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.

Flow Studio is an ultra-compact control surface from Softube offering album-ready signal chains and “lightning-fast” controlSwedish audio company Softube has unveiled Flow Studio, a new control surface offering “album-ready signal chains and quick, hands-on control” in a compact form factor.
While other Softube control surfaces boast a number of knobs and faders reminiscent of a typical outboard mixing console, the Flow Studio condenses everything you need into just five knobs.
Credit: Softube
Each of them can adjust several controls at a time, including vocal tuning, delay, reverb, compression, saturation, guitar amps, and more. The large centre knob meanwhile, known as The Omni Knob, gives control for all eight macros in addition to master controls such as input gain and output volume.

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

The Flow Studio comes loaded Flow Studio Suite, which boasts over 100 signal chains designed to enhance vocals, guitars, synths, drums and more. These chains – called Flows – have been built by “top sound designers and music producers”, Softube says.

Flow Studio Suite also features 25 Softube software effects – including EQs, compressors, guitar amps, reverbs and delays – and this is expandable with an optional Flow subscription, which unlocks up to 145 additional Flows plus 65 plugins.
To streamline workflow in different phases of production, Flow Studio has three modes built in. DAW Mode is for control of parameters like track volume, pan, solo/mute and sends, Flow Mode is for exploring the Flow Studio Suite plugins, and Detail Mode allows the user to dive into each plugin in the signal chain for refined adjustments.
The Flow Studio also sports a 4.3″ full-colour hi-res screen, which gives feedback on metering and parameter adjustments via “inspiring graphics”.
Flow Studio is available now for €395/$399. For more information, head to Softube.
Credit: Softube
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A banana-shaped synthesizer is going viral on KickstarterThe market for kid-friendly synths is booming, it would seem.. You might remember hearing about the Tembo, a beginner synthesizer and sequencer made entirely of wood that smashed its Kickstarter goal by nearly 20x, with over £700,000 pledged when we covered the story last month.
Now, we’re here to share a similar Kickstarter success story in the entry-level synth space, as Banan-a-Synth – a synthesizer shaped like a banana – has already vastly exceeded its pledge goal in just days. At the time of writing, the project has raised £34,301 of funding, compared to its £2,967 goal, with 674 backers.

READ MORE: Plugin Boutique is offering “the lowest price ever” on iZotope’s Ozone 12 mastering suite

Touted as a “pocket-sized sound machine and musical science lab”, the Banan-a-Synth from MicroKits lets you use electricity to play notes and control effects.

At its heart, there’s a custom sound engine with 12 different instrument sounds, eight built-in sound effects – and even four-note polyphony for chords – and comes with a pack of alligator clips so you can turn all manner of conductive objects into instruments you can play.
Onboard instruments include guitar and bass sounds, synths, brass and a number of other miscellaneous instruments. Meanwhile, the eight onboard sound effects are: Pitch Bend, Vibrato, Octave Up, Low Pass, High Pass, 8-bit Arpeggio, Chorus and Delay.
The device also includes an analogue conductivity sensor for effect control – so the harder you press the sensor, the stronger the sound effect.

As you might hope from a banana-shaped synthesizer, the Banan-a-Synth is completely portable, powered by two AA batteries and boasting a built-in speaker and headphone jack. The unit can also be powered via USB-C.
“Yes, it’s a banana shaped synthesizer. It’s also a synthesizer that turns bananas and other conductive objects into musical keys you can play,” says Dave of MicroKits. 
“This is both a pocket sized sound machine and a musical science lab that lets you use electricity to play notes and control effects. Whether you’re a STEM student or pro musician, there’s so much to explore with the Banan-a-Synth.”
At present, there’s a Kickstarter Special tier available, with which customers can back the project for $60 and get the Banan-a-Synth plus 10 alligator clips for experimenting with real-world conductive objects.
For an in-depth rundown of the Banan-a-Synth project, head over to Kickstarter.
The post A banana-shaped synthesizer is going viral on Kickstarter appeared first on MusicTech.

Elementary Sounds releases TSUD, a FREE sample-based kalimba instrument
Elementary Sounds has released TSUD, a free sample-based kalimba instrument for macOS and Windows. This is Elementary Sounds’ first free release and their first new product after roughly a year of silence. I was a bit surprised I hadn’t heard of them before, since their paid stuff looks pretty cool. They have a handful of [...]
View post: Elementary Sounds releases TSUD, a FREE sample-based kalimba instrument

AI datacenter startup Fluidstack in talks for $1B round at $18B valuation months after hitting $7.5B, says reportFundraising is reportedly flowing for Fluidstack after it secured a $50 billion deal to build data centers for Anthropic.

