this is going to be the opening of a new chapter by xikers, so please look forward to our 8th EP.

How is this project different from the first one of the series, ROUTE ZERO : The ORA?

Minjae: As an album, we do not try to make a lot of differences, we try to maintain that vibe and mood of our previous albums. Like I said before, we try to put more of our ideas and our sound just by ourselves. The main title track was made by us, there's no credit with other producers and other engineers.

Were there any challenges since you were working on the song by yourselves?

Hunter: The challenges were definitely the choreography because for this time, it's a choreography that uses kind of like angles that we've never used before, like Michael Jackson angles and stuff like that. And so we had to really watch a lot of Michael's performances and try to capture the essence of his gestures and like his little “ah” vibe that he gives when he dances. So that was quite a challenge for us.

Looking back as a time as a group, what's the coolest thing the group has accomplished so far?

Xikers (in unison): Billboard charts.MC: Anything else?Jinsik: Since the time spent preparing for my debut was quite long, I think the very fact that I finally debuted is, perhaps, my greatest achievement.

Since you mentioned your debut, what's one thing that you've learned?

Jinsik: I’d say that before I debuted—or rather, before I even became a trainee—I mostly did things on my own. But since becoming a trainee, I’ve ended up doing a lot of things together with others, so I think my teamwork skills and my ability to navigate social environments have really improved.

Any fun activities or hobbies that any of you guys have gotten into?

Hyunwoo: To start off, I’m a huge fan of soccer—and sports in general. Whenever I can, I go to watch matches in person, though most of the time I watch them on screen. I also mostly play soccer-themed video games.Seeun: I like baseball, so I like playing baseball with Hyunwoo.Yujun: I collect Pokémon cards.

Xikers' 8th mini-album ROUTE ZERO : The CALLING is available now on all global digital streaming platforms, with its US physical release set for November 6 

The post Xikers Opens New Chapter with ROUTE ZERO : The CALLING first appeared on Music Connection Magazine.

Anthropic is working on a system to prove AI models’ identityCalled FlashProve, the system would let anyone check that an AI response really came from the model it claims to be from.

MYR – Audio Plugins Ecosystem MYR - ZENITH - Mastering SuiteMYR ZENITH is a complete mastering chain in one window. Twelve modules sit in the order a mastering engineer would build them, and that order is the point: correct before you compress, compress before you polish, limit last. You can switch any module off, but you cannot put the exciter in front of the corrective EQ, because that is not how a master is built. The chain, in order: 01 Utility – polarity, balance, DC and mono bass first, so everything after it works on a stable low end. 02 EQ – six bands on stereo, mid or side, with separate high and low cuts for mid and side at 6 to 96 dB per octave. 03 Clean – four resonance cuts, static or dynamic, before compression can emphasise them. 04 Harshness – six dynamic cuts in a range you choose, taming hard peaks before the compressors react to them. 05 Opto – a behaviour model of an optical T4 cell, for slow musical levelling. 06 Multiband – eight bands, mid and side handled separately. 07 Low End – punch, sustain and weight for kick and bass, once the dynamics are settled. 08 Glue – VCA bus compressor with auto release, sidechain high-pass and mix. 09 Brilliance – air, silk, presence and exciter, after the compression rather than before, so the shine is not squashed again. 10 Saturation – tape, tube, transformer or warm, with a focus on lows or highs. 11 Imager – width in four bands, with vectorscope and correlation. 12 Limiter – true-peak limiting with soft clip, release automation and dither. Loudness you can actually aim at The panel on the right reads LUFS integrated, short-term and momentary, loudness range, true peak, PSR and PLR. Pick a target – Spotify, Apple, YouTube, Tidal or your own number – play the loudest typical part of the track and press LEARN. ZENITH sets the limiter so the target is met at −1 dBTP, instead of leaving you to guess the gain. A streaming preview shows what each platform will turn the master down by, and lets you hear it. Tools that only change what you hear COMPARE plays the unprocessed mix. MATCH drops the master to the loudness of that mix, so an A/B tells you about tone rather than level – louder always sounds better, and that is exactly the trap. LISTEN gives you mono and the delta signal, SWEEP finds a ringing frequency by ear and offers to cut it where you heard it. None of them touch what you render. 28 factory presets in three groups: General for everyday masters, Genre for a starting point by style, and Repair for mixes that arrive muddy, harsh, dull or too wide. The moves in them are deliberately small, usually one or two dB of EQ and a 1.5:1 to 2:1 glue ratio. They never set the final loudness, because the right gain depends on the level of your mix – that is what LEARN is for. Every preset is tested automatically to render finite and to land where its own curve predicts. Formats and systems macOS 11 or newer as VST3 and Audio Unit, one Universal build for Apple Silicon and Intel. Windows 10 or newer as 64-bit VST3. 215 host parameters, 214 of them automatable; only the quality switch is not, because it changes latency. How it is held to account ZENITH passes the VST3 host check 489 out of 489, pluginval at strictness level 10 and auval -strict. Across the family, every build runs 305 automated tests, including a realtime allocation check, plus soak testing at six sample rates. Free to download and free to use, in private and in commercial productions. No licence key, no trial period, no account, and no module held back for a paid version that does not exist. The manual is readable in your browser before anything is installed. ZENITH is the fifth plugin in the MYR Audio Plugins Ecosystem, beside the ORBIT reverb, the PULSAR delay, the PRISM vocal harmonizer and the TITAN dynamic EQ. Read More