Viiri Audio releases its debut plugin: Aava, a new creative convolution processorViiri Audio has stepped onto the scene with Aava, a brand new digital creative convolution processor. This plugin allows users to modulate multiple impulse response parameters in real time, opening the door to endless sound qualities. Adjustable details include start time, length, pitch, and timing, while the audio is running, so each change can be heard against the larger backdrop of the full piece.
Four impulse responses can be loaded onto a single sound at once, and all of them have their own set of parameters. These responses can be based on pitch and rhythm to provide considerable freedom in manipulating the sound.

READ MORE: The “world’s first generative AI guitar” has arrived – will it live up to the hype?

Plus, to keep the workflow smooth, pitched impulse responses can be key-tracked, and rhythmic IRs can be synced to the main tempo. With those foundational elements in place, users can easily play around with the parameters and stumble on happy accidents.

To make more sweeping changes, use Aava’s Explore Map. This handy feature can preserve all the settings on the plugin, which are then routed through an X/Y interface that will alter the full slate evenly.
More granular elements of the plugin include the four modular slots for each impulse response, which can be filled with LFO, Sample & Hold, AD Envelope, AR Envelope, Envelope Follower, or Key Follower. The pitched impulse responses have a six octave range, both up and down. There are also several options for the wet signal, such as low and high pass filters, gain, and a spectral compressor.
Finally, Aava can record impulse responses in real-time as well. So, whatever settings best fit the music can be captured and preserved in the moment.
Aava is available now in CLAP and VST3 formats for Linux, Mac, and Windows. The intro price of 79€ / $79 / £69 will be active until June 15. After that, the price will increase to 99€ / $99 / £89. Prospective buyers can download a fully functional 30-day trial. Learn more at Viiri Audio.
The post Viiri Audio releases its debut plugin: Aava, a new creative convolution processor appeared first on MusicTech.

The “world’s first generative AI guitar” has arrived – will it live up to the hype?“90% of people who pick up a guitar quit within a year. Not because they lack talent – because the instrument never met them where they are.”
Such is the rationale behind the Melo-D, a radical new instrument dubbed the “world’s first generative AI guitar” from TemPolor.

READ MORE: Marshall’s new Milton A.N.C. wireless headphones boast “next-generation” adaptive noise cancelling

Boasting a design that looks like it landed here on Earth this morning, the Melo-D allows users to generate songs using AI and learn music theory through guided gameplay, and aims to make music “more accessible through AI-powered instruments and interactive design”.
The physical design of the instrument is pretty radical – with a patented folding design which condenses the guitar’s form factor into a size much easier for travel. There’s also a 2.4” LCD touchscreen and an external app for many functions.
The instrument is loaded with TemPolor’s in-house-built TemPolor.AI engine, which can transform human humming into a song, and generate tracks from text inputs.

It’s also said to be able to transcribe an audio file into fingerstyle tabs or chord charts, with on-screen guidance to play the track appearing thereafter.
“Our goal with Melo-D was to lower the barrier between inspiration and creation,” says Jason Jia, founder of TemPolor. “We wanted to build an instrument that feels approachable to beginners, useful to creators, and exciting from the very first interaction, whether someone is playing, learning, or generating a completely original song.”
We can’t help but raise an eyebrow at the price of the Melo-D; while there’s an early-bird pricing of $399, full price will be $599, quite significantly more than the top entry-level electric guitars on the market (think Squiers or Ibanez’s GIO and SA lines) – and even some better-spec’d mid-price guitars, too.
Still, the Melo-D has already smashed its £3,800 goal on Kickstarter with £38,389 pledged at the time of writing, so the price doesn’t seem to be a concern to many.
Learn more about the Melo-D at the TemPolor Kickstarter page.
The post The “world’s first generative AI guitar” has arrived – will it live up to the hype? appeared first on MusicTech.

