Phantom Sounds releases Intermod, a FREE spectral modulation effect
Intermod is a new audio plugin from Phantom Sounds, the developer behind Orbit (spatial reverb) and 56K (digital decay). We covered Orbit earlier this year, and if you missed it the first time around, it’s worth checking out. Intermod offers something a little different; it’s a self-intermodulation effect that multiplies the strongest components in your [...]
View post: Phantom Sounds releases Intermod, a FREE spectral modulation effect

“Adapt or give up and become an Uber driver”: Diplo has harsh words for music producers sceptical of AIWhen it comes to the controversial topic of using AI in the recording studio, you’ll often hear the argument that AI “isn’t here to replace musicians”. However, prominent producer Diplo has come forward and admitted that, in his case, it apparently has.
In a recent appearance on the Behind The Wall podcast, Diplo explains that he now relies on AI instead of real singers, as it always provides him with the “best voice” for his tracks. “I don’t even need a voice any more – I can get the best voice from AI,” he claims. “I don’t need anybody to sing the song any more.”

READ MORE: Gary Numan thinks AI music hype is short-lived: “It will go full circle and people will want to go back to sharing a human experience rather than just brilliantly copied one”

“I’ve had some voices that I’ve made with AI, and I’m like, ‘damn, I couldn’t even get this take out of the best singer,’” he continues. “I wouldn’t have said that to you three months ago, but the way it’s changed in the last three months, the advances are just like ‘…fuck!’”
While his stance is sure to raise some eyebrows, the producer insists that musicians need to adopt AI practices, or they’re just doing themselves a disservice. “You’re not going to win, there’s no fighting AI…” he says. “You’re wasting your time [because] everybody else is going to just use it and not give a fuck what you think.”

Despite Diplo being met with criticism in light of his comments, he doubled down on X. “If you are a creative, you need to adapt or just like give up and become an Uber driver…” he writes. “I know it’s not cool or classy to speak like this, but I’m not gonna candy-coat the future. It is what it is. Sorry for [the] bad news, my purists.”
Though, he does add that AI still needs some kind of human direction. In particular, he notes that the creatives with mental health disorders and neurodivergent minds will always have a unique approach to songwriting, something that technology can’t quite emulate. “There will always need a human mind and touch because AI will never suffer from bipolar disorder and autism like me and other creative people,” he concludes.

if you are a creative you need to adapt or just like give up and become an uber driver until everyone has a waymo. I know it’s not cool or classy to speak like this but i’m not gonna candy coat the future – it is what it is . sorry for bad new’s my purist . there will always need… https://t.co/SXswII51wv
— diplo (@diplo) April 14, 2026

Diplo’s final comment is often the first point musicians will raise when criticising the usage of AI in creative spaces. In fact, Blur and Gorillaz frontman Damon Albarn told The Needle Drop that it “isn’t possible for AI to make soulful music” due to their lack of human experience back in March.
Elsewhere, Flying Lotus seems to be on the total opposite side of the AI spectrum than Diplo. Rather than seeing AI’s output as the ‘best’, he believes that AI will inevitably lead to an increased demand for human singers and instrumentalists. “Be better than the machine, be greater,” he told MusicRadar.
Artists have also started fighting against Suno AI, with February marking the start of the ‘Say No to Suno’ campaign. The movement shared an open letter, claiming that it was taking a stand against AI “hijacking the world’s entire treasure-trove of music” as it “floods platforms with AI slop and dilutes the royalty pools of legitimate artists from whose music this slop is derived”.
On the flip side, Diplo has actually gone out of his way to back AI movements, with the producer investing in AI company Aaru just last month.
The post “Adapt or give up and become an Uber driver”: Diplo has harsh words for music producers sceptical of AI appeared first on MusicTech.

