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Wireless MIDI Controller Has Lots Of KnobsWe live in a golden age for MIDI controllers. [rheslip]’s contribution to the milieu is a twisty take on the format, in that it’s covered in an array of knobs. Thus the name—Twisty 2. 
The controller can be built using the Raspberry Pi Pico or Pico 2. It’s set up to read a 4×4 array of clickable encoders, plus two bonus control knobs to make 18 in total, which are read via a 74HC4067 analog mux chip. There’s also an SK6812 RGB LED for each encoder, and an OLED display for showing status information. MIDI output is via USB, or, if you purchased the W variant of the Pi Pico/Pico 2, it can operate wirelessly over Bluetooth MIDI instead. The controller is set up to send MIDI CC messages, program changes, or note on/off messages depending on its configuration. Flipping through different modes is handled with the bottom set of encoders and the OLED display.
Few musicians we’ve ever met have told us they learned how to play the encoders, and yet. The cool thing about building your own MIDI controller is you can tune it to suit whatever method of performance strikes your fancy. If the name of this build alone has you inspired, you could always whip up a MIDI controller out of a Twister mat.

L-Acoustics debuts L-Acoustics DJ iPad app and controller options at NAMM 2026At NAMM 2026, L-Acoustics showed off the L-Acoustics DJ iPad app and new controller interfaces. The French audio brand announced the L-Acoustics DJ app in 2025, which lets DJs tinker with immersive sound on-the-fly.
L-Acoustics DJ uses machine learning to separate stereo tracks into four elements — drums, bass, vocals, and “sweeteners” or other mid-range sounds — allowing for individual panning around a 3D space.
At NAMM, during the presentation, professional DJ Julian Clarkson demonstrated the function in action with the assistance of two different controllers. One was an app for iPad that displays the spatial distribution of each sonic element in real time on a screen. The other was a traditional controller designed by the Buenos Aires-based manufacturer, Yaeltex. This controller is complete with knobs, faders, and touch pads for tactile precision.
L-Acoustics DJ iPad Controller. Image: Harry Levin
Both controllers also employ preset functions that can manipulate all four elements simultaneously with the touch of a single button.
While L-Acoustics has the proprietary tech to theoretically split a song into more than four elements, the idea, as of now, is to focus on simplicity so DJs can easily integrate the function into their workflow while they are performing.
“It’s a very easy platform to learn,” Clarkson says. “The real difference is the exposure and being able to open the world of possibilities and make it more accessible.”
Check out more NAMM 2026 news as it happens.
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Tip Jar: Low-Cost Guitars That Earn Their Place on StageBy the time a guitar survives years of live performances, price becomes irrelevant. What matters is whether it holds tune, projects reliably through a PA, and delivers a sound that supports the song rather than distracting from it. After decades on the road, one conclusion has become increasingly difficult to ignore: low-cost guitars, properly set up and thoughtfully amplified, can perform at a professional level.

Time off the road—rare as it is—provides an opportunity to reassess long-held assumptions about gear. Revisiting instruments that have endured sustained touring reveals that some of the most dependable tools in my collection were also the least expensive. In practical terms, they have outperformed expectations while demanding very little in return.

An Unplanned Shift

This realization didn’t come from a deliberate search for budget instruments. It happened gradually, beginning in the years following my time with the Atomics. Playing smaller rooms throughout Kentucky, Tennessee, and Georgia meant adapting to intimate spaces where immediacy mattered more than volume or sheen. Berea, KY became a frequent stop, and with downtime between gigs, pawn shops became informal laboratories.

In Richmond, KY, a checkerboard-patterned parlor guitar caught my eye. It was inexpensive, visually distinctive, and clearly not designed with touring musicians in mind. Still, it suggested something different—a break from the assumption that quality tone required a significant financial investment.

Preparing for the Stage

The primary challenge with these guitars was amplification. Most lacked onboard electronics, making them impractical for live use without modification. After researching options and consulting fellow musicians, I installed a Fishman Matrix II undersaddle pickup.

The results were consistent and repeatable. The pickup produced a clear, balanced signal with strong low-end response and articulate highs, while preserving the natural dynamics of the instrument. Onstage, the guitar translated well across different PA systems without introducing unwanted coloration.

Encouraged by the outcome, I acquired additional Trinity River parlor guitars and outfitted them similarly. Each performed reliably, reinforcing the idea that thoughtful electronics can elevate modest instruments into dependable live tools.

Discoveries on the Road

Further validation came in Appleton, WI, where I encountered Jay Turser parlor guitars, often referred to as Jay Juniors. One model—finished in sea-foam green—was fitted with the same Fishman Matrix II pickup and upgraded Schaller M-6 tuning machines.