DsgDnB releases Cartridge (still in testing), a FREE sampler/slicer plugin
DsgDnB gave us several freebies earlier this year, including DuckTool, Scyllascope, and KickSpace. Their latest release, albeit still in testing, is Cartridge, a free sampler/slicer for macOS, Windows, and Linux. You might remember that those plugins were at differing stages of development when released. Cartridge is a similar release, in that it’s still in testing. [...]
View post: DsgDnB releases Cartridge (still in testing), a FREE sampler/slicer plugin

Marshall’s new Milton A.N.C. wireless headphones boast “next-generation” adaptive noise cancellingMarshall has unveiled its new Milton A.N.C. wireless over-ear-headphones, boasting adaptive noise cancelling and long battery life to “outlast the weekly commute and beyond”.
Chief among the headphones’ specs is “next-generation” adaptive noise cancelling, which analyses your surroundings in real time and adjusts noise cancelling to correspond with your environment. For added control, there’s also the option to switch to Transparency mode, which turns off the ANC and lets the noise of your surroundings be heard.

READ MORE: “A huge step forward for beatmakers and producers”: Novation launches next-generation FLKey 2 range of FL Studio-compatible controllers

The headphones also feature Adaptive Loudness, automating playback loudness and tonality to suit the listening environment, as well as Marshall’s in-house-designed Soundstage spatial audio algorithm.
Meanwhile, the cans feature the unmistakable Marshall design with the brass metal Marshall logo on each side, plus memory foam ear cushions for comfort during extended listening sessions, a textured leather surface, and powder-coated metal arms.

They also sport Bluetooth 6.0 technology, compatible SBC, AAC, LC3 and LDAC codecs, and 50+ hours of battery life with ANC enabled, 80 hours without. They’re also repairable with a replaceable battery.
“If you compare Milton A.N.C. with our other on-ear headphones, like the beloved design of Major V, you’ll notice a few big differences,” says Nicolas Pignier Delafontaine, Senior Manager, Audio & Acoustic at Marshall Group. 
Credit: Marshall
“We’ve increased the ear cushion size to help keep the sound in and improve passive noise attenuation. Larger earpads and softer memory foam also mean the headphones are more comfortable to wear over longer periods. 
“We’ve introduced an entirely new driver system tuned to improve bass and treble extension, delivering dynamic Hi-Res audio with rich details. On top of that, 6 microphones optimally placed for ANC and call complement the acoustic design for highly effective noise reduction.”

“With Milton A.N.C. we have created a premium, yet durable headphone that is easy to bring with you wherever life takes you,” adds Evelina Lindström, Product Manager at Marshall Group. 
“Our design and engineering teams have worked for years to bring the immersive feeling of Adaptive ANC into our beloved on-ear form factor, and we couldn’t be more proud of the results. Its portable design makes it a sleek contender to heavier over-ear alternatives, without compromising on features. The combination of adaptive ANC with 80 hours battery life is guaranteed to take on the go music listening sessions to the next level.” 
The Milton A.N.C. headphones are available now, priced at £179.99 / $229.99 / €199. For more info, head to Marshall.
The post Marshall’s new Milton A.N.C. wireless headphones boast “next-generation” adaptive noise cancelling appeared first on MusicTech.

Wallis on embracing sound-mangling plugins, thriving as a producer and how to survive the music industryInspired by a desire to take the techno she would DJ to new levels, Wallis moved seamlessly into producing her own music, finding a home on Kangding Ray’s ARA label. Based out of Lisbon, she performs around the world, incorporating a hugely diverse range of software and hardware into her live set as well as in her studio, with an esoteric approach to designing sounds.

READ MORE: “Who cares if you layer two kicks if it sounds great?”: Collect 200 talk synths, samples and letting the strongest parts of your tracks speak for themselves

