2 Live Crew can’t take back their recorded music copyrights after all, appeals court rulesA US federal appeals court has overturned 2 Live Crew's high-profile victory in their long-running copyright fight
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Cyberdecks are having a moment, rejecting big tech surveillance with style and substanceOver the last few months, these DIY hardware communities have exploded in popularity as people on social media show off their solar-powered game emulators, pocket-sized ereaders, and clamshell purse computers.

Coinbase invests in ProShares ETF tailored for stablecoin reserve assetsThe exchange has invested an undisclosed amount in ProShares’ Treasury-focused ETF built for the post-GENIUS era as lawmakers debate whether stablecoin issuers can offer yield-bearing products.

Apply Now to the BMI Foundation 2026 Songwriting & Composer AwardsThe BMI Foundation has officially opened applications for its Summer 2026 awards, offering emerging songwriters and composers a pair of high-impact opportunities designed to support artists at a pivotal stage in their careers.

This year’s open programs include the peermusic Latin Music Award and the Pete Carpenter Fellowship, each tailored to distinct creative paths within the music industry. Submissions for both are due by June 30, 2026, with all eligibility requirements determined as of that date.

Aimed at songwriters working within Latin genres, the peermusic Latin Music Award recognizes excellence in songwriting while providing financial support and industry visibility. Meanwhile, the Pete Carpenter Fellowship is geared toward aspiring film and television composers, offering mentorship and hands-on experience in media scoring—an area often difficult to break into without direct access.

Together, the two programs reflect the BMI Foundation’s broader mission: to provide not just recognition, but meaningful resources for artists navigating the early stages of professional development.

“We are thrilled to offer these launchpads for the next generation of songwriters and media composers,” said BMI Foundation President Deirdre Chadwick. “Each award is uniquely tailored to the needs of creators within a specific genre. Everyone at the BMI Foundation is proud to provide financial, business and artistic support for these emerging artists at a critical point in their careers.”

While industry accolades can often feel symbolic, initiatives like these tend to offer more tangible outcomes—whether through funding, mentorship, or connections that extend beyond the award itself. Past recipients have gone on to build sustainable careers across songwriting, production, and media composition, underscoring the long-term value of such programs.

For artists currently refining their sound or looking to expand into new areas of the industry, the BMI Foundation’s Summer 2026 awards represent a rare combination of credibility, access, and support.

Applications are now open, find your application here. The post Apply Now to the BMI Foundation 2026 Songwriting & Composer Awards first appeared on Music Connection Magazine.

From Scrappy Pallet Wood to Fancy Tea TrayPallets are a wonderful way to package goods and move them around, but especially the wooden ones have a very finite lifespan. This means that many of them are discarded every day, even though there is still good wood on them. Even if it’s not the highest quality wood, you can still use it for some nice wooden items, like the tea tray that [GR Woodworking] recently put together.
The reclaimed wood is the typical fast-growing, soft type, with the suspicion of it being paulownia here. Of course, wooden pallets use a wide variety of wood varieties, so not all reclaimed wood is equally suitable for applications like this, and identifying the type can be a challenge in itself.
In the video it’s shown how the wood is planed to make it smooth and straight, before the joints are created and it is married to the poplar or aspen base plate. Of note is that absolutely no power tools or bulky things like router tables are used here, just basic hand tools that should make this kind of woodworking accessible to people even without that kitted-out woodworking shop.
After assembly it’s finished with Vararhana oil-based stain to give it a darker look and really bring out the grain. Naturally, since it’s a tea tray it has to be commissioned with a proper tea ceremony, which it passes with flying colors.

Universal Audio release UAD Topline Vocal Tune The latest arrival to the Universal Audio range delivers a new native pitch-correction plug-in that’s capable of delivering everything from subtle correction to the hard-tuned effects that dominate modern pop, hip hop and R&B tracks. 

Eventide unveil the H9 Harmonizer Gen 2 Built on the same processing architecture as their H90 Harmonizer, the H9 Harmonizer Gen 2 combines Eventide's flagship algorithm library with a compact, performance-ready format designed for modern stage and studio applications.

Spitfire Audio’s much-loved Originals instrument libraries are coming to Akai MPCSpitfire Audio’s best-selling Originals range is coming to the growing Akai Professional MPC ecosystem, the two companies have confirmed.
Things are going to plan, then, after Akai and Spitfire announced a new “strategic partnership” during this year’s NAMM Show, with the intention of bringing its professional-quality instrument libraries to Akai MPC users.

