Artists in DSP releases FREE AI-driven Amorph plugin that lets you create plugins
Artists in DSP released Amorph (open beta), their free AI-prompt-driven app, for macOS and Windows. AI has been a relatively hot topic around here recently, with the release of projects like Noizefield’s Audio Plugin Coder (APC). The conversation continues as we take a look at Amorph by Artists in DSP. Before we look at Amorph [...]
View post: Artists in DSP releases FREE AI-driven Amorph plugin that lets you create plugins

Deadmau5 discovers DJ using an AI-generated version of him to promote his own music: “This is just the beginning for talentless f**ks abusing this tech”Deadmau5 has railed against AI after discovering a DJ using an AI-generated version of his likeness to promote his own music.
In a new post on Instagram, deadmau5 – real name Joel Thomas Zimmerman – hesitates to call out the offending DJ by name, but expresses his thoughts on generative AI – and he’s not happy.

READ MORE: Suno says “accessibility” is the reason for its success — but I think accessibility is the problem with AI music

“Welcome to that dystopian future we only dreamed about three years ago,” he writes in the post’s caption, before going on: “Woke up to some idiot DJ’s Instagram story (whose name I’ll redact because I don’t care to promote him), that depicted me standing there promoting him and his music. FULLY AI-generated, voice wasn’t quite 100% but pretty damn convincing. Fucking scary as fuck.”
He continues: “And I’m sure this is just the beginning for talentless fucks to abuse this tech to further themselves while violating others’ rights in one of the worst ways possible. I’m sure we’re all going to be seeing much more of this. AI is fucking great; generative AI not so much; but we need to stop idiots like this from abusing it.”

View this post on Instagram

Deepfakes and the erosion of authenticity have long been a point of concern for those sceptical of generative AI. Minimal legal guardrails – like a policy which enforces the clear labelling of AI-generated content – combined with the increasing sophistication of generative AI models means convincing videos can be created depicting others doing things they wouldn’t do, with limited or no repercussions for the creator.
AI tool Grok – owned by Elon Musk’s X – recently came under fire after it was discovered users had been using it to create sexualised images of real people, with the EU launching an investigation last month. 
Alongside his statement in his Instagram post, deadmau5 includes a photo, which we can presume has been taken from the AI-generated video he is referring to, and it certainly looks very convincing.
Deadmau5 has been a vocal sceptic of AI in the past, telling MusicTech in 2023: “[ChatGPT] is good. But it’s only as good as what it knows. It’s a huge training model, right?
“So take the collective stupidity of the world and make a robot fucking barf it out. It’s not gonna be that genius, but it’s gonna get you what you want.”
The post Deadmau5 discovers DJ using an AI-generated version of him to promote his own music: “This is just the beginning for talentless f**ks abusing this tech” appeared first on MusicTech.