With a healthy disregard for industry norms – she believes rules are there to be broken – our chat dives deep into the weird and wonderful plugins, synths and modules that form the backbone of her setup, as well as venturing into discussing how she builds sounds and tracks and how embracing hardware has transformed the way she approaches mixing. Plus she reveals her dream of owning one particular classic piece of gear…
Hi Wallis – great to talk to you! Can you tell us a bit about your career to date as a producer and performer? How did you get started on this path?
It started pretty organically, I was obsessed with techno records and parties and started to organise small events with some friends, which led to DJing at them, which led to producing. Back then, access to techno tracks was different from today and techno was more “rare”. You would dig for tracks in record stores instead of online. While DJing those tracks, you would always wish this track did “this” or “that”, so it made sense to eventually write your own tracks to perfectly fit your DJ sets. That’s my experience at least.
Today, being a producer is a pretty necessary step to sustain a DJ career but back when I first started learning, it was more of a choice driven by passion. Many DJs were not producers at all and producing was not seen as a “tool” to have a career in techno. Only people with a passion for producing would get into it. Things changed a lot.
Image: Rui Palma
Your new LP Everything Is Not Yet Lost is your most expansive body of work to date. What was the thinking behind its creation?
I have been a fan of Kangding Ray forever, and was very honoured when he asked me to submit music for his label. We worked on the tracklist together and it was a very smooth process. His ARA label is all about creating expansive LPs telling a story, and I was very happy he picked some of my most adventurous tracks.
The way I view his label, it’s about everyone honing into music as an art form and pushing the limit to create something new, deeply creative and personal rather than choosing tracks that are more basic and catering to the masses. It’s a risky project in a world where everyone is trying to make music that the algorithms are going to like, and I respect him a lot for still fighting for true creativity in today’s streaming-platform-enslaved music industry.
Image: Rui Palma
Tell us a bit about your studio.
My studio is located in central Lisbon, in an empty building that was turned into all kinds of art studios. It’s a very cool and communal place, with so many artists from different crafts. It’s very inspiring, I feel very at home there. I love Lisbon for this, this city feels filled with creative energy because there is this need to create the cultural space that people wish they had – as opposed to cities like Berlin where things are pretty established already, here everyone is always down to do things. I have my crew of creatives for every possible art form I could need around music and they are all extremely talented and have great taste. I love it here.
What’s your latest gear or plugin purchase?
I just ordered a guitar pedal called “Parting” by Old Blood Noise Endeavors. Effects are a huge part of my sound design and I am always searching for new weird effects, be it plugins or hardware. This pedal is supposed to be a little crazy, so perhaps it will be too wild to take to live sets, but maybe not! Either way, it will be great in the studio for sound design exploration. The description is: “Parting is a glitch pedal. It combines chance-based delay or reverb, modulations, degradation effects and randomized clock changes to give pleasant surprises at each turn of a knob”. When I read something like this it’s an instant buy (and the design also looks really cool and weird).
MISHBY by Freakshow Industries. Image: Rui Palma
What’s the best free plugin you own? Why?
MISHBY by Freakshow Industries. You can technically pay for it or get it for free, and I love all of their plugins because they are absolutely bonkers. There is no other word to describe them. They do things to your sound that are impossible to explain, and it’s great to resample drums through them, or anything really, and cherry pick good moments that come out. They create a really fun and playful sound design exploration and they have the coolest UI of any VST I’ve ever seen.
What’s been the biggest investment in your career/studio? Was it worth it? Why?
It’s hard to pinpoint one “biggest” thing as I have been accumulating what I can at my own pace for well over the last decade, and I have a few things that are quite pricey at this point. One notable change from the last couple of years was adding 19” units to my setup and totally switching up my mixdown process, and I am so happy about the improvement it brought to my sound.
Everything sounds so much better through units, I don’t sum my mixes in Ableton any more, I go through a Neve summing mixer and it added so much depth to my music. I have a ton of 19” units on my to-buy lis and cannot wait to be able to buy them and try them all out. I want to move the majority of my mixing setup to 19” units and 500 series, but this will take me a few years to achieve.
Image: Rui Palma
You write, produce, mix and record your own vocals, building tracks through hardware, resampling and unconventional sound design. Was it a conscious decision to take on every part of the process or did it happen organically or out of necessity?
Everything I do usually happens organically because I have a really hard time forcing myself to do something I don’t find interesting. The hardware sound sources are the most fun ways to produce music, and using a combination of plugins and hardware is necessary to get the best of both worlds. There are things only digital can do that I couldn’t live without (granulation for example), but mixing on analog hardware is a necessity for me, sound-quality wise.
Doing my own vocals is by convenience. It’s very easy to imagine a vocal while producing, and record it right away, exactly how I envisioned it, rather than plan ahead for someone to come and contribute. But a lot of people could do a much better job than me at vocals and come up with cool ideas too, and I love making music with people, so I am very open to this idea. I just haven’t actualised this type of collaboration just yet. I’m a hermit and being by myself feels very natural to me, but I want to work on that and be more social.
Image: Rui Palma
Can you share some of the production and processing techniques you use to achieve the very dense, intense sound you get on your productions?
The intensity of my music happens through the mixing. I pay great attention to have something in all frequency ranges, and that nothing clashes for space either. I think about the stereo field a lot and I play with that a great deal, to create what I would call a “sound blanket”. I want people to feel wrapped up in the music. Placing everything in the stereo field where it belongs is a necessity and my 8816 by Neve is a big part of that process. Right now I am focusing on having as few elements as possible and pushing each element, so I think the next EPs are not going to be “dense” at all. But intense, always!
Your drum sounds are really hard-edged. How do you design your kick and snare sounds in particular?
For kicks I layer a lot. Usually about three kicks, paying attention to phases to avoid cancellation. I have some eurorack modules that are great for the top end of kicks, for example the Asteroid BD v4 is a great option on the cheaper side, and there are many other amazing options as you increase your budget. I do a lot of work in the kicks in Ableton, compressing, clipping etc, and if they need more low end I will add it digitally afterwards with plugins like ToTape7 for light needs or Dropkick for bigger alterations.
I am constantly creating sample banks with drums and various other types of sounds that I record in my studio so that they are quickly available when I need them and feel like arranging a track. Having separate “recording days” or “arranging days” depending on your mood is very helpful, because those are two different processes and you need to be in a different mood to do either. It helps with productivity a lot. When I don’t feel inspired enough to write a track, I can just twiddle on my modular with zero expectation and cherry-pick whatever good bits come out of it, and save it for a later day.
For percussion like snares or hi hats I often use a module called “Trigger Riot” in the studio and it helps me create mad patterns and play with timings in unexpected ways. I am always searching for something I have never heard before.
Image: Rui Palma
Can you give us a breakdown of how your complex live rig is put together?
Currently I use an Octatrack as my main clock. I have a T1 by Torso to sequence my modular – I love the T1, I highly recommend it – although I wish they would add more jack outputs because currently it’s not catered to modular use to the best of its potential.
The sound from my modular goes directly into my Boss RC505 so I can easily loop everything coming out of the modular. And then both the RC505 and the Octatrack audio outs go into a v10 by Pioneer. The v10 is such a good mixer, I was a hater of Pioneer mixers, but this one really changed the game. And it’s perfect for live use due to how many effects it has and individual channel compression.
I am still searching for another sampler on the down low, because I do not like the sound of the Octatrack at all, but in terms of playability it’s still the best sampler catered to live sets for my needs, unfortunately. And I add a few effect pedals depending on my mood, and switch up what is inside my modular to keep it fun for me as well.
How do you see your sound and studio evolving in the next two years?
The next step for my studio will be acoustic treatment. I recently swapped rooms with someone and my room is very small now, with a weak ceiling, so we will need to find a clever, lightweight way to treat it, and one that allows me to still be able to walk everywhere.
Then, eventually, I want to upgrade my speakers and get PMCs or ATCs. This will be a massive financial investment but I am so looking forward to being able to do that, I dream of hearing everything. It’s been years and will probably take a few more years until I can buy them, and I cannot wait for that day!