FREE PLUGINS: Universal Audio is giving away a bundle of eight classic UAD plugins for nothing – here’s how to get yoursUniversal Audio is giving away a bundle loaded with eight of its legendary UAD plugins – plus its LUNA DAW – totally free. Yep, for absolutely nothing.
UAD Explore FREE – cooked up by the generous folks at Universal Audio – delivers the authentic analogue sound of the brand’s trusted professional-level plugins, at no cost at all. So you can significantly upgrade your production arsenal right now.

READ MORE: Splice introduces raft of new generative AI features which ensure fair compensation for original sample creators

It’s available on Mac and PC, and even better – this bundle requires no additional Universal Audio hardware, so you can download and explore right away. Compressors, EQs, reverb, and other production tools are covered, and because it also features the LUNA DAW, it’s literally everything you’ll need to record, mix and produce.
Here’s what’s included:

UA 1176 Classic FET Compressor
Teletronix LA-2A Tube Compressor
UA 610 Tube Preamp & EQ Collection
Pure Plate Reverb
Vibe Analog Machines Essentials
Showtime ’64 Tube Amp
Century Tube Channel Strip
PolyMAX Synth
LUNA Digital Audio Workstation

“UAD Explore FREE puts the tools that defined the sound of modern recording within reach of every creator,” says Jor Van Gelder, Senior Product Manager at Universal Audio.
“Whether you’re just starting out or expanding your toolkit, this bundle is the most complete free studio we’ve ever offered… and it costs nothing.”
Some highlights… PolyMAX Synth is perfect for anyone looking to make retro tunes. The oscillators were modelled after analog synthesizers. And it’s polyphonic, so it’s easy to create gorgeous, full textures.
Then, if the goal is to make everything in the session sound analog, Vibe Analog Machines Essentials is available. This plugin has four virtual analog tone machines that can give any instrument, vocal, or sample that sought-after warm tape feel.
For the guitarists out there, the Showtime ’64 Tube Amp will provide the classic tone that legendary artists such as Dick Dale, Keith Richards, Jack White, and Nels Cline have all rocked. The plugin also has a series of esteemed virtual microphones to record the amp, so you can dial in precise vintage sounds.
To get your UAD Explore FREE bundle, head to Universal Audio.
The post FREE PLUGINS: Universal Audio is giving away a bundle of eight classic UAD plugins for nothing – here’s how to get yours appeared first on MusicTech.

Splice introduces raft of new generative AI features which ensure fair compensation for original sample creatorsMusic creation platform Splice has announced a new suite of AI tools which extend the company’s creator payments model further into the world of generative AI.
The suite comprises three new tools – Variations, Craft and Magic Fit – all of which utilise generative AI, are in keeping with Splice’s philosophy that “every sample remains traceable to its original creator”, ensuring fair compensation.

READ MORE: Moog unveils super-limited Bob Moog Tribute Edition Minimoog Model D

But how do each of the three new tools actually work and what do they do?
Variations – available via the Splice Sounds plugin – lets producers create new versions of any Splice sample, tweaking things like structure, key and BPM while preserving the character of the original sample. As Splice explains, the creator of the original sample is compensated each time it is used as a source and a variation is downloaded.
Craft, meanwhile – available in the INSTRUMENT plugin – transforms samples into fully playable instruments, while Magic Fit aligns any Splice sound to match the harmonic and rhythmic context of a production session.

“Producers have always used samples as a foundation for new ideas; these tools extend that tradition, enabling sounds to be reshaped and reimagined,” says Splice CEO Kakul Srivastava. “Grounded in deep, long-standing relationships with producers and sound creators, they reflect real creative workflows and reinforce the value of original work.”
“Our first generation of tools helped producers discover sounds,” adds Alejandro Koretzky, VP of Applied AI Research at Splice. “Now we’re making the catalog itself more adaptable and contextual, so any sound can be transformed while still preserving its DNA.”
Belgium-based Founder of Music Tech Company and Samples Label Afroplug, Ms Mavy, says, “The pay-on-download model for original creators is exactly what the industry needs as AI tools scale. It creates more opportunities for our sounds to be used – and more ways for us to earn.”
Elsewhere, sample creator duo Oliver – who notably created the sample pack that was used in Sabrina Carpenter‘s mega-hit Espresso – also commends Splice’s human-first approach to AI.
“With so many AI tools rushing to market, artists often feel like an afterthought,” they say. “Splice has taken the opposite approach, building with creators to ensure this technology supports artists, rather than replacing them.”
Learn more about Splice.
The post Splice introduces raft of new generative AI features which ensure fair compensation for original sample creators appeared first on MusicTech.

