Signing Stories: Elanor MossDate Signed: October 2025Label: Merge RecordsType of Music: FolkManagement: Alex Zinovieff - Always ManagementBooking: Angie Rance - Earth AgencyLegal: Paul Spraggon - SSBPublicity: Patrick Tilley, Jacob Daneman - Pitch Perfect PR; patrick@pitchperfectpr.com, jacob@pitchperfectpr.comA&R: Mac McCaughanWeb: elanormoss.com

London’s Elanor Moss is an artist’s artist. As such, she independently released a pair of introductory EPs. That self-reliant attitude remained strong when putting together her debut full-length. Knowing she had limited financial resources, her collaborators helped fund the project. In an effort to make recording as affordable as possible, the album was completed in just two or three days. 

Yet the singer/songwriter knew how helpful it could be to have a label providing support, so she began networking. Moss sent the freshly minted LP to a friend in the Dublin music scene who recommended she pass it along to Basin Rock Records. She wisely took his advice. “They’ve put out some amazing records,” Moss enthuses regarding the outsider folk label based in Ireland. “A few months later, I got a message from Merge Records.” Basin Rock had passed it along without her knowledge. Moss felt immediate excitement, as she’s a longtime fan of Merge, home to one of her “all-time favorites,” The Magnetic Fields. 

Additionally, she found the label’s artist-led history and attitude appealing. Indeed, Merge didn’t demand any changes to the finished recording. “I just wanted to work with people who were enthusiastic about my music, love it, and understand it,” she discloses. 

Committing to Merge nonetheless depended on the offer. Since the literary artist wanted to make simultaneous inroads in both America and the U.K., tour financing remained a salient factor. “I’m thrilled to be with Merge,” the lucky signee purrs. “It feels like such a good fit, and an exciting, new start.” 

Moss points out that she focused on creating great music before seeking a label, a tactic she suggests others follow. “I was very much living by my own intuition, creatively, and then hoping it would resonate with the right home. The post Signing Stories: Elanor Moss first appeared on Music Connection Magazine.

Airbnb says a third of its customer support is now handled by AI in the US and CanadaAirbnb was poised to introduce an app that doesn't just search for you, but one that "knows you." CEO Brian Chesky said, "It will help guests plan their entire trip, help hosts better run their businesses, and help the company operate more efficiently at scale."

White House crypto adviser says banks shouldn't fear stablecoin yieldCrypto companies and platforms that provide stablecoin rewards have become a major point of contention in the CLARITY crypto market structure bill.

Inside Raiders of the Lost Ark (Atari Style)It’s a bit ironic that an Atari 2600 game based on Raiders of the Lost Ark — a movie about archaeology — is now the subject of its own archaeological expedition as [Dennis Debro] and [Halkun] spent time reverse-engineering the game. Luckily, they shared their findings, so you can enjoy it the same way you can visit a king’s tomb without having to discover it and dig for it. If you don’t remember the game, you might enjoy the demo from [Speedy Walkthroughs] in the video below.
If you are only used to modern software, you might think this is little more than someone dumping the program code and commenting it. However, on these old, limited systems, you have to really understand the actual architecture because there are so many things you have to manage that are specific to the hardware.
For example, the game has two 4K ROM banks that use a strange switching mechanism. The entire game is built around the NTSC television signal. Everything is oriented toward generating the 60 Hz frame rate. Game logic runs during the vertical blanking and over-scan sections to prevent strange visible artifacts due to software running.
This is a fascinating look inside game coding as it existed around 1982. Of course, you can also run everything using emulation. Usually, our reverse engineering is more hardware-related. But we do love these old games, too.

From UMG’s approved Downtown deal to Spotify’s AI ambitions… it’s MBW’s weekly round-upThe biggest headlines from the past few days...
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Tone2 update Saurus The latest version of Saurus implements a number of new features that improve the instrument’s audio quality, along with some new quality-of-life features and a fix for a prominent bug. 