AKG C-Series microphones: Everything you need to know about the AKG C104, C114 and C151AKG is a respected manufacturer of reference-quality microphones, with its classic C414 mics being among the best ever created. Indeed, I’ve always maintained that if I had to record absolutely everything with one model of microphone, it would be a C414.
READ MORE: “What’s currently out there isn’t good enough; we can do better”: Why AKG wants to raise the bar for budget microphones
Now, AKG is offering three new C-series mics that allow budget-conscious producers to own a large slice of its signature sound for a fraction of the price of its flagship products. Two of them look extremely similar, echoing the squared-off profile of the aforementioned C414, while the third resembles the company’s current reference C451 B small-diaphragm microphone. All three, however, have their own individual sonic character while adhering to the company’s admirable philosophy of sustainability.
All of the mic bodies are made from 100% recycled PIR metal, and AKG states that every aspect, from packaging to accessories, has been thoughtfully engineered for minimal environmental impact. The boxes housing the microphones are made from paper pulp and other sustainable materials, making them fully recyclable, yet robust enough to protect the mics when in transportation or storage.
Phil Feinman, AKG’s Global Line Product Manager (Microphones), told us, “The new microphones were designed and developed with content creation in mind. The acoustic and sonic characteristics were inspired by the legendary sound of AKG microphones, but modernised for use by today’s content creators. The team also took care to incorporate a simplified design for improved function by podcasters, streamers and musicians; the new mics are right at home in home studios, project studios and recording studios.”
So, which of these microphones is best suited to your needs?
AKG C104
[products ids=”66i4XZsrN3ADWREEOGZHtg”]
If you are a podcaster or content creator who only wishes to record speech, the large-diaphragm C104 is a great choice, and it’s highly affordable. You’re not paying for multiple polar patterns you’ll likely never use, and it’s a no-fuss, easy-to-use microphone.
In my review of the AKG C104, I said: “For most pop music producers, it will cover all bases admirably.”
“At this price, I can think of no other mic that performs as well as the C104, especially for speech recording. Expect to see it on many podcasts and YouTube videos over the coming months and years.”
AKG C151
[products ids=”1cMixBMu6cTkgWKe4t3hqB”]
More expensive yet visually more unobtrusive, the small-diaphragm C151 is highly detailed with a polished sound that adds sparkle to voices and, especially, instruments such as acoustic guitars. It’s also fabulous to use with percussion of all types.
In my review of the AKG C151, I said: “Tonally, the mic is balanced towards the higher end of the frequency spectrum, so acoustic guitars, for example, benefit from a natural sheen from the mic. This adds a sense of air and space as though you’ve boosted around 12 kHz on a really nice-sounding EQ. Human voices can be enhanced greatly by the C151’s cool clarity and articulate nature, especially when intelligibility is needed to cut through background music or noise on location recordings.”
“For a budget-priced microphone, the AKG C151 is remarkably clean and detailed-sounding
AKG C114
[products ids=”66i4XZsrN3ADWREEOGZHtg”]
For me, though, the star of the show is the C114. Not only is it the most versatile mic in the series, offering omnidirectional, figure-8 and cardioid pick-up, it’s also the most natural sounding. It delivers much of the signature AKG sound I associate with the company’s classic mics, such as the C414 and C12, offering clarity and convincing midrange detail that’s rare at its price point.
In my review of the AKG C114, I said: “Much of the wonderful AKG sound I have always adored is present and correct in the C114. The broad midrange is wonderfully faithful, neutral and correct with no spikes or dips in the response, and the low end is firm and richly textured.
However, it’s the treble quality that impresses me the most. It’s beautifully smooth with crystal-clear accuracy and no harshness at all. Voices are captured with a palpable honesty that is usually the preserve of far more expensive microphones.”
Check out more music gear buyers’ guides.
The post AKG C-Series microphones: Everything you need to know about the AKG C104, C114 and C151 appeared first on MusicTech.

Écoute launches TH2 – the next evolution of its groundbreaking vacuum tube-powered headphonesBack in 2023, San Francisco audio brand Écoute made waves in the headphone world when it introduced the TH1, the world’s first over-ear headphones powered by a built-in vacuum tube preamp and dual-mono amplification.
Funded via Kickstarter, the innovative cans caught the attention of enough audiophiles around the world, raising over $200,000 in its initial campaign. Now, the brand has unveiled the TH2 – the next evolution of its vacuum tube-powered headphones.

READ MORE: Guitar modelling giant Fractal Audio unveils ICONS, its first-ever plugin

“What if your headphones didn’t sound like headphones?” This is the question powering Écoute’s design philosophy behind the all-new TH2 headphones.
At the heart of the TH2 sits real, glowing triodes performing the “critical role” of voltage gain. As Écoute explains, in any HiFi system, the gain stage is where a signal is truly shaped. “It’s the front end of the amplification chain – where microdynamics, harmonic structure and spatial cues are either preserved or lost.”
Credit: Écoute
Essentially, then, the principle of tube-driven audio and dual-mono amplification remains the same as the TH1, but the TH2 offers a number of upgrades on its predecessor.
First is improved sound, with deeper bass, extended treble, and more resolution across the entire frequency spectrum. They also feature a redesigned chassis and headband for improved comfort via better weight distribution, plus upgraded durability.
The TH2 headphones are built to last too, with a modular design allowing for the easy changing of pads and headband wraps.
Credit: Écoute
Other upgrades to the TH2 include improved noise control, with a lower ANC noise floor and a more natural transparency mode, plus better passive sound isolation.
They also allow for the customisation of audio, with eight customisable frequency bands and ±12 dB per band.