Live Review of Warren HaynesBlue Note LA  Los Angeles, CA

Contact: Bari Lieberman, Press Here Publicity - bari@pressherepublicity.com Web: warrenhaynes.netPlayers: Warren Haynes, guitar, vocals

Leading The Allman Brothers in their resurgence as lead guitarist and vocalist in 1989, founding Gov’t Mule alongside bassist Allen Woody in 1994, and known for collaborations with members of the Grateful Dead, Warren Haynes remains one of the most revered guitarists and southern rockers around. With over 20 live and studio records to date, and millions of track and album sales, the GRAMMY-winning singer-songwriter-guitarist-producer blends folk, soul and Americana, collaborating in genres from blues to modern rock (recently joining forces with Billy Bob Thornton to create “Desiree” for Paramount+’s Landman).

Sharing music across his three-decade career (including selections from Man In Motion, Ashes & Dust, Life Before Insanity and Gov’t Mule’s Dose and Peace…Like A River), during the last show of his Winter of Warren series in Los Angeles, Haynes was in fine form, marinating the room in blissful nostalgia. Entering quietly through the crowd, his gentle, unassuming presence gave way to a powerful, stripped back solo performance for a packed house of sophisticated fans. Lauching into “This Life As We Know It,” a post-pandemic reflection from 2024’s solo album Million Voices Whisper, Haynes intense simplicity captured the crowd immediately. 

A “Gold Dust Woman” cover followed, with tasty minor underpinnings traversing a fabulous use of dynamics and subtly-graveled vocal. “Melissa” brought cheers and swaying from the crowd, while previously unrecorded/unreleased “Dusk Till Dawn” (on his cherry red signature 1961 Gibson ES-335) added an exquisite deep guitar tone, and gritty, swampy pedal effects. “Everyday Will Be Like A Holiday” added more delicious southern rock sound before incredible vocal control sprang to the forefront in punchy lyrical lines on “Hattiesburg Hustle.”

Switching to his 12-string Epiphone Riviera, Haynes delivered grungier guitar sound on “Gone Too Long” (from Gov’t Mule’s Peace…Like A River), before “Life Before Insanity” added psychedelic stylings and intricate riffs, which continued into “Raven Black Night,” also sharing softer vocals and vibrato, and building an incredible sound for a solo act. “The Sky Is Crying” had Haynes taming his steel a fabulous thick blues and phenomenal slide guitar, before shifting back to his Guild acoustic for encore, “In My Life.” LA-centric bonus “Angel City” shared a divine guitar opening and beautiful vocals, walking the line between angels and demons in lyrics around homelessness.

Haynes’ distinct, masterful guitar stylings, warm vocals and earthy, wholesome sound brought forth the comfort of a bygone era of music. The post Live Review of Warren Haynes first appeared on Music Connection Magazine.

What is a bridge in a song? How to write a bridge
Let’s take a look at what a bridge is, what functions it serves, and how to write an effective one for your own music.

By Our Calculations, You’ll Love the FlapulatorOh sure, you’ve got calculators. There’s that phone program of course, and the one that comes with your OS, and the TI-86 and possibly RPN numbers you’ve had since high school.
But what you don’t have is a Flapulator, at least not until you build one. Possibly the be-all, end-all of physical calculating devices, the Flapulator does its calculating live on a split-flap display. It’s kind of slow and the accuracy is questionable, but the tactility is oh, so good.
This baby boasts a 6-digit display, where the decimal point and negative sign each require one digit. Inside is a Raspberry Pi Pico, which can calculate for around 4 hours on a full charge. But the coolest part (aside from the split-flap display, naturally) has got to be the 24-key, hand-wired mechanical keyboard. There’s also a couple of LEDs that light up to keep track of the current mathematical operation.
The story behind this one is kind of interesting. [Applepie1928] found out that one of their favorite mathematician-comedian-pi-lovers who is known for signing calculators was coming to town. With four weeks to whip something up, this was, amazingly, the result. Check it out in  action after the break.
Need something that’s a whole other kind of fancy? Here’s an open-source graphing calculator.

https://hackaday.com/wp-content/uploads/2026/04/flapulator.mp4

Interloud Audio TestToneTestTone [Sine Test Tone Generator with precise frequency control from 5 to 22.000 Hz]. Sometimes a simple sine tone generator is the best tool to test the single frequency response of FX plugins. Use the Shift-key for fine adjustments. Read More

Concord forms strategic venture with Steven Victor’s Victor Victor Worldwide, expands hip-hop footprintVVW has launched the careers of artists including Pop Smoke and Ski Mask the Slump God.
Source

Celemony update Tonalic The first library update for Tonalic introduces a range of flamenco, gypsy, indie pop, latin and jazz performances courtesy of renowned session player Julian Coryell. 