No ARA? No problem. Waves’ Sync Vx vocal alignment plugin is now compatible with all major DAWsWhen Waves Audio launched Sync Vx last year, it quickly became a favourite among producers and engineers working in ARA-enabled DAWs like Pro Tools and Logic, offering a fast, precise way to tighten vocal stacks without the usual headache.
Now, Waves is opening the doors to everyone else.

READ MORE: What’s new in Waves’ ILLUGEN 2.0 update? These are the new features for its “most advanced music-creation AI model”

With newly added support for VST, AU and AAX formats – alongside ARA and AudioSuite – Sync Vx is now compatible with virtually every major DAW, including long-awaited platforms like Ableton Live and FL Studio. In short: no ARA, no problem.
At its core, Sync Vx is designed to streamline one of the most time-consuming aspects of music production: vocal alignment. The plugin allows users to align both the timing and pitch of multiple vocal tracks, helping create more cohesive and polished vocal arrangements.
All of this happens within a single, intuitive interface, where users can set multiple reference tracks, fine-tune timing and pitch at a global or track level, and even experiment with creative touches like transposition and formant shaping.
The updated version sticks to that all-in-one, single-window workflow, while offering the power to align up to 16 tracks at once – making it far easier to organise and clean up even the most complex vocal stacks.
Beyond music production, Sync Vx also offers powerful applications for post-production, including ADR and dialogue alignment, providing a fast and precise solution for matching re-recorded audio to original performances.
The updated version is available now as a perpetual license, as part of the Waves Ultimate subscription, and within the Mercury bundle. Existing Sync Vx (V16) users can upgrade at no extra cost, while new users can purchase the plugin at just $49.99 for a limited time.

Learn more at Waves.
The post No ARA? No problem. Waves’ Sync Vx vocal alignment plugin is now compatible with all major DAWs appeared first on MusicTech.

“I’ll never go back to 440Hz”: How Ziggy Marley found his new frequencyAfter nearly five decades making music, Ziggy Marley could be forgiven for resting on his laurels. With nine Grammy wins, an Emmy, countless high-profile collaborations—not to mention being the son of one of the most famous musicians in history, Bob Marley—he’s reggae royalty through and through.
Yet with his ninth solo album, Brightside, Marley not only set out to build a new studio and adopt new songwriting techniques, but he also challenged himself to sing, play, and record tuned to 432Hz, instead of the standard 440Hz.
“I’m a musical explorer, you know?” he offers by way of explanation. “To do something new is always refreshing to me, as an artist.”
Artwork for Ziggy Marley’s 2026 album, Brightside
440Hz, commonly referred to as A440, is the standard reference pitch across Western music; it’s the A above middle C on the piano, which most other instruments are tuned in relation to. In recent decades, an increasing number of musicians have instead used 432Hz as their reference pitch, with many claiming that the tuning can aid meditation and help mental well-being.
The science is far from settled on the matter, but to Marley, the benefits are clear. “It’s just a different vibe,” he puts simply. “I tried it for my live shows, I liked it, and I saw the audience responding to it. It felt more comfortable to me, and I felt like I could express myself, vocally, much better in that frequency. So, 432Hz is like getting a new toy – it inspires me to sing different, play different. I’ll never go back to 440Hz.”
Recording at a new frequency was no small commitment. As Mike Schuppan, who mixed and engineered Brightside, points out, not only did the strings, brass, and pianos all need re-tuning, but all the electronic instruments as well. “There are no virtual instruments on this record,” Schuppan emphasises. “We couldn’t just pull up the computer and change the tuning. So, the Rhodes, the clavinet, the analogue synths, they were all tuned to 432Hz. There was no cheating.”