“It’s the same architecture, just refined for an even more musical and lifelike listening experience,” Écoute says.
“Two years ago, we introduced the TH1 – the world’s first headphone with a built-in vacuum tube preamp and dual-mono amplification,” the company continues. 
“It proved that a true analog signal path could be made portable without compromise. Audiophiles noticed. Reviewers took it seriously. And for the first time, listeners could leave the listening room without leaving the sound they loved behind.”
You can learn more about the new TH2 headphones at Écoute’s Kickstarter page.
The post Écoute launches TH2 – the next evolution of its groundbreaking vacuum tube-powered headphones appeared first on MusicTech.

HoRNet 3XOver DJ-style EQ plugin is FREE for 48 hours
HoRNet offers the 3XOver three-band DJ-style EQ and crossover plugin for macOS and Windows as a free download for the next 48 hours. The plugin normally costs €5.99, but you can add it to your HoRNet user account for free during the limited-time promotion. To get it, visit the product page on HoRNet’s website, add [...]
View post: HoRNet 3XOver DJ-style EQ plugin is FREE for 48 hours

Guitar modelling giant Fractal Audio unveils ICONS, its first-ever pluginFractal Audio Systems has officially entered the plugin arena with ICONS, a new line of premium amp modelling plugins and standalone apps that brings the company’s famed Axe-Fx tone into DAWs for the first time.
Built on the same modelling algorithms found in the award-winning Axe-Fx III, ICONS delivers Fractal Audio’s unmistakable sound, feel and dynamic response in a streamlined format designed for modern recording and computer-based workflows.
The first release in the series, ICONS: Fullerton, focuses squarely on classic American-style amps, offering 36 models inspired by designs from the ’50s, ’60s, ’70s and beyond. Between “Deluxes, Bassguys, Double-Verbs, Vibrato Verbs, Supers, Princetones, Champlifiers” and more, it’s safe to say all the usual Fender classics are present and accounted for.

READ MORE: All Moog plugins on Plugin Boutique are currently reduced, with 67% percent off Moogerfooger effects

At the core of ICONS is Fractal’s component-level modelling approach. Rather than relying on static captures, each amp behaves like its real-world counterpart, with fully interactive controls that respond naturally to player input. The modelling recreates everything from the preamp and tone stack to the power amp, phase inverter and amp-speaker interaction – meaning familiar amp-dialling techniques translate directly to the plugin.
Cabinet duties are handled by DynaCab HD, Fractal’s next-generation speaker simulation technology. Users can place a virtual microphone on a virtual speaker, move them around, and hear the results in real time. ICONS also supports third-party impulse responses via User Cab mode, accepting IRs up to 8k in length.
A curated selection of stompbox and studio effects round out the package, including authentic spring reverb and tremolo, more than a dozen accurate drive pedals, plus delay, modulation, wah, compression and graphic EQ. Unlike Fractal’s flagship hardware units, ICONS keeps its routing and controls intentionally streamlined, placing the focus firmly on amp and cab tone.
“ICONS is not an Axe-Fx in software,” the company explains. “Its effect blocks feature streamlined types and controls that make it fast and natural to create great, complete tones centered on the amp and cab.”
“In short, ICONS delivers the sound and feel that Fractal Audio is known for – now available for your DAW or desktop, with everything you need to create truly iconic tones.”
ICONS: Fullerton is available as four individual volumes priced at $99 each, or as a complete bundle for $299.

Learn more at Fractal Audio.
The post Guitar modelling giant Fractal Audio unveils ICONS, its first-ever plugin appeared first on MusicTech.

Cherry Audio’s new SH-MAX instrument plugin fuses together three vintage Roland synth emulationsCherry Audio has launched a new virtual instrument plugin, SH-MAX, which combines the greatest features of three classic Roland synths in one.
Inspired by Roland’s SH series produced in the 1970s, the SH-MAX integrates the SH-5, SH-7, and SH-3A in one instrument. Cherry Audio says it has taken the bold sound of the SH-5, and mixed it with the finest features of the other two models. The final result is infused with “even greater power and versatility” for the music makers of today.