READ MORE: “I think it’s the most underrated plugin on Ableton Live”: The simple tool Chris Lake used in his Taylor Swift remix

At launch, Spitfire Audio’s Originals Intimate Strings and Originals Cinematic Pads are available within the Akai MPC workflow.
The former is described as one of Spitfire’s “most emotionally resonant chamber string libraries”, captured using “25 of London’s finest players” with pristine microphones, and featuring Expression and Dynamic sliders, plus a high-quality reverb for comprehensive sound control.
Originals Cinematic Pads, on the other hand, features 23 presets of evolving atmospheric pads, blending orchestral sounds, synth elements and processed textures, and offering parameters including Reverb, Attack, Release and Distort, alongside Mellow, Bright and Cinematic signal options.
Credit: Spitfire Audio/Akai Professional
“Akai Professional gear has been with me for most of my music career – I even started out writing orchestral drama underscores on an MPC60,” says Paul Thomson, Founder, Spitfire Audio. 
“Bringing our Originals libraries into that ecosystem is such an exciting next step. These libraries were made to be played expressively, and the MPC line gives musicians exactly that. I can’t wait to see what musicians create when the two come together!”
“The MPC has always been about giving producers the tools to build something real — something with feeling,” adds Andy Mac, Creative Global Marketing, Akai Professional. 
“Bringing Spitfire Audio’s Originals libraries into the MPC ecosystem means producers now have access to some of the most expressive, cinematic sounds ever recorded, right at their fingertips on the pads. Whether you’re scoring a scene or building a beat, Intimate Strings and Cinematic Pads were made for exactly the kind of music MPC producers make.”
Both Originals Intimate Strings and Cinematic Pads are available on MPC OS 3.7.1 now, priced at £29 / $29 / €29 each.
Learn more at Spitfire Audio or Akai Professional.
The post Spitfire Audio’s much-loved Originals instrument libraries are coming to Akai MPC appeared first on MusicTech.

“I think it’s the most underrated plugin on Ableton Live”: The simple tool Chris Lake used in his Taylor Swift remixChris Lake was recently one of four dance producers asked to remix and put their own spin on Taylor Swift’s megahit Opalite, from her 2025 album The Life of a Showgirl.
Turning one of the biggest pop tracks from the past year into a dancefloor-ready anthem was no small feat, but the English producer did so in style, and recently spoke to MusicTech about how he gave the song a new lease of electronic-flavoured life.

READ MORE: The SSL 1 is Solid State Logic’s most affordable audio interface yet

And he even reveals his surprising secret weapon that took his remix to the next level and infused it with a sense of “imperfection”, Ableton Live’s stock Overdrive plugin.
“The thing that’s really key is loads of Overdrive,” he says. “I think it’s one of the most underrated plugins in Ableton Live. It just gives vibrancy and lift to the songs and makes them a bit more imperfect. It’s just really musical to me.”
The producer also reveals his workflow for creating the remix involved continuously printing everything he wrote to audio. “I’d make a complicated project, break it down to six stems, move to a new project, then start the cycle again, until I ended up on that last version.
“That last version, from the moment I started the beat to the finished remix, took me about two hours to get the sounds that I was using within that. I’d spent about three days putting it together.”
Lake also remembers being asked to create a remix for a Taylor Swift track for the first time.
“I’ve dedicated my life to music production and DJing,” he says, “and there are lots of people who understand it. But people who don’t go to clubs just don’t really get what DJs do. They don’t get what producers do. They have no concept of it.
“Well, you tell them that you’re remixing Taylor Swift, and suddenly you have people’s attention. She resonates on a frequency unlike anyone else on this planet.”
Listen to Chris Lake’s Opalite remix, plus Taylor Swift’s original, below:

The post “I think it’s the most underrated plugin on Ableton Live”: The simple tool Chris Lake used in his Taylor Swift remix appeared first on MusicTech.

OTODESK releases FREE open-source Ambience algorithmic reverb plugin for Windows
OTODESK has released Ambience, a free and open-source algorithmic reverb plugin for Windows. Ambience is a 16-channel Feedback Delay Network reverb from Makoto Iida, a solo developer and hobbyist producer behind OTODESK. I asked