Do you have a dream piece of gear? What is it? Why?
My absolute dream piece of gear, that is in my dreams every night, and that I cry myself to sleep thinking about is the mighty H3000 by Eventide. It’s the most ridiculously good-sounding piece of equipment that makes everything sound better, and I must own one. This is going to be my next big purchase for sure. I tried one in Blawan’s studio and the way it slightly alters the sound felt so elegant.
Every time I am having issue with a synth, I keep thinking “man if I had a H3000, I could fix this synth”. Which is a lie, because you can’t save bad sounds. But it’s something I keep telling myself nonetheless. And I need an H3000 in my life to find out if it can indeed make everything sound magical or not.
What’s a music production myth you think needs debunking?
I think every single music production rule should be debunked. Breaking the rules is a must. Also, people saying plugins now sound as good as expensive hardware equipment. It does not, and never will.
Image: Rui Palma
Who gave you the biggest lesson in your career? Can you tell us about how it impacted you?
The biggest lesson I learned is to be always guided by my intuition and not by “what works”. Your intuition towards what sounds “right” or not is the most valuable thing you have as a musician, and it is what makes you unique. Trusting your intuition in the studio but also while performing is so important. And it sounds so obvious, but I actually had to have an epiphany moment on a dancefloor to be reminded of that. This was 2022, we were all so excited to be post-covid, and I hadn’t even realised I much I had lost my connection to the dancefloor, in many ways.
I think it must have been three or four years ago, I was at my friend Lolsnake’s party in Berlin, and I was really enjoying dancing along to the set from an artist. And the next day it made me realise that I didn’t DJ the tracks that I would prefer dancing along to. It dawned on me that I had slowly turned to playing crowd pleasers, without realising I had lost my way. Spending time on the dancefloor helped me realise a recalibrate was in order, and worrying about playing tracks that would get crowd reactions on the dancefloor was not for me. I need to be focussing on the feelings that good techno played at a really loud level gives me. And be guided by that.
I always try to serve the dancefloor and guide the vibe towards what I feel is needed in the moment, and I have also made a rule that the tracks I produce must all fit into my sets, so this gives me a limit to how weird they can be, and helps guide me. “Would I love hearing this on a dancefloor?” is a question I ask myself a lot when producing today.
The post Wallis on embracing sound-mangling plugins, thriving as a producer and how to survive the music industry appeared first on MusicTech.