READ MORE: This instrument brings Windows Vista-style, Frutiger Aero-inspired sounds into your DAW

Cherry Audio makes it clear that this is not just another software emulation, but is rather a fusion of pioneering synthesis instruments. You can navigate all that is on offer in the SH-MAX through three retro interface themes, with each one reflecting the aesthetics of its core inspirations. It reproduces the essential features of the SH-5, including its dual oscillators, two LFOs, the parallel filter sections (multimode and bandpass), ring modulator, and sample & hold functionality.
Cherry Audio has further enhanced it with elements from the SH-7, such as autobend, duophony, filter FM, and syncable VCOs with extra waveforms. The additive-style oscillator from the SH-3A is also thrown in the mix for greater flexibility, and it doesn’t stop there, as it has also incorporated expressive capabilities inspired by the SH-2000, along with a classic sequencer influenced by the Model 104.
You can play the SH-MAX as a classic mono or duophonic synthesiser, create layered sounds, or employ 16 voices of polyphony. The Touch Effects panel features four assignable controls and supports polyphonic aftertouch for expressive performance capabilities, and it also includes a four-channel step sequencer capable of running patterns of up to 16 steps in parallel or chaining them in 32 or 64-step cycles. There are over 300 presets on board, too.
Find out more in the video below:

The SH-MAX plugin is available now from Cherry Audio for $59.
The post Cherry Audio’s new SH-MAX instrument plugin fuses together three vintage Roland synth emulations appeared first on MusicTech.

Six synths that define Radiohead’s soundRadiohead fans study their favourite band as if they were seeking a doctorate.
Last year, the Abingdon-formed five-piece embarked on their first tour in nearly a decade, and the fans analysed and digitised every song they played at every stop. There’s a YouTube page filled with old interviews, and entire fan-made websites dedicated to the gear they’ve used both in the studio and on stage.

READ MORE: Fouk on 27 years of producing, staying inspired, and the techniques behind their sound

Members Thom Yorke (vocals, guitar, keyboards), Jonny Greenwood (guitar, keyboards, other instruments), Colin Greenwood (bass), Ed O’Brien (guitar, backing vocals), and Philip Selway (drums) have built their legendary reputation on exploring new sonic territory every time they make music. Still, there are a few pieces of gear that have been with them for the bulk of their 41 years together.
From the subtle electronics of OK Computer, to the lead synth lines of Kid A, and to the ambient textures of King of Limbs, here are six instruments vital to Radiohead’s sound:

Ondes Martenot / Analogue Systems French Connection
[products ids=”5ydUPviSiOJsLQuuYCOhze”]
Jonny Greenwood became obsessed with the Ondes Martenot instrument as a teenager after listening to Olivier Messiaen’s Turangalila Symphony (1948), an 80-minute, 10-movement piece that features the 98-year-old instrument.
Greenwood got his hands on a version while Radiohead was recording Kid A in Paris in 1999. His model was made in 1983 by Mr Martenot’s son. It has four octaves instead of the original six, and it uses additive synthesis.
Eventually, Greenwood commissioned Analogue Systems to build a controller in the same style out of concern that his antique would be damaged in transit (even though he has taken the original on recent tours). That commission is known as the French Connection, which can be bought secondhand for around $3,000.
The eerie yet warm electronic tones of Jonny’s Martenot are ubiquitous on Kid A (2000) and Amnesiac (2001). The opening pad and lead electronic sweep on How to Disappear Completely as well as the spectral layers beneath the crunchy bass and drums on The National Anthem.
Speaking to the documentary filmmaker Caroline Martel on his rare synth, Greenwood said: “It was distrusted by all the early electronic composers because it was too passionate, it was too lyrical and expressive. They were looking for electronic sounds that were quite brutal and raw, so it was a bit overlooked.”

Mellotron M400
[products ids=”3M3L8fejP32nDGJJqzUpNz”]
This is another niche instrument Greenwood used in early Radiohead recordings. It was in their studio for OK Computer (1997) and ended up on several tracks on the primary release (Exit Music (For A Film), Airbag, Paranoid Android) and a couple of B-Sides (I Promise and Polyethylene (Parts 1 & 2)), that made it to the extended release, OKNOTOK 1997-2017 (2017).
Many of the sounds seem organic on a first listen. One is the grand choir sound that closes Exit Music (For A Film). Another is the similar choral section during the bridge of Paranoid Android. These moments sound convincingly human because the Mellotron M400 transmits audio from individual pieces of tape for each key. After the key is released, the tape is automatically rewound. As such, the sound is completely analogue, but also brings a certain phase and metallic edge that can fold well into a larger synthetic feel.