Stem Checker is a new app for quality-checking your stems outside of your DAWA new Mac application is here to streamline your music production workflow. It’ll come as no surprise that Stem Checker does exactly what it says on the tin; the app comes as a quick, easy way to check stems and multitracks outside of your DAW.
Rather than having to load your stems back into your DAW for simple checks, Stem Checker is able to do the tedious grunt work for you. The detects and flag problems that can easily fly under the radar, catching all errors like alignment mismatch, missing audio, clipping, sample rate issues and more.

READ MORE: How we remixed Steve Aoki: Tips from Laidback Luke, Dani Thorne and Nostalgix

It’s not going to distort or mess with your stems – it’s just going to highlight any red flags. Think duplicate files, missing audio, mismatched metadata and trying to make sense of ambiguously named tracks.
Again, the app focuses on operating outside of your DAW, allowing you to save time and avoid loading each stem up to check if everything is peachy. It’s a smart, essential tool for keeping organised, while also giving you the confidence that the odd digital over wont distort any signals in your final mix.

To use the app, it’s as simple as dropping your files (the app supports WAV, AIFF, MP3, FLAC, and AAC) into Stem Checker. Then, the app automatically analyses the stems, providing you with instant waveform rendering to scan through. Once it’s certain there are no issues, you’re good to go – and, of course, if an issue is at hand, that’s when you can begin working things out.
If there is an issue, the app will show it on the Issues Panel – and a few problems can even be fixed via the app with just a single click.
Stem Checker is available to download now from the App Store with a 30 day free trial. After, it costs £3.99 a month or £29.99 year to access its full features. For more information, head to Stem Checker.
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Why 90s rave icons N‑Trance used their original hardware, including the mic for ‘Set You Free’, to record their first release in 22 yearsIn an age of flashy studios, AI tools and groups “just remixing a song they did 30 years ago”, says rave icons N-Trance, the decision for them to release new music made entirely on their original hardware from the 90s feels incredibly bold.

READ MORE: “It doesn’t matter if you fail, that’s part of the game”: Output CEO Gregg Lehrman