That guitar quickly became a primary performance instrument. Its tone was earthy and direct, well-suited to small stages and seated rooms. Importantly, the electronics amplified its natural voice rather than reshaping it. The visual impact of the instrument also translated well under stage lighting, an often-overlooked factor in live performance.

A second Jay Turser, finished in black and modified in the same way, delivered similarly strong results. Over more than a decade of consistent use, it has proven durable and stable, surviving the kind of wear that touring inevitably inflicts.

Tone Is Not a Price Point

One of the persistent myths in the guitar world is that cost correlates directly with tonal quality. In reality, even instruments from the same manufacturer and series can vary significantly in character. Each guitar develops its own voice.

The Trinity River checkerboard guitars exemplify this. Years of aggressive pick use have worn through the finish below the sound hole, exposing material that bears little resemblance to traditional tonewood. Despite this—or perhaps because of it—the guitars continue to sound strong and responsive.

Their imperfections contribute to their identity. They are not precious objects; they are working instruments. And in that role, they excel.

Context and Contrast

This is not an argument against high-end guitars. I own several Taylor instruments whose refined tonal balance and consistency perform exceptionally well in both studio and live environments. Their depth, resonance, and predictability make them valuable tools in controlled settings.

However, they coexist alongside lower-cost guitars that have proven equally effective under real-world conditions. Onstage, reliability and musicality matter more than branding.

A Practical Conclusion

With touring temporarily paused, there is time to engage with these instruments outside the pressure of constant performance. In a quieter environment, their strengths remain evident: playability, consistency, and an ability to support the song without calling attention to themselves.

For working musicians, the takeaway is straightforward. Great sound does not require a large investment. It requires an understanding of how instruments function in live contexts and a willingness to judge them by performance rather than reputation.

In the end, these guitars earned their place not because they were inexpensive, but because they worked—night after night, on real stages, under real conditions.The post Tip Jar: Low-Cost Guitars That Earn Their Place on Stage first appeared on Music Connection Magazine.

Helmut Keller Audio X FeedA crossfeed plugin for an improved headphone listening experience. Emulates the sound of a standard loudspeaker setup while listening through headpones. Delievers much more realsitc results, compared to existing solutions. A must have tool for mastering with headphones. Implements the mean head related transferfuctions (HRTFs) derived from measurements on 48 subjects. Read More

NAMM 2026: Dangerous Music debut BAX500 Dangerous Music have announced the BAX500, a single-slot 500-series equaliser that brings the core design and sonic approach of the company’s 19-inch BAX EQ into a compact modular format.

KRK debuts new flagship studio monitoring line at NAMM 2026 – enter the KRK V Series FiveThis summer, KRK will welcome a fresh flagship series of monitors. With sights set on defining the “next-generation” of studio monitoring, KRK’s V Series Five builds upon the success of the V Series Four. Designed for musicians, producers and engineers, the series serves as a step-up in refined clarity, control and reliability – and debuted this week at NAMM.
KRK’s output has been pretty strong the last few years; 2025 introduced the affordable Kreate Series, while 2024’s Rokit Generation Five were a plug-and-play dream. Now, the V Series Five will push KRK and parent company Gibson’s monitoring game to a new level.

READ MORE: I’ve fallen in love with ribbon mics all over again with Warm Audio’s Fen-tone

“The V Series Five sets a new benchmark for professional studio monitoring,” says Sterling Doak, Vice President of Marketing for Gibson. “From accuracy and translation to reliability and full wireless control, these monitors have been redesigned to meet the needs of the most versatile creators. We’re excited to introduce our KRK Mesh® technology through the Control App, for a first look at the future of our monitoring portfolio.”
Included in KRK’s line-up of products will be last year’s aforementioned Kreate Series, the active two-way monitor line designed to deliver KRK’s iconic performance at an accessible price point.
Credit: KRK Systems
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NAMM 2026: beyerdynamic launch HEADPHONE LAB A new free studio plug-in designed to bring the sound and spatial realism of a professional loudspeaker monitoring environment to the company's headphones.

dBdone releases Pentimento texture layering plugin with FREE version
dBdone has released Pentimento, a free (paid upgrade available) texture layering plugin for macOS and Windows, developed in collaboration with music producer and YouTuber Taetro. Pentimento is designed to layer textures and sound effects on top of existing audio using envelope-triggered dynamics instead of MIDI input. So, instead of sequencing notes or programming patterns, you [...]
View post: dBdone releases Pentimento texture layering plugin with FREE version

Get a free distorted synth bass for Splice INSTRUMENT
Download our free synth bass preset for Splice INSTRUMENT—grab these presets during the drop window and they’re yours to keep forever.