Google just declared itself a contender in AI design at IO 2026Google says it's designed the app to be accessible to everyone, from teachers to small business owners.

A special day with Miles the Music Kid in The BronxThe Guitar Center Music Foundation recently released details of, "Rising producer and multi-instrumentalist Miles Bonham, known as Miles Music Kid, recently visited two elementary schools in the Bronx in partnership with non-profit Education Through Music. During the visit, he donated 1,000 ukuleles and three DJ decks, provided by The Guitar Center Music Foundation, to help expand access to music education for New York City students."

Watch a video of Miles’ school visit HERE.

“I’m so lucky that I have instruments around my house, and I could just play them whenever I want," Bonham said in a statement. "But some people don’t have that even though they love music just as much as I do. I’m really happy knowing that we are giving these kids all of this musical gear so they can have something to go to whenever they feel like they want to express themselves through music.”

“Myles’ visit demonstrated the incredible impact music can have when students are given the opportunity to engage with it firsthand,” Myka Miller, Guitar Center Music Foundation Executive Director, told MC. “Watching these students light up as they explored instruments, created sounds together, and experienced the creative process in real time was truly inspiring. At The Guitar Center Music Foundation, we believe every child deserves access to music education, and we are proud to support initiatives like this that help open doors for creativity, confidence, and self-expression.”

According to a press release, "During the visit, Miles spent time with students, as he performed a song on the guitar for them and produced a song using their voices and different sounds in the classroom. The donation of ukuleles and DJ equipment introduces foundational tools and gives students new ways to explore creativity and self-expression."

“This was an incredibly special day,” said Bree Bowles, Senior Vice President, Republic Records: Kids & Family and 2026 Co-Chair of Education Through Music, supporting Education Through Music’s “Making Minds Sing!” 2026 Gala honoree Jim Roppo, Chairman and CEO, Republic Records. “Being in the classroom with Miles and seeing how students respond to music in real time is a powerful reminder of why this work matters. Education Through Music is committed to making sure every child has access to music as part of their education, and moments like this truly bring that mission to life.”