Novation Bass Station
[products ids=”2I1fpEGF1eQCWcfsNc3SZ4″]
Colin Greenwood is the band’s revered bass guitarist, but the group also look to synths like the Novation Bass Station for their low-end sound. The Novation Bass Station — which is available as a plugin for $129 and has a hardware version for $579 — was the low-end for the OK Computer song Climbing Up the Walls.
The electronic quality is immediately apparent as the band uses the instrument’s analogue filters to widen the bass from pure low-end to a jittery, sludgy sound. It’s an ideal foundation for the combination of acoustic guitar and other atmospheric electronic noises.
The Novation Bass Station was in their live setup, on duty for bass-heavy songs such as Myxomatosis.

Moog Minimoog
[products ids=”2exbM5To3VBnfF6l7tje7w”]
Radiohead got their hands on an original 1974 Minimoog Model D to create the full-bodied bass and some ancillary sounds for Lotus Flower. Known for its incomparable Ladder filters and trio of VCOs adept for low frequencies, it was the perfect choice to create a bassline that engulfs the bottom range without impacting Yorke’s iconic falsetto.
Radiohead have also used the Minimoog as a live synth bass for well over a decade. They played it in their From The Basement set for King of Limbs in 2011, and it was on stage for their 2025 tour. They were even spotted using it in a photo of their sessions for their latest album, A Moon Shaped Pool (2016).

Sequential Circuits Prophet 5
[products ids=”3rwpFVUy9EFZbxMUtfk3iO”]
Radiohead did not put out any singles leading up to the release of Kid A. So, Everything In Its Right Place was the world’s introduction to the new, totally electronic version of Radiohead — specifically the descending synth line pulsing with beautiful, rumbling harmonic tones that Radiohead made with the Sequential Circuits Prophet 5. In the subsequent quarter-century, the song has been remixed many times and synced into numerous movies.
The ubiquity of the Prophet 5 goes beyond Radiohead, though. It was in huge demand before they picked it up, finding its place on iconic songs such as Thriller, Take On Me, and Like A Virgin. Radiohead might be revered for their innovation, but they don’t shy away from synths because they’re popular, and they have used the Juno throughout their entire career.
The Prophet 5 was on Thriller, Take On Me, Like A Virgin, and endless other songs from the 80s and 90s. Its value is tried and true, and Radiohead have kept around their original at least through the A Moon Shaped Pool sessions.

Dave Smith Instruments Prophet 8
[products ids=”1EoUJFn7KbcdEfJfqL1MWE”]
Dave Smith did it again with the Prophet 8 (manufactured by his new company, Dave Smith Instruments, after he left Sequential Circuits), and since Radiohead were hip to his mastery, they quickly snatched one up.
Staircase, the B-side to The Daily Mail, features buzzy layers from the Prophet 8. Identikit, which was a live favourite before Radiohead released it on A Moon Shaped Pool, features the Prophet 8 during the post-chorus, playing the misty ascending synth line.
To that end, it makes sense that Identikit was a live favourite as Yorke uses the Prophet 8 frequently during performances. A software version is available from Soundtower as well for $49.95-69.95
The post Six synths that define Radiohead’s sound appeared first on MusicTech.

Inside the studio using breathwork to inspire creativity in musiciansMaking music can be a fragile process. So often, the mind disrupts creative flow even for the most experienced artists —Sting, the legendary frontman of The Police, famously had writer’s block for eight years. However, there are ways to abate such internal barriers, and one of them is simply to breathe.
The practice, known as breathwork, might sound like spiritual woo-woo, but there are various proven scientific benefits for focus and managing emotions. Angelica Hay teaches these techniques at her aptly-named studio in Los Angeles, Breath/Work.

READ MORE: Suno says “accessibility” is the reason for its success — but I think accessibility is the problem with AI music