“For the Hammond B-3 organ, we didn’t know if it could be done,” Marley adds. “We had specialists come in, and the guy said it’s just the amount of electricity that goes to the organ. He fine-tuned it so that we could click a switch and have it go to 432Hz, which was mind-blowing to me because I didn’t even know that was possible.”
For Schuppan, the album also presented a unique challenge to mix. “It’s a bit of a learning curve to get your ear to 432Hz,” he reflects. “For me, being in the pop world and tuning vocals for years in 440Hz, I know that tuning really well. So, I’d hear something and it would feel a little bit flat, but then I’m like, ‘oh, wait, it’s in 432Hz.”
Despite the tricky logistics, Marley and Schuppan believe that the end result was worth the effort. “There were a couple of times during rehearsals and pre-production where we went back and forth between 440Hz and 432Hz,” recalls Schuppan. “We all preferred 432Hz. It’s funny because it’s sort of unexplainable – the science doesn’t necessarily make sense, it just feels good, it feels right, and I think that’s what’s so cool about this record.”

At the same time, Marley was also experimenting as a songwriter. “On previous records, I was excited to get into the studio and start making music, figuring it out as I went along,” he concedes. “But on this record, I wanted to focus on the songs, the lyrics, the arrangements. I really wanted them to feel good, to be what they are, before going into the studio.
“That was a different approach for me,” continues Marley. “But I felt like I needed to do that as an artist, as a musician. I needed to redirect that energy into the songwriting.
All of this new creative ground was being broken in Marley’s newly completed Rebel Lion Studio. “It’s been years that I’ve been dreaming about it,” Marley says of the desire to build his own recording space. “I’ve had little studios in my house, but I always had to go to other studios if I wanted to record a bigger setup like live drums or horns. I was always shuffling around.
“I think I’m following the example of my father, because he did the same thing too,” Marley continues. “It’s just that independent spirit that I grew up with. Having my own space, I create my own energy, my own vibes. It’s really great to work in that way where you’re not under any kind of constraints or limitations.”
Together with Schuppan, who has worked on numerous releases with Marley, the pair set about designing the ideal recording setup – with a custom-fitted Rupert Neve Designs 5088 console as its centrepiece.“It’s a great console,” Marley offers without reservation. “Over my years, I’ve had different consoles in my home studios but I was not satisfied. I wanted a different feel, a different sound. I was always looking up this Rupert Neve stuff, and so finally we pulled the trigger on it.”
Image: Wonder Knack (courtesy of Tuff Gong Worldwide)
“It was my first time installing and working on it, and I absolutely love it,” interjects Schuppan. “They really simplified it: it has the classic analogue console that we all know and love from tape, but then they’ve stripped out the things that we don’t use anymore. Most of us are on Pro Tools, and we don’t really need a big matrix or DIs on the back of everything. They simplified it without making it useless.
“Being able to mix and match whatever preamp and EQ you want to is also really cool,” continues Schuppan. “We were able to load the first half of the console with 16 BAE 1084 preamps, and then the rest of the console has the Shelford 5053s in it. So you’re not limited to one thing; you kind of have a bunch of different flavours.”
Helping guide the studio build-out also meant that, when it came time to start work on the new album, Schuppan was already an expert on the spaces’ workflow and on what the new gear could offer. “Mike knows all the crevices, he knows every little secret,” laughs Marley. “He put the studio together, then he recorded Brightside, he mixed it. He was there from birth to the delivery, so it was just great.”
“It was amazing,” agrees Schuppan. “I was there pulling wire through the walls, soldering everything up, getting it all worked out with a console, and then recording the album and mixing it in-house. I’ve built a bunch of studios, but to be able to take things full circle was a first for me.”
From tuning to songwriting to workflow, Brightside has precipitated many new turns for Marley, but perhaps the most striking change is who the artist had in mind while he was writing it – himself. “I wasn’t thinking about what the people want,” he says thoughtfully. “I think that was one of the things I did on this record that was different: I wasn’t writing this album for the people, I was just writing it for me.”
Image: Wonder Knack (courtesy of Tuff Gong Worldwide)
As a lifelong activist and humanitarian, Marley has penned many anthems that shine a light on the injustices of this world and encourage positive action to affect change. The artist sees recent world events, including the devastating Hurricane Melissa, which hit Jamaica in late 2025, as moments that “call us to action.”
But while the album’s lead single, Racism is a Killa, and tracks such as Hey People Now, certainly still rouse a sense of activism, by Marley’s own admission, these new songs are unabashedly personal.“I think people get tricked sometimes by the idea of what reggae is, or who I am,” he says. “But there’s a lot of inward, introspective thinking going on for the music and for the lyrics. When I sing these songs, I have a deep emotional connection to them because of what they mean to me personally. Really, a lot of these songs are about me.”
Brightside is Marley’s most emotionally charged album, and it’s also his most therapeutic. In that context, the artist’s decision to work at 432Hz was less about giving audiences a soothing or meditative experience and was instead something that Marley himself needed. “I wrote a lot of songs for my own mental and emotional health,” he emphasises. “Tuning to that frequency just worked out well for me personally. In dealing with my issues, in dealing with how I was feeling, to be in that frequency was healing for me.”
Ziggy Marley’s Brightside is available now. 
The post “I’ll never go back to 440Hz”: How Ziggy Marley found his new frequency appeared first on MusicTech.