“Experiences like this show just how powerful music education can be in a child’s life,” said Dr. Janice Weinman, CEO of Education Through Music. “When students are given the opportunity to create, perform, and connect through music, it not only sparks joy but also builds confidence, collaboration, and a sense of belonging. We are incredibly grateful to Miles, Republic Records, and the Guitar Center Music Foundation for helping us expand access to these transformative experiences for our partner school students.”

For more information about The Guitar Center Music Foundation, please visit http://guitarcenterfoundation.org/.

Photo Credit: Toby TenenbaumThe post A special day with Miles the Music Kid in The Bronx first appeared on Music Connection Magazine.

Data shows Bitcoin dip buyers waiting for lower prices: Is $70K BTC’s next stop?Bitcoin futures and orderbook data show dip buyers waiting for a BTC price drop below $70,000.

Building a Pip Boy Themed SmartwatchOne of the problems with good science fiction is that it introduces us to all kinds of cool devices that we can’t actually have in real life. [Huy Vector] has tried to fix that a little with this fantastic smartwatch build inspired by everybody’s favorite wrist computer from the Fallout series.
The build is based around a Xiao ESP32-S3 board, which hosts the capable microcontroller and has all that useful wireless connectivity built in. It’s hooked up to a MAX30102 heart rate sensor to collect the wearer’s vital signs, as well as a 1.54″ LCD screen for displaying the fantastic Pip Boy themed interface. Power is courtesy of a small lithium-ion cell tucked in behind the display. A little copper tubing and brass hardware helps tie everything together, with the latter serving as capacitive touch points for controlling the device. A simple leather watch strap completes the build.
It’s a bit of a diversion from the classic Pip Boy design, in that it’s a small smartwatch instead of a chunky device that takes up most of the wearer’s forearm. However, this isn’t so bad in reality—it’s far more practical while still rocking those classic green-on-black graphics that we all love so much.
If you’re craving a more authentic Pip Boy recreation, we’ve featured a few of those, too.

Evan Whikehart named General Manager, North America at IDOL, as Paris-headquartered indie says its annual revenue topped $50m globally last yearWhikehart joins from Secretly Distribution
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Get a free gong texture for Splice INSTRUMENT
Download our free gong texture preset for Splice INSTRUMENT—grab these presets during the drop window and they’re yours to keep forever.

Metric Halo MB David's 2BusDavid's 2Bus takes inspiration from David Gnozzi's famous 2bus processing. David is well known for his analog collection and the skills to use it and over the years he developed a quite muscular chain of analog pieces that he found worked the best in a specific combination and with specific settings. Make Believe Studios developed the plugin by capturing his chain and removed the guesswork by giving the user a very friendly interface with a few key controls that do a lot of things under the hood. The processor was ear-tuned by the team and David himself. David's 2Bus is a combination of tape saturation, transformers and different stereo effects all in one. Designed primarily as a 2bus processor, is meant to be used as a first instance on your mixbus: hitting it at the right level is key for this plugin. The two green LED in the metering are not there by chance. Operation is simple: Use the input and output knobs to make sure you hit the right level and get the right amount of tape saturation, bump, and transient control. Then, dial in transformer enhancement with the Texture knob and the two different flavors A and B. Finally, finish it off with a little stereo manipulation. Follow up with your favorite compressor and you're good go to. While originally conceived as a master-bus processor, the plugin doesn't stop there. Engineers around the world are using this "off label", applying much more aggressive settings and extreme stereo effects to single tracks and groups. From vocals to guitars this plugin is as much a creative tool for modern mixing as it is a subtle processing for your entire mix. David's 2bus is the 1st of the signature 'MixbusTv' line of plugins we developed with MH and MB. I wanted to start with what I consider a big part of my sound, a combination of processors that time and time again proved to work on almost every mix. I also wanted to make it simple to use and almost take the guess work out of the equation, just hit the right level and mix into it and your mix will be easier and come together much faster. What I didn't expect is that this plugin turned out to be so versatile and now the biggest engineers out there are using it for creative effects too. -David Gnozzi Key Features Detailed model of David Gnozzi's analog 2Bus chain with tape, transformer and space modeling. Add weight and definition. Control dynamics with analog saturation. Adjust and enhance the spatial aspects of your mix. World-class Signal Processing and Workflow. Adjustable UI size. MH Preset Manager - Provides cross-platform presets. Read More