New Music Critique: Cassia DawnContact: cassiadawnmusic@aaron-freiwalWeb: cassiadawn.comSeeking: SponsorshipStyle: Singer-Songwriter

Right from the opening bars of “Life is Like a Latte,” we get a flavor of what acoustic soul-pop artist Cassia Dawn is all about, namely the sweetest melodies adding color and vibrancy to her tales of everyday life. The entire Life is Like a Latte EP, in fact, features five tracks that all seem to be centered around working in a coffeeshop. Inspiration strikes at the funniest times, apparently. So we also get the pointed and perhaps metaphorical “No Free Refills,” and the allegorical “Spinning Plates.” Dawn’s voice is delicately expressive, and her songs are expertly constructed.The post New Music Critique: Cassia Dawn first appeared on Music Connection Magazine.

SEC dismisses civil action against Gemini with prejudiceThe SEC was satisfied with Gemini’s agreement to contribute $40 million toward the full recovery of Gemini Earn investors’ assets lost as a result of the Genesis bankruptcy.

Waymo probed by National Transportation Safety Board over illegal school bus behaviorThe NTSB joins the National Highway Traffic Safety Administration in investigating Waymo vehicles illegally passing stopped school buses.

PLA Mold To Plaster Bust, No Silicone Needed3D printing is wonderful, but sometimes you just don’t want to look at a plastic peice. Beethoven’s bust wouldn’t look quite right in front of your secret door if it was bright orange PLA, after all. [Denny] over at “Shake the Future” on YouTube is taking a break from metal casting to show off a quick-and-easy plaster casting method— but don’t worry, he still uses a microwave.
Most people, when they’re casting something non-metallic from a 3D print are going to reach for castable silicone and create a mold, first. It works for chocolate just as easily as it does plaster, and it does work well. The problem is that it’s an extra step and extra materials, and who can afford the time and money that takes these days?
[Denny]’s proposal is simple: make the mold out of PLA. He’s using a resin slicer to get the negative shape for the mold, and exporting the STL to slice in PrusaSlicer, but Blender, Meshmixer and we’re pretty sure Cura should all work as well. [Denny] takes care when arranging his print to avoid needing supports inside the mold, but that’s not strictly necessary as long as you’re willing to clean them out. After that, it’s just a matter of mixing up the plaster, pouring it into the PLA, mold, and waiting.
Waiting, but not too long. Rather than let the plaster fully set up, [Denny] only waits about an hour. The mold is still quite ‘wet’ at this point, but that’s a good thing. When [Denny] tosses it in his beloved microwave, the moisture remaining in the plaster gets everything hot, softening the PLA so it can be easily cut with scissors and peeled off.
Yeah, this technique is single-use as presented, which might be one advantage to silicone, if you need multiple copies of a cast. Reusing silicone molds is often doable with a little forethought. On the other hand, by removing the plaster half-cured, smoothing out layer lines becomes a simple matter of buffing with a wet rag, which is certainly an advantage to this technique.
Some of you may be going “well, duh,” so check out [Denny]’s cast-iron benchy if his plasterwork doesn’t impress. We’ve long been impressed with the microwave crucibles shown off on “Shake the Future”, but it’s great to have options. Maybe metal is the material, or perhaps plain plastic is perfect– but if not, perchance Plaster of Paris can play a part in your play.

Korg’s Phase8 acoustic synthesizer lets you use sticks, stones, and magnets to create soundsKorg has shifted the relationship between acoustic and electronic with the Phase8, its new acoustic synthesizer, which debuts at NAMM 2026.
The finished instrument,which was first teased at Superbooth 2024, comes with 13 precisely engineered steel resonators that vibrate at the frequencies of a chromatic scale. Eight of them can be installed on the synth at one time.
To produce the sound, coils send a signal to the resonators. These signals can be modified using familiar synthesizer parameters such as envelope and velocity, and then sequenced.
The acoustic element means you can get experimental by physically interacting with the resonators. You can touch the resonators to affect the sound, or any matter of physical item can be placed upon them to alter the way the resonator vibrates.
At Korg’s NAMM booth, each station with the phase8 had a series of small objects that everyone was encouraged to use with the synth. These included stones, wooden sticks, small metallic bits, and even magnets, which added modulation beyond the different quality of sound. Then the AIR slider can specifically adjust the acoustic response of the resonators.
“[Korg] wanted to do something that had never been done before,” says Rachel Aiello from KORG Berlin. “It would have been easy for them to continue making analogue synths, but they wanted to do something different.”
Check out more NAMM 2026 news as it happens.
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