Jury rules Live Nation and Ticketmaster operated as an illegal monopoly and overcharged concertgoersA federal jury has ruled that Live Nation, the entertainment giant that owns Ticketmaster, illegally operated as a monopoly in a decision that could reshape the live music business.
The verdict follows four days of deliberations in a seven-week trial in New York City, stemming from an antitrust lawsuit filed in 2024 by the US Department of Justice alongside dozens of state attorneys general. The case centred on claims that Live Nation had effectively cornered the live music market by controlling ticketing, concert booking, promotion and venues.

READ MORE: Gary Numan thinks AI music hype is short-lived: “It will go full circle and people will want to go back to sharing a human experience rather than just brilliantly copied one”

According to the lawsuit, that dominance enabled “anticompetitive conduct” that led to higher fees for fans, fewer touring options for artists, and pressure on venues to use Ticketmaster’s services.
Per NBC news, the jury found that Ticketmaster overcharged concertgoers by $1.72 per ticket at “major concert venues” in the plaintiff states as a result of that behaviour. Additional monetary damages may still be awarded, with US District Judge Arun Subramanian set to determine the final amount.
The ruling also lands in the wake of damaging internal messages that surfaced during the case. In one exchange, employees allegedly joked about “robbing” customers, while another message mocked fans paying high VIP fees, stating, “These people are so stupid.”
Meanwhile, Live Nation has rebuffed the verdict and signalled its intent to challenge the outcome.
“The jury’s verdict is not the last word on this matter. Pending motions will determine whether the liability and damages rulings stand,” the company said in a statement Wednesday, adding that it plans to appeal “any unfavorable rulings.”
The company also argued that the jury’s award of $1.72 per ticket applies to a limited subset of tickets – those sold at 257 venues, representing about 20% of total sales – and only to purchases made by fans in certain states over the past five years.
While the decision marks a significant moment for the live music industry, any tangible changes are unlikely to be immediate. Ticket prices and fees are not expected to drop in the short term as the legal process continues.
Judge Arun Subramanian will now oversee a second trial to determine remedies, including whether to grant the states’ request to break up parts of the company or enforce structural changes such as divestitures. Among the potential outcomes is the forced sale of Ticketmaster — a move that could fundamentally reshape the live events landscape if enacted.
“It will be an earthquake in the industry in terms of people’s perception in feeling validated,” Scott Grzenczyk of law firm Girard Sharp tells CNN. “There’s a big difference between people complaining about Goliath and getting a jury verdict that Goliath was a monopolist and doing something wrong.”
The post Jury rules Live Nation and Ticketmaster operated as an illegal monopoly and overcharged concertgoers appeared first on MusicTech.