Splice partners with ElevenLabs on “next-gen AI-powered creative tools”Music creation platform Splice has partnered with AI company ElevenLabs to build a number of “next-generation AI-powered creative tools” which will be released later this year.
Splice has been vocal in recent months of its mission to harness AI to empower music creators, introducing a raft of new generative AI features last month with an emphasis on ensuring fair compensation for original sample creators.

READ MORE: Generative AI’s threat to music sample libraries is existential — Splice thinks it has a solution

And in December, Splice announced it was partnering with Universal Music Group to build “commercial AI tools” for its community of creators.
“In this second wave of AI in music, the creator comes first,” says Kakul Srivastava, CEO of Splice. “We’re building responsible products from the ground up, and our partnership with ElevenLabs gives us access to powerful models to help shape what those experiences can be.”
“Our models deliver studio-grade audio ready for commercial use,” said Mati Staniszewski, cofounder of ElevenLabs. “By embedding them into Splice’s workflow, we’ll bring these capabilities directly to the artists and creators shaping the future of music.”
Elsewhere, Splice, earlier this year, confirmed its acquisition of AI-powered voice production platform Kits AI, further solidifying its commitment to developing and offering creator-first AI tools.
Splice is a leading music creation platform with a vast library of royalty-free samples, sounds and presets. ElevenLabs is an AI company specialising in realistic text-to-speech, voice cloning, and AI audio generation.
Learn more at Splice.
The post Splice partners with ElevenLabs on “next-gen AI-powered creative tools” appeared first on MusicTech.

Novation unveil the FLKey 2 The new FLKey 2 line-up boasts improved hardware alongside even tighter integration with Image-Line's hugely popular DAW software. 