Angelica runs the studio with her husband, Ryan. She is the primary practitioner of the breathwork courses, and she and Ryan collaborate on the second core element of the studio: sound healing. Breath/Work tailors the approach to creatives by combining evidence-based techniques with their expertise in music production and live performance.
In addition to being musicians and visual artists who collaborate on the project Pink Sky, Ryan and Angelica have backgrounds in education and science. Angelica was a microbiologist, and Ryan is currently serving as the academic director of the music production school, IO Music Academy.
Breathwork has complemented their creative pursuits for over a decade. One of the techniques Angelica teaches in her course, Breathwork for Moving Through It, uses a system called pendulation. It’s often used to help people deal with trauma. The exercise involves spurts of active, faster breathing, followed by brief rests before actively breathing again.
“It’s building pressure within you to let something go, but instead of letting it all out at once, you’re training your body to get used to experiencing discomfort,” Angelica says. “You let go of little bits at a time, so that when in your everyday life you experience something activating, instead of going into full-blown panic mode, you recognise it, and you have the tools to go back home.”
Inside the Breath/Work studio. Image: Press
Other classes use different styles of breathing for different outcomes that are based on scientific studies. The courses offer in-depth engagement with breathwork, but overall, anyone can use these techniques in any setting, including when you’re beating yourself up because you can’t get the snare to sound just right.
Breathwork to Calm the Mind involves mostly taking deep breaths through the nose to activate the parasympathetic nervous system, commonly known as the ‘rest and digest’ system. When this system is active, stress and anxiety are reduced. Breathwork for Creatives involves circular breathing — breathing in and out of the mouth without stopping — to reduce anger, depression, and confusion that can be hindrances when artists are creating.
“Life stuff can occupy space that could otherwise be filled with creativity,” Angelica says. “Breathwork can be a helpful tool for setting down the mental and daily clutter, getting back to the core of why you’re doing what you’re doing.”
While breathwork is a tool to refocus and calm down, their sound healing events offer the means to permanently reduce mental noise by using music to address deep-seated emotions. The idea that lying on the ground while someone plays gongs and flutes can be medically or mentally beneficial might seem farcical, but music has been used for healing purposes for thousands of years. Breath/Work uses modern tools for the same purpose.
“We’ve found [sound healing] to be a highly effective tool for processing the entire spectrum of emotions. From total bliss and joy to grief and loss. It’s a medium through which we can acknowledge and release the experiences,” Ryan shares, and they’ve designed their studio as a safe space for such an experience.
When I meet them at Breath/Work, ambient music with rippling electronic pads is already playing. Their visual art hangs on the walls above shelves filled with different books, from David Foster Wallace’s classic encyclopaedic novel, Infinite Jest, to Becoming Supernatural, the seminal work from neuroscientist and healing practitioner Dr Joe Dispenza.
Angelica and Ryan. Image: Press
Paints and journals are spread across various surfaces. Their two music stations are at the far end with an arsenal of over 20 instruments, including traditional pieces such as a gong and singing bowls, and coveted synthesisers, such as a Moog Sub 37 and Elektron Octatrack.
Similar to how a concert can relieve stress and other negative emotions, Breath/Work takes elements of live electronic performance and integrates them into the realm of traditional sound healing, which is something Angelica and Ryan felt other sessions didn’t deliver.
Most sound baths they attended served the purpose of relaxation, whereas their electro-acoustic sound baths are stimulating. Rather than relying entirely on calming sounds, they use contrived sonics and effects that guide attendees between comfortable and uncomfortable emotional states based on music theory.
For centuries, music has been built around tension and release; moving from dissonance to consonance; melodies and harmonies resolving. Ryan and Angelica induce that concept within the body.
“I love being brought into a liminal state by sound, but I felt that musically [previous sessions] lacked an emotional depth that aligned with the intensity and character of my experience,” Ryan says.
Most sound baths guide attendees into liminal states by using singing bowls and gongs because of their resonant sound around specific fundamental frequencies. These focused tones can decrease brain stimulation, which results in less emotional reactivity. But with a full range of synths, Ryan and Angelica can lead attendees into a wider variety of mental states.
Electroacoustic soundbath setup in Breath/Work. Image: Press
“I wanted something that was a vehicle for us to create that liminal state through drone sounds and more traditional instruments, but then be able to introduce tension and emotional release through melody and chords floating in and out,” Ryan says.
“There’s something about the sounds not being able to be produced naturally that makes them feel mysterious,” Angelica adds. “The addition of the instruments allows us to build more of an arc for the full session.”
Their setup is completed with a Rhodes, electric guitars, and Native Instruments’ Noire Piano, giving them an immense range of acoustic and alternative sounds.
Each instrument has a specific role in the sound healing sessions. A Moog Labyrinth is for rhythmic textures. The Novation Bass Station II is for leads and occasional arpeggios. Various groove boxes, such as the Volca FM2, create repeating patterns to introduce a hypnotic quality — similar to what clubbers can feel on the dancefloor after listening to hours of techno.
The strain begins with a faint sub-bass that Ryan expands with filters and noise effects. Once it’s reached an amplitude where everyone in the room can feel the lower frequencies in their bodies, they remove the bass to create a void for the uneasy emotional state to exist.
From there, Ryan and Angelica build a foundation from a root note that eases or stresses the current emotions. They’ll build soft melodic motifs to lessen the intensity, but then also alter them slightly with different rhythms and pitches to sustain the engagement. They also use effects such as delays for a modern version of the same function.
Angelica and Ryan. Image: Press
“We bring more musical elements in to facilitate the emotional release and then provide total safety and surrender through a really soft, lush, full-spectrum experience,” Ryan says. “We’re feeling the bass in our body. We’re feeling the stability of a drone, and we’re being given the ear candy.”
Ryan also shared a piece of feedback he received from a sound bath attendee that captures their precise intention. After the set was finished at one of their events, someone asked him:
“As I was lying down during this set, I was almost reliving some very difficult, complicated experiences. Then, in the last several minutes, I felt an overwhelming sense of safety and release. Is that normal?”
Such a visceral experience may not arise while working on a mixdown for a new track, but emotions and memories can often distract us. Breath/Work might seem woo-woo, but if the techniques lead to better music, they’re worth a try.
The post Inside the studio using breathwork to inspire creativity in musicians appeared first on MusicTech.