Kulshan Studios Besna House Soundset for Access Virus C & Virus B Series & Osirus95 groovy House presets, compatible with the legendary Access Virus C and Virus B series of hardware synths. This soundbank is 100% House-oriented, which means no weird brass, pianos, or FX. The patches in Besna come straight out of songs written using the Virus (and many more). So this soundset is designed to exploit the C's unison, spectral waves, and multitimbral virtual analog sound engine to their fullest potential. Patches in Besna are based on sounds from songs by the likes of John Summit, Deadmau5, Astrality, Tiesto, FISHER, Kygo, INNERVERSE, Robin Schulz, Westend, Alesso, Benassi Bros, Julien Fade, Tony Igy, Hardwell, 5HOURS, ZHU, Hayley May, Martin Garrix, Porter Robinson, Jack Villa, Morgan Page, Mord Fustang, and many many more. And to cap off the bank some patches were set to Initial, so you have room to write and store your own patches without overwriting any existing sounds. No 3rd party FX were used in these sounds. Sounds in this preset pack are suitable for the Progressive House, Deep House, Tech House, Bigroom House, Slap House, Afro House, Tropical House, and Electro House genres, and are organized by category into Leads, Plucks, Pads, and Basses, for quick reference. All patches are royalty-free and delivered instantly via email as a 24-hour download link. Requirements: Access Virus TI, TI2, Snow, or Polar synthesizer. Also compatible with Adam Szabo Viper VSTi* and the The Usual Suspects Osirus. *there will be some differences in some sounds due to differences in the architecture and features between the TI2 and Viper. Read More

Native Instruments and Ocean Swift launch Oscillarys synth, despite recent insolvency filingsNative Instruments is continuing to launch new products despite recent and widely publicised insolvency proceedings, and has partnered with virtual instrument specialist Ocean Swift on a new soft synth called Oscillarys.
The music production world was rocked last month when it was announced that Native Instruments – one of the world’s leading purveyors of hardware and software music-making tools – had entered preliminary insolvency. 
Quick to calm the concerns of existing members of the NI ecosystem was CEO Nick Williams, who confirmed business would “continue as usual” at Native Instruments, as well as at sister brands iZotope, Plugin Alliance and Brainworx.

READ MORE: MusicTech’s favourite free plugins of 2025

And with that confirmation, Native Instruments has partnered with Ocean Swift to add another virtual instrument to its already sprawling library for its Kontakt Player.

Oscillarys is Ocean Swift’s new flagship NKS instrument, which takes inspiration from Native Instruments’ much-loved Absynth 6 to deliver an instrument perfect for “cinematic scoring and deep ambience. It boasts a three-layered synthesis engine, which OS says “bridges the gap between raw texture and ethereal musicality”.
It also features a unique dual-filter stage, pairing a multi-filter with an implementation of the celebrated Monark filter found in NI’s Reaktor software.
Oscillarys comes with a huge vault of over 1,500 oscillator samples, all provided as unencoded WAV files – meaning producers can freely use the content in other samplers or directly in their DAW.
There’s also 400+ professionally crafted presets covering cinematic pads, evolving drones, leads and keyboard sounds, as well as 100+ complex Multi stacks.
Oscillarys is also outfitted with deep NKS 2 integration, meaning users can control it via an array of NKS 2-compatible hardware instruments.
“Oscillarys blurs the border between the organic and the spectral with an atmospheric synthesis engine built for motion,” says Ocean Swift. 
“By layering deeply detailed textures with sweeping filters and shifting modulations, this instrument conjures tones that breathe, dissolve, and reform – shifting seamlessly from crystalline harmonics to distant electric choirs. It offers a sonic body that is darker, smoother, and undeniably alive with motion, bridging the gap between raw texture and ethereal musicality.”

Oscillarys is available exclusively via the Native Instruments online shop now, at an introductory price of €47.40 (regular price €79.99). You can also learn more at Ocean Swift.
The post Native Instruments and Ocean Swift launch Oscillarys synth, despite recent insolvency filings appeared first on MusicTech.