Karina Magallon goes with the flow: “If you get too rigid, you forget what you’re creating”Ad feature with BandLab Opportunities. [Editor’s Note: MusicTech and BandLab are both part of Caldecott Music Group.]
“Sometimes, things don’t feel real… But then, I’m on a call with you right now, so it is.”
That’s one of the first sentences Karina Magallon says in our interview. She’s fully dressed up, prepared to take the stage when she shows up for our video call. Even her purple eyeshadow, signifying the colour palette of her upcoming album, Island Night pt.2, due late this summer, carries thought and intention. When she steps into her own universe, woven with Latin R&B songs sung in Spanish and English, she embraces her artist persona inside and out.
Stacking vocals in her home studio and sprinkling whistle notes on top, Karina takes a wholesome approach with her musical creations: “It’s kind of like you’re a scientist sometimes, trying different things. And other times, it’s something beyond you, and it’s just your job to translate that into art.”
A natural songwriter, she’s always finding her way to captivating melodies and lyrics, even when she’s asleep. “Sometimes, songs come in a dream,” she says, “It’s special when harmonies, melodies, and lyrics all arrive at the same time.” Not a surprising statement coming from someone who, while still “figuring things out”, is also living her dream.
Image: Press
But Karina wasn’t always this sure of herself and where she’s headed. Although music was always in her life, her upbringing in Houston, Texas, could have easily led to an ordinary career path. “I see myself doing a lot of things on film and television, not just as a songwriter, but also as an actress. I love all things performing, dancing, and singing…When I was younger, I was too afraid to say these things out loud.”
Fortunately, she has a powerful voice with a stunning range to sing about those things now.
As is the case for many singer-songwriters, vocal production is a sacred part of Karina’s creative process. Now living in Los Angeles, she still records most of her vocals in a makeshift vocal booth with a Scarlett Solo audio interface, a Shure SM7B microphone, and a Cloudlifter preamp. When she takes breaks from recording and editing vocals, she turns to her electric piano, guitar, or ukulele to produce the instrumentals for her demos.
Although this paints a picture of a bedroom producer who prefers to make music alone, she thrives on collaboration.
“When the pandemic started, everyone in the world was on the internet. Every networking event was on the internet. So I just started meeting people online,” says Karina, who was completing her music studies at Belmont University in Nashville at the time. “One of my professors was trying to teach us a bit about different areas of audio engineering, but we hadn’t figured out how to connect Zoom to Logic Pro and other DAWs yet. So, he showed us through BandLab.”
Image: Press
That was her first introduction to the platform where she would eventually establish her strongest following. Through those years when all musicians were cooped up at home, Karina spent her time on co-writing sessions over Zoom as well as plotting her career as a songwriting artist.
“A few years later, I started posting on BandLab. I posted my demos and videos just to try it out. I was posting everywhere, but people there resonated with my stuff a lot more than other platforms,” she explains. Since the community on BandLab is made up of people who love creating music, there was immediate interest in Karina’s artistry. Cutting through the noise on each social media platform is an ongoing challenge, but she’s grateful for the exposure she’s gained through BandLab, where music is the ultimate, non-negotiable conversation-starter.
Today, she continues to actively post on the platform to her 31,000 followers, especially now that she’s in the middle of a release cycle with two album singles already out. She also keeps an eye on the Opportunities tab, which she deems one of the most valuable features on BandLab.
“I don’t know all the things about how to promote a song, but I keep trying, and I learn different things. I feel like nobody quite knows either — it keeps changing,” she admits.
Being an independent artist comes with budget concerns, organizational challenges — and juggling it all comes at a cost: “I’m so used to writing music every day that sometimes it’s a little bit painful not to have enough time for it. It comes in waves, the things that I need to focus on creatively, and I think what I’m doing right now is what’s going to allow me to write more.”
Image: Press
When asked about the production process behind her upcoming album, she lights up. Karina is no stranger to writing for sync placements within a limited period of time. In fact, recently, she completed a 10-song custom project for the ESPN Network within a month. But with her album, she took her time, working with her co-producers, Mateo Barragan and 4NALOG, in-person and remotely over a long period of time.
Starting each session with a blank slate, they created one song after the other, blending, in Karina’s own words, “Latin R&B, some bolero vibes, and girly pop.” After a series of upbeat tracks, Karina found herself sitting in front of her piano one day, struggling to finish a gut-wrenching ballad. She had to be patient to get over her tears and see it through: “Not all songs have to be happy, you know?”
First came the chords. Then, she began to imagine various sounds she wanted to add to it. Sometimes she’d experiment with samples: EQ them, pitch them up or down, and add some flanger or phaser effects. Other times, she’d use her voice to produce cinematic textures. “I just go with the flow. If you get too rigid, you forget what you’re creating.”
She points to her single, Divina, which is a stirring track that ends with a wall of sound filled with her vocals, as the perfect example. “I wanted the last chorus to feel grand. When you’re in a choir, not everyone sings the same way. Some people have more straight tones. Some people have brighter voices. So, I tried to add several characters there to really make it feel like a choir, even though it’s just my voice.”
Image: Press
It sounds easy, but Karina is aware of the misconception: “This is one of those careers that you really have to put a lot of effort into for it to be long-term.” That’s why she perceives each step she takes as another forward motion. When she first moved to LA, she had a bunch of day jobs, which she eventually phased out for creative gigs. Now that she’s over the hump, she keeps an open mind about opportunities that come her way, whether it’s an audition to book a new role or a music project for another artist.
“I like to be challenged. Any time I’m creating, I’m happy. I’ve written songs for a long time. I read poetry, songwriting books, and collaborated with many people… Even if a song didn’t go anywhere, I was still getting better every time.”
Finding joy in the process is important, but it’s her ultimate goal that truly motivates Karina: “To be the biggest artist and actress in the world, creating number 1 hits that bring light into people’s lives. That is my calling.”
Ready to catch your big break? Browse career-defining live gigs, record deals, artist features and beyond at BandLab Opportunities.
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