How to set up and play "Fallout: New Vegas" on PC #Games

Large demand zone below $2K ETH price gives signal on where Ether may goETH’s market structure and fractal analysis from 2021 and 2024 provide insights where significant buy demand may exist. Currently, it’s on the downside.

The Bassline That Blew My Mind: Nukem in a RushDon Lauder, bassist with San Diego thrash metal titans Nukem, told us about his Geddy Lee "YYZ" love...

Don Lauder: The first time I think I actually noticed bass guitar was when I first heard Rush’s song "YYZ" back in 1981. My brother’s best friend was/is a huge Rush fan and so when Moving Pictures came out he played it for us. When "YYZ" played, I was confused because I had never heard a musical pattern like that. I was only 8 but still I recognized that something was way different and in a very cool way.

When it got to the part where Geddy plays his killer lead licks, I initially thought it was Alex on guitar doing that until I was corrected. I was even further confused because I couldn’t wrap my head around the idea of bass playing anything other than holding down the rhythm. From that moment on, my idea of what bass guitar was and could be was forever changed. Music in general became much bigger for me and that lead me in a new direction that got me to where I am today.

Nukem's "Tactics of Terror" single is out now. The album The Grave Remains drops in April.

The post The Bassline That Blew My Mind: Nukem in a Rush first appeared on Music Connection Magazine.

An ice dance duo skated to AI music at the OlympicsCzech ice dancers Katerina Mrazkova and Daniel Mrazek are learning the hard way that LLMs sometimes spit out straight-up plagiarism.

Pi Pico Learns Morse CodeWhen [101 Things] didn’t want to copy Morse code, he decided to build a Pi Pico system to read it for him. On the face of it, this doesn’t seem particularly hard, until you look at the practical considerations. With perfectly timed dots and dashes, it would be trivial. But in real life, you get an audio signal. It has been mangled and mixed with noise and interference as it travels through the air. Then there’s the human on the other end who will rarely send at a constant speed with no errors.
Once you consider that, this becomes quite the project, indeed. The decoder captures audio via the Pi’s analog-to-digital converter. Then it resamples the input, applies an FFT, and converts the output via a complex classification pipeline that includes, among other things, Bayesian decoding. Part of the pipeline makes simple typo corrections. You can see the device do its thing in the video below.

Another issue with the code is that it decodes multiple channels in real time. So looking up spelling corrections, for example, has to be done rapidly. The device can also send code and show stats and graphics on an LCD screen.
If you know the code is arriving at a known speed, you could do something much simpler. The Pico has lots of memory which makes it easy to use complex algorithms. When you are memory-limited, you need different tricks.

Roslyn Pineda appointed President, Asia for Sony Music Publishing, as Carol Ng retiresPineda succeeds longtime SMP Asia President, Carol Ng, who will remain with the company until her planned retirement at the end of March this year.
Source