But, to founding member and producer Kevin O’Toole, it’s nothing new. “That’s just what I’m used to,” he explains, going as far to say that using the old gear is vital. “If we do a new track and it doesn’t fit in with a set of songs from the 90s, it will sound strange”.
With this ethos in mind, it makes sense that the vocals for the group’s first single in 22 years, Higher, were recorded on his trusted Neumann U87 — the exact same microphone that captured their era‑defining hit Set You Free. “They’re quite expensive, but mine has lasted for 30 years so far,” O’Toole says, adding that he often gets asked why he’s not moved on to something different. “I say, ‘Why? These U87s are just brilliant. They last forever.’”
When the group’s members started playing Higher in their DJ sets “just to see how it went down”, he suggests that “people thought it was [a track] they missed in the 90s”. Channelling the same energy as their club classics, it’s easy to see why many on the dancefloor have viewed ‘Higher’ – one of hundreds of songs that O’Toole has quietly worked on over the years, and N-Trance’s first independent release — as a long-lost friend.
Neumann U87. Image: Press
The main mixing desk and monitors that O’Toole uses – Yamaha DM2000, Genelec 1037B and Yamaha NS10 – have also remained the same throughout the decades. “I always say that you need massive monitors if you’re making stuff for clubs, because you have got to make sure it sounds good,” he offers.
He adds that his NS10s continue to do the trick. “They’re loud,” he says, adding that having no neighbours due to now living in the countryside means he no longer has to soundproof his studio. “I’m surprised they still work because I’ve had them for such a long time. You’d find it hard to buy them these days.”
When it comes to different vocalists singing for him, they all use the same equipment and learn his style of vocal recording. “After I’ve written the melody and lyrics,” O’Toole explains, “I have to make sure the song is in the best key for that singer”. He adds: “You’ve got to make sure your microphone is good enough, because there’s nothing you can do after,” he says, adding that an old LA Audio TCX2 compressor also comes into play for the vocals, and a Lexicon PCM91 for reverb.
“Once you have recorded the vocal, you can’t go back to it and say ‘this bit needs more’ of something,” he says, “so you’ve got to make sure that it’s recorded nicely, because I’ve had it before with people who have come in for vocals where they’ve said ‘you still could compress on that’ while I’ve been recording it”.
Vintage synths. Image: Press
As for synthesisers, though he has modern versions in the studio, his vintage collection is ever-growing. “I just can’t bear to part with an old synth,” he admits, panning the camera round to show off his stacked studio, which boasts a Prophet 5, MiniKorg 700, Akai S3200, Oberheim Matrix 1000, Roland JV-2080 and Access Virus C.
Also in the room is “the luckiest thing ever”, his Roland TB-303, which he recalls buying at a music shop in Oldham in 1990. “I said ‘What’s that on the shelf?’ and the owner replied ‘I think it’s a drum machine’.” After passing it down, O’Toole couldn’t believe his eyes. “I snapped it up for £50… they now trade for £3,000,” he says, adding that if he’s doing a track and wants to get an authentic sound, he’ll still use it.
Besides, he feels that with “a lot of the new synths, it’s just the old synths with effects on them. He continues: “In the early days, my Korg M1 was the main keyboard,” he says, reflecting that the group’s mid-90s Manchester studio (Ducie House) had 30 keyboards set up. “I was at the centre, and we made our own stand for the mixing desk,” he says of the distinctly DIY setup, which also included a Roland R8-M drum machine, Akai S1000 sampler and an Atari ST to run sequencing software.
Korg M1. Image: Press
While he no longer has the R8-M and nowadays uses a virtual drum machine instead, O’Toole has retained his massive collection of drum loops and samples from the 90s. “I love some of my old outboard effects units that I’ve had since then”, he says.
Nonetheless, he believes that new technologies have made it easier for producers to get back to old school sounds — “if you don’t have the old equipment, you can get stuff that sounds exactly the same”
Highlighting N-Trance’s contemporaries from the same decade, The Prodigy and Dream Frequency, he says “we all had the same equipment but none of us sounded the same”.
Synths. Image: Press
Since then, he suggests, things have changed dramatically. “Every single song sounded like Avicii after his first hit; everyone sounded like Cascada the week after their track hit the chart,” he considers.
O’Toole feels that this trend has continued into the 2020s. “I see it a lot with new bands now, but when [N-Trance] said we were putting new music out, we meant new music”. It’s unsurprising, then, when O’Toole argues that musicians are relying too much on laptops and presets. “It’s easy, and you don’t really create anything of your own sound,” he says, concluding that a lot of recent songs sound too same-y because of it.
This is a total contrast to when N-Trance started out, he suggests: “if you compared the music to 30 years before that, there was nothing like what was coming out then”.
Nonetheless, he does recognise the myriad challenges that come with going back to the old equipment — namely, the fact that not all of it works. “My Korg M1, it’s nice to look at but it’s been battle-scarred,” he says, urging other musicians not to take their studio keyboards to gigs “because they’ll get trashed”. He adds that the other “worst thing” about bringing your own equipment to shows is that “it would crash all the time on stage”. It’s good advice: “the power button on it has broken off the back, one of the boards has been pressed in, and one of the keys has snapped”.
Thankfully, such wear and tear hasn’t prevented him from being able to work in new tunes. And, now that ‘Higher’ is out in the world, N-Trance are focusing on finishing an album that will likely be released later this year. “It’s going to be more like what people would have expected us to do back in the 90s,” O’Toole teases, listing piano, electric and acoustic guitars, and bass among the instruments used in the record. Less a return to their roots, then, than an extension of their pioneering legacy.
Watch the music video for Higher here:

The post Why 90s rave icons N‑Trance used their original hardware, including the mic for ‘Set You Free’, to record their first release in 22 years appeared first on MusicTech.