Get UJAM Usynth Euphoria for $1 with exclusive BPB coupon (+ FREE gift)
Plugin Boutique offers BPB readers an exclusive deal on UJAM’s Usynth Euphoria, a streamlined EDM-focused software synthesizer for macOS and Windows. You also choose a FREE gift with your purchase. So, for a limited time, you can get Usynth Euphoria for just $1 using the coupon code BPB-ph34 at checkout. The offer runs until March [...]
View post: Get UJAM Usynth Euphoria for $1 with exclusive BPB coupon (+ FREE gift)

Chappell Roan loves the “really medieval synth s**t” that is the RuneScape soundtrackRuneScape has a legion of thousands of fans around the world, and can count superstar Chappell Roan among them, it seems.
Well, we’re not sure the extent to which the Hot To Go singer actually engages with the fantastical world of Gielinor, however she’s made one thing clear: she’s a huge fan of its soundtrack.

READ MORE: Howard Jones revisits this “king of synths” he’s owned since 1983: “2026 and it’s like a beast still”

In a new interview with Nylon, the singer and known video game lover – real name Kayleigh Rose Amstutz – waxes lyrical on the RuneScape soundtrack, pointing out in particular how much she loves its “really medieval synth shit”.
The interview itself sees Amstutz chatting with American singer-songwriter Hemlocke Springs, and at one point the conversation touches on the latter’s latest album, The Apple Tree Under the Sea.
“Your album makes me feel like I’m listening… I don’t know if you ever played RuneScape?” she asks Springs. “It’s from the early 2000s and has video game sounds down. “It’s really medieval synth shit. I’m a video game girl and I love synths and ‘80s weird shit. So when I listen to this…”
She singles out one track in particular from Springs’ album – Sever the Blight – as reminiscent of the RuneScape soundtrack she loves so much.
“[It’s] one of my top songs because I was like, ‘This makes me feel something that a lot of things don’t because it’s so multidimensional,” she continues. “And that is what I think you’re doing so effortlessly, you have so much nuance in everything you do.”
It’s not difficult to find evidence to support Chappell Roan’s claim that she’s a “video game girl”. In 2024, she praised fans whom she noticed taking photos at one of her concerts using a Nintendo DS, and urged them to “keep doing it”.
And after pleading with Epic Games for her own Chappell Roan Fortnite skin, this month finally saw her added to the game’s ever-growing roster of celebrity-themed skins.

View a full list of Chappell Roan’s upcoming live appearances at her official website.
The post Chappell Roan loves the “really medieval synth s**t” that is the RuneScape soundtrack appeared first on MusicTech.

High-end sound for imperfect rooms: Arendal Sound’s 1610 Series loudspeakers tout flagship-level performance in a more accessible packageArendal Sound has announced the 1610 Series, a new high-end loudspeaker range aimed at listeners who want flagship-level performance in a smaller, more attainable package.
Sitting just below the company’s top-tier lineup, the 1610 Series is designed around how people actually listen: at realistic distances, in normal-shaped rooms and across a mix of music and movies. While music remains the primary reference point, the system is tuned to handle film and TV naturally and convincingly.

READ MORE: Here’s why Audio-Technica ATH-ADX7000 headphones cost £3,000

Rather than designing for idealised, perfectly symmetrical demo spaces, Arendal says the 1610 Series is built for everyday use – systems that work consistently whether you’re locked in for a focused listening session or just streaming an album on a Tuesday night.
Every model in the range also shares the same acoustic voicing, meaning you can build out a full surround system over time without shifts in tonal character. Under the hood, the 1610 Series carries over core elements from Arendal’s higher-end designs, including its RØST Essence architecture, time-aligned driver layout, controlled dispersion via carefully shaped waveguides, and rigid HDF cabinets for reduced resonance and predictable performance.
“Since we launched 1528, many of our customers have asked us for the same confidence, build quality, and sound philosophy in a more approachable system,” says Arendal Sound founder Jan Ove Lassesen. “With 1610, we’re deliberately moving the reference point. This is high-end sound built for customers who expect real value for their money.”
The range includes four models:

1610 Bookshelf 8 – A compact three-way loudspeaker designed to deliver full, balanced sound in smaller spaces. From $3,800 per pair.
1610 Tower 8 – A full-range loudspeaker designed to deliver scale, balance, and control at realistic listening distances. From $7,900 per pair.
1610 Slim 8 – A slim, sealed loudspeaker designed for flexible placement without sacrificing tonal consistency. From $2900 per pair.
1610 Center 8 – A dedicated center loudspeaker engineered for clear, realistic dialogue across the room. From $2,500 each.