Ford EV and tech chief leaving automakerDoug Field had stints at Apple and Tesla before joining Ford in 2021.

How to use the new Splice Sounds Plugin (beta)
Learn how to use the new Splice Sounds Plugin to find loops and one-shots in new ways and get even more out of the Splice Sounds library.

Ten of the Best Iron Maiden SongsAt long, long last, heavy metal icons Iron Maiden are being inducted into the Rock & Roll Hall of Fame. After five decades, and 17 albums with three vocalists, Maiden is finally getting its dues. Sadly, former vocalist Paul Di'Anno and former drummer Clive Burr are no longer around to celebrate. But we can all revel in the glory of all things Maiden. Here are 10 of their best songs, in order of release.

"Iron Maiden"

From Iron Maiden (1980)

"Wrathchild"

From Killers (1981)

"The Number of the Beast"

From The Number of the Beast (1982)

"The Trooper"

From Piece of Mind (1983)

"Aces High"

From Powerslave (1984)

"Wasted Years"

From Somewhere in Time (1986)

"The Clairvoyant"

From Seventh Son of a Seventh Son (1988)

"Fear of the Dark"

From Fear of the Dark (1992)

"The Clansman"

From Virtual XI (1998)

"These Colours Don't Run"

From A Matter of Life and Death (2006)

Photo by Ceedub13, licensed under the Creative Commons Attribution 2.0 Generic license.The post Ten of the Best Iron Maiden Songs first appeared on Music Connection Magazine.

Hacking Fermentation for Infinite Pickles from Pass-thru BioreactorHome-fermented foods are great– they’re healthier, more flavourful, and cheaper than store-bought alternatives. What they aren’t is convenient: you need to prep a big batch of veggies, let it sit, and then you have to store the excess pickles. If you’re not careful, you end up with ancient, over-fermented pickles at the bottom of the crock, or worse– run out of pickles! Surely a fate worse than death. [Cody] at Cody’s Lab has a solution: a continous-flow fermentation process that keeps just the right supply of pickles coming at all times. Our grandmothers who kept a crock for months in the cold room or root cellar might be confused, but this hack brings pickles into the Just-In-Time framework of the 21st century.
Specifically this is for lactic acid fermentation, the type that gets you kosher dills, saurkraut and kimchi along with a whole mess of other tangy, tasty vegetable treats. Vinegar pickles are a whole other thing. It’s done in a brine, as the lactic acid bacteria are salt tolerant in a way that most things that would rot your food and/or make you sick would not. You can reuse the brine over and over, which is what [Cody] is doing: he crafts a U-shaped crock out of old glass bottles and a couple of pickle jars. He cuts the jars into angled pipe segments that are held together with aquarium sealant, which is apparently food safe. It holds water and looks surprisingly good, in that it isn’t hideous.
The bioreactor gets loaded up with veggies on one end, plus lots of salt and spices to taste, plus some cultured brine from an old batch to kickstart everything. The starter isn’t necessary; it just gets things going faster. The initial packing is the hardest: after filling it the first time, one needs only press new veggies in at one end, while removing tasty treats at the other. A special packing tool [Cody]makes helps with that, but he plans on adding a larger feed side. Thanks to that kickstart, the pickles were ready to try after about a week– which means his tube is a bit long, for his desired dwell time. If you like more fermentation to your pickles, then you might like this size.
May be the first time pickles have been featured on Hackaday without turning them into LEDs. We’ve featured plenty of fermentation projects, with automation to help make the best brew or a build for better tempeh, but not a lot of vegetables.
Thanks to [cam72cam] for the tip!