United Plugins offers the UnitedFreeBundle with 10 plugins at no cost
United Plugins has launched the UnitedFreeBundle, a collection of professional audio plugins, and it’s free! The one caveat with the free collection is that the plugins feature an ad banner that displays United Plugins deals or products. The advertisements don’t restrict your view of any plugin or its controls. I know we see ads everywhere, [...]
View post: United Plugins offers the UnitedFreeBundle with 10 plugins at no cost

Q&A: MIT SHASS and the future of education in the age of AIThe MIT School of Humanities, Arts, and Social Sciences (SHASS) was founded in 1950 in response to “a new era emerging from social upheaval and the disasters of war,” as outlined in the 1949 Lewis Committee Report. The report’s findings emphasized MIT’s role and responsibility in the new nuclear age, which called for doubling down on genuine “integration” of scientific and technical topics with humanistic scholarship and teaching. Only that way, the committee wrote, could MIT tackle “the most difficult and complicated problems confronting our generation.”As SHASS marks its 75th anniversary, Dean Agustín Rayo answers questions about why the need for developing students with broad minds and human understanding is as urgent as ever, given pressing challenges in the midst of a new technological revolution.Q: Many universities are responding to artificial intelligence by launching new technical programs or updating curricula. You’ve suggested the change is deeper than that. Why?A: Artificial intelligence isn’t just changing the way students learn — it’s transforming every aspect of society. The labor market is experiencing a dramatic shift, upending traditional paths to financial stability. And AI is changing the ways we bring meaning to our lives: the ways we build relationships, the ways we pay attention, and the things we enjoy doing.The upshot is that the most important question universities need to ask is not how to adapt our pedagogy to AI — although we certainly need to address that. The most important question we need to ask is how to provide an education that brings real value to students in the age of AI. We need to ensure that universities provide students with the tools they need to find a path to financial security and to build meaningful lives.We need to produce students with minds that are both nimble and broad. We need our students to not only be able to execute tasks effectively, but also have the judgment to determine which tasks are worth executing. We need students who have a moral compass, and who understand how the world works, in all of its political, economic, and human complexity. We need students who know how to think critically, and who have excellent communication and leadership skills.Q: What role do the humanities, arts, and social sciences play in preparing MIT students for that future?A: They’re essential, and are rightly a core part of an MIT education: MIT has long required its undergraduates take at least eight courses in HASS disciplines to graduate.Fields like philosophy, political science, economics, literature, history, music, and anthropology are crucial to developing the parts of our lives that are essentially human — the parts that will not be replaced by AI.They are crucial to developing critical thinking and a moral compass. They are crucial to understanding people — our values, institutions, cultures, and ways of thinking. They are crucial to creating students who are broad thinkers who understand the way the world works. They are crucial to developing students who are excellent communicators and are able to describe their projects — and their lives — in a way that endows them with meaning.Our students understand this. Here is how one of them put the point: “Engineering gives me the tools to measure the world; the humanities teach me how to interpret it. That balance has shaped both how I do science and why I do it.” (Full interview here.)Q: Some people worry that emphasizing humanistic study could dilute MIT’s technological edge. How do you respond to that concern?A: I think the opposite is true. MIT is an important engine for social mobility in the United States, and a catalyst for entrepreneurship, which has added billions of dollars to the American economy. That cannot be separated from the fact that we are a technical institution, which brings together the country’s most talented undergraduates — regardless of socioeconomic background — and transforms them into the next generation of our country's top scientific and engineering leaders. MIT plays an incredibly important role in our country. So, the last thing I want to do is mess with our secret sauce.But I also think that the age of AI is forcing us to rethink what it means to be a top engineer. Think about artificial intelligence itself. The challenges we face are not just technical. Issues like bias, accountability, governance, and the societal impact of automation are no less important. Understanding those dimensions helps technologists design better systems and anticipate real-world consequences.Strengthening the humanities at MIT isn’t a departure from our core mission — it’s a way of ensuring that our technical leadership continues to matter in the world.Q: What kinds of changes is MIT SHASS pursuing to support this vision?A: There’s a lot going on! We’ve launched the MIT Human Insight Collaborative (MITHIC) as a way of strengthening research in the humanities, arts, and social sciences, and of deepening collaboration with colleagues across MIT.We’re shaping the undergraduate experience to ensure that every MIT student engages with the big societal questions shaping our time, from democratic resilience to climate change to the ethics of new technologies.We’re building stronger connections through initiatives like the creation of shared faculty positions with the MIT Schwarzman College of Computing (SCC). And we recently launched a new Music Technology and Computation Graduate Program with the School of Engineering.We’re partnering with SERC (the SCC’s Social and Ethical Responsibilities of Computing) to design new classes on the intersection of computing and human-centered issues, such as ethics.And we’re elevating the humanities — for their own sake, and as a space for experimentation, bringing together students, faculty, and partners to explore new forms of research, teaching, and public engagement.This is a very exciting time for SHASS.