The 1610 Series is now available to order direct from Arendal Sound, with deliveries expected to begin in early March across Europe and the US.
Learn more at Arendal Sound.
The post High-end sound for imperfect rooms: Arendal Sound’s 1610 Series loudspeakers tout flagship-level performance in a more accessible package appeared first on MusicTech.

Howard Jones revisits this “king of synths” he’s owned since 1983: “2026 and it’s like a beast still”It’s almost impossible to talk about Howard Jones without talking about synths. And in a new video, the British synth-pop pioneer revisits one he’s had by his side for over four decades: his beloved Roland Jupiter-8, which he’s owned since 1983.
“I love this synth so much,” Jones says. “The way it spits out those notes is incredible. The attack – I just miss that on modern keyboards.”

READ MORE: Cherry Audio’s new SH-MAX instrument plugin fuses together three vintage Roland synth emulations 

Described by Jones himself as the “king of synths”, the Jupiter-8 has long been considered one of the defining instruments of the ’80s – and for him, that reputation is fully earned.
“This is the amazing Jupiter 8. King of synths. Always will be my favorite,” he says.
Getting hold of one back in the day, however, was no small feat: “I think it cost something like 8,000 quid in those days, which was nuts. I didn’t have that kind of money at all, but I had to have one of these.”
Part of the magic, he explains, lies under the hood. “It’s got about 18 miles of cabling inside it. This is a proper analogue synth,” he says, before urging viewers to listen closely: “Listen to how those filters attack.”
“I wish you could have your head in between the speakers because Jupiter’s got a sound like no other,” Jones continues. “It’s sort of incredibly stereo. I don’t even know how they do it, but the software can’t get there quite yet.”
There’s also something about the physicality of it. Unlike some menu-heavy modern workstations, the Jupiter-8 is a smorgasbord of tactile controls begging to be tweaked.
“It’s a very hands-on synth, you know, like performance synth – because everything is kind of within your grasp to change the sound and manipulate it as you go along.”
And perhaps most impressively, after more than 40 years of service, it’s still firing on all cylinders.
“See how it’s difficult not to get very excited about Jupiter-8. It’s just working so well after all this time around. When did I get this? In 1983. And like what is it now? 2026 and it’s like a beast still. The beast,” says the musician.

The post Howard Jones revisits this “king of synths” he’s owned since 1983: “2026 and it’s like a beast still” appeared first on MusicTech.

Behringer’s BM-17 Frequency Box channels the iconic Moogerfooger MF-107 – for just £99Behringer has launched the BM-17 Frequency Box, an analogue VCO-based frequency effects pedal inspired by the iconic Moogerfooger MF-107 FreqBox by Moog.
For players looking beyond the standard distortion pedal, this powerhouse unit offers a standalone VCO you can drive with audio input or let loose on its own.
“With intuitive controls and versatile connectivity, it’s perfect for both synth setups and adventurous guitar rigs,” says the company.

READ MORE: Behringer launches the BMX, its take on the classic Oberheim DMX drum machine

At the core of the pedal is a voltage-controlled oscillator that can be tuned in multiple ways: manually using the Frequency control, via an envelope follower that tracks the amplitude of your playing, or by flipping the Sync switch and using your instrument’s signal to dictate the pitch. These techniques can be combined, giving you crazy sputtering textures that react to every nuance of your performance.
As you might expect, the BM-17 leans heavily into experimentation. Behringer describes it as an invitation to “forget what you think you know about what a pedal should be,” and that ethos is reflected in the sounds on offer. Depending on how it’s set, the pedal can deliver thick fuzz-style distortion, snarling harmonic layers, or full-blown modular-style synth tones.
Around the back, the BM-17 offers extensive I/O for CV and expression pedal control, along with dedicated outputs for the envelope follower and oscillator. This means it can integrate with modular systems or other CV-capable gear, effectively transforming from a pedal into a compact analogue sound module. The unit is also housed in a compact, rugged enclosure designed to withstand life on the road.
“Essentially, this is the voice of a synthesizer captured and crammed into a box like an unwilling genie but instead of granting you wishes it will grant you insane sounds that will make your neighbours think you’re being abducted by aliens,” says Behringer. “Whether you’re a modular wizard, synth freq, or a guitarist craving chaos, the BM-17 opens up new worlds of sonic possibility.”
Priced at £99, the Behringer BM-17 Frequency Box is now available to pre-order. Check out the pedal in action below.