Sonicworld Telsie TSonicWorld Telsie T is a 3-band equalizer plug-in based on the famous W695 discrete class A equalizer from the 1970s. The W695 is known for its wonderfully silky highs and tight bass. Telsie T delivers this sound, along with some very useful upgrades compared to its analog counterpart that make it a very powerful equalizer plugin. Like the original hardware, Telsie T features a low-shelf filter at 60 Hz and a high-peak filter at 10 kHz. Its midband section operates as a presence filter with six selectable center frequencies, offering users precise tonal shaping capabilities. Building on this classic foundation, Telsie T introduces a suite of modern enhancements that significantly expand its sonic flexibility: The low band offers additional peak filter frequencies at 40, 60, 100, 160, and 220 Hz, each with selectable Q-factors (Wide, Medium, Narrow), enabling far more detailed tone shaping than the original fixed shelf. The high-frequency section retains the signature 10 kHz peak filter while adding a 15 kHz high-shelf alternative, both with up to ±15 dB gain in precise 3 dB increments. To improve tonal balance, Telsie T includes crossover controls between the low/mid and mid/high bands, allowing users to refine how frequency curves interact and extend midrange linearity. A dedicated Linear Phase mode offers a more phase-consistent alternative for critical applications. Each band also features a harmonics section with "Drive" and "Out" controls, enabling users to add subtle saturation or harmonic richness. Additional tools include continuously variable low-cut (high-pass) and high-cut (low-pass) filters with a musical -12 dB/octave slope, as well as a master gain control for precise level compensation. A comprehensive parameter bar provides clear visual feedback of all key settings, including harmonic levels, filter states, crossover points, and output gain. Read More

Live Nation operated as illegal monopoly, jury finds in landmark antitrust trialLandmark verdict could reshape the live entertainment industry.
Source

UAD Explore Free from Universal Audio Universal Audio’s latest bundle brings together a selection of their renowned plug-ins and virtual instruments, and is being offered free of charge!

Moog unveils super-limited Bob Moog Tribute Edition Minimoog Model DMoog is celebrating the enduring legacy of its founder and synth innovator Bob Moog with a new limited-edition version of the Minimoog Model D.
With just 500 units available worldwide, the Bob Moog Tribute Minimoog Model D is built by the Moog team in North Carolina, and boasts an updated look, with a custom quartersawn white oak cabinet, and a Bob Moog Foundation photo-anodised decal on the rear panel.

READ MORE: A banana-shaped synthesizer is going viral on Kickstarter

Functionally, it’s exactly the same as Moog’s 2022 reissue of the Minimoog Model D, which paired an analogue sound engine – recreated from the original ‘70s unit – with a number of modern features including MIDI support, spring-loaded pitch wheel and Fatar keybed with aftertouch.
Credit: Moog
At its core though, the Bob Moog Tribute Edition Minimoog Model D bears the sound analogue signal path that made the original such a legend, with a discrete analogue mixer, analogue oscillators, dual envelope generators and an analogue VCA. Of course, it also features its iconic 24 dB/octave Ladder Filter, which shaping everything from warm bass tones to harsh peaks, helped define the sound of the Minimoog Model D.

Each Bob Moog Tribute Edition Minimoog Model D comes with a semi-rigid case for protection during transport, and $500 from each sale will be donated to the Bob Moog Foundation, to support its ongoing educational work in music, science, history, and innovation.
“Here at Moog Music, we believe in honoring Bob Moog’s legacy and his innovations that continue to have a meaningful impact on today and tomorrow’s creatives,” the company says. 
Credit: Moog
“Whether that’s behind the scenes as we’re developing new instruments, in conversation with artists, through stories on social media, or in writing like this (to you, here and now), it’s at the heart of all we do.”
The Bob Moog Tribute Edition Minimoog Model D is available now, priced at $3,999. Learn more at Moogmusic.com.
The post Moog unveils super-limited Bob Moog Tribute Edition Minimoog Model D appeared first on MusicTech.