Learn more at Behringer.
The post Behringer’s BM-17 Frequency Box channels the iconic Moogerfooger MF-107 – for just £99 appeared first on MusicTech.

How we remixed Steve Aoki: Tips from Laidback Luke, Dani Thorne and NostalgixSteve Aoki is one of the most recognisable EDM stars of all time. After running Dim Mak since 1996, throwing cakes during DJ sets all around the world, and guesting in documentaries, he’s naturally crossed paths with hundreds of artists. He tapped 26 of them for remixes on HiROQUEST 3: Paragon Remixed.

READ MORE: ‘I opened my mastering studio 14 months ago — here’s what I’ve learned’: Kevin Tuffy

This release was the follow-up to his biggest project yet: HiROQUEST 3: Paragon, a 38-track album. Through the remix album, exciting newcomers such as Dani Thorne are named alongside modern stalwarts such as Nostalgix and seasoned veterans such as Laidback Luke. Not to mention that Aoki remixed 11 of the tracks himself or with a collaborator.
In the wake of this immense body of work, MusicTech speaks to those three remixers about their technical process and their individual tracks:

Play The Track (Dani Thorne Remix)
What do you think makes a good remix?
Dani Thorne: It depends on the original track and inspiration. Sometimes it’s playing off a melodic or bass line that is immediately noticeable or loved by fans, but with [my remix], I felt the theme was open to other possibilities. Lyric lines like “Play the track” and “Now time for the drop” could go the original way in a lighter, bouncier tone or drive you into an unworldly hard drop. I chose the latter.
What are some key plugins, synths, or other pieces of gear you used to make your remix?
DT: I’m a Serum girly, and have been since my dubstep days. Serum 2 is incredible and feels like the possibilities are endless. This year, for my birthday, I want to get myself an acid machine. I’m looking into the Behringer TD-3-MO-AM.
Tracks in your discography like That’s My Name have a spacey quality to them, similar to the original version of Play The Track. Why did you opt to make your remix full-throttle hard techno?
DT: My original version of this remix was actually more like That’s My Name. Steve asked me to make him a 140bpm melodic techno track, and I wanted to make something that he would be happy to play. Tech house and melodic techno have a clear bridge that makes them very similar, but in the end, I didn’t want to deliver the same track just a little faster.
Not to mention, it was a major key, and I prefer to write in minor because of the tone it sets. It’s like heaven or hell, light side or dark side, and you’re talking to 2026 Dani. The sonic journey I’m on is hard and punishing. While I did love my first version, it wasn’t something that would fit into my sets.
Dani Thorne. Image: Press
Hard techno is a thriving genre at the moment. What are some general tips you have for producing those towering kicks and high-pitched synth stabs that define the sound?
DT: I’m not going to act like I’m some kick master; I’m constantly experimenting and growing through trial and error. One note I used to get a lot of on my demos from peers was: “The writing is great, but the kicks aren’t hitting hard enough”. So with every track, I’m trying something new. The kicks on this remix were layered to the heavens.
From a production planning standpoint, I almost always start with the drums. If I can get a solid feeling and energy from just drums, I know we’re in a great place. They are also the backbone of differentiating sub-genres. Then that usually inspires my writing.

Flashing Lights (Nostalgix Remix)
What do you think makes a good remix?
Nostalgix: A good remix is all about balance. You want people to recognise the core of the record, but also feel like they’re hearing it in a whole new way. A remix should keep the essence of the original record, while amplifying the energy. I love taking my favourite parts from the original and adding my sound to it to give it a whole new light.
What are some key plugins, synths, or other pieces of gear you used to make your remix?
N: I mainly used Serum for sound design on the drops. It’s my go-to synth because it gives me a lot of flexibility when building aggressive but controlled bass sounds. I used Omnisphere and Serum in the breakdowns to pair with the original melody. Omnisphere is another one of my favourite plugins, especially when it comes to creating atmosphere in a record. Some other plugins I used are FabFilter Pro-Q 3 for mixing and Valhalla VintageVerb for reverb.
Steve Aoki’s original track uses pretty and glowing melodic lines. In your remix, you directly borrow those for the interludes, but you recreated the drops. Did you sample the melodic lines from the original and morph them into your drops?
N: The original melody of Flashing Lights is what initially drew me to the record. When I started playing around with ideas, I knew I wanted to keep the core melody.
I began by taking the melody from the original stems and experimenting with ideas for the drop. I used Serum for a lot of the drop synths. I’m big on layering, so I layered multiple synths to make the drop feel full. Once I had the core ideas down and the drop was feeling good, I started adding elements into the breakdown to elevate the record as a whole.
How did you feel when Steve approached you for a remix?
N: I was stoked for the remix! Steve Aoki is such an inspiration to me, and I have so much respect for him and what he does in the electronic music space. I’ve played some incredible shows with him in the past year, so it was definitely an honour to remix Flashing Lights. There’s a certain level of responsibility in remixing someone else’s work, so it was very fun diving into the project and exploring different ideas.

3 Days (Steve Aoki & Laidback Luke Remix)
What do you think makes a good remix?
Laidback Luke: I used to have one simple theory for that: whatever works for my sets. I would often take the pieces that I thought were the best out of the original version to make it work properly. You don’t necessarily need to take everything from the original to be able make a proper remix.
You shared remix duties with Steve on this. How was the labour divided?
LL: Steve came in with a clear vision: make it a proper house version, catered to the modern sound of 2026. He gave me a few references for that, and was very pleased with the first sketch version I handed in. We went back and forth with the stems to be able to finish it the way he envisioned it.
He knows what works for his sets, and so do I, so we trust each other. It saves me a whole lot of time going in with a clear direction for the remix. The concept, you can tinker with outside of the studio. Then, when it’s time to properly hash it out, it’s easy to get it done quickly.
What are some key plugins, synths, or other pieces of gear you used to make your remix?
LL: Interestingly, the bassline is simply from Nexus 4. But I love using standard Ableton plugins like Roar and Auto Filter to manipulate it so it sits right in the pocket and gives it a bit of distortion as well.
To lock in the kick and bassline properly, I love using Trackspacer. The key is to give the plugin a very short release so it almost sounds invisible but has maximum effect. I also performed mastering duties on the track, and I still love to involve my own Laidback Luke Limiter plugin for that.
Laidback Luke. Image: Julia SH
The original track blends Latin and trap styles; your remix is pure 4/4 house. What goes into converting non-house music while maintaining key elements, like the vocal?
LL: It comes down to recognising the specific genre you’re looking for. For instance, the original is 117 BPM. Current house music hovers around 130 BPM and above, so it’s essential to get all the stems to that BPM. For house music, you need to have a proper kick drum. Choices of which clap and hi-hats to use are important too.
For this remix, we combined three claps into one to give it a special feel. The upbeat bassline seals the deal, and over that bed, you can layer elements of the original to tie it all together.
You and Steve have collaborated numerous times throughout your shared decades in the scene. What do you enjoy about putting a spin on his tracks?
LL: I’ll always get full creative freedom whenever I do a remix for him. He trusts me like that. And often people know that if I remix something, the result will have maximum effect. That gives me the best mindset going in and will always benefit the remix.
The post How we remixed Steve Aoki: Tips from Laidback Luke, Dani Thorne and Nostalgix appeared first on MusicTech.

Wes Audio to launch the ngSumBox Despite only having a handful of front-panel controls, Wes Audio's new summing mixer has plenty more going on behind the scenes, and comes paired with a companion plug-in that promises to provide those working in the box with a console-like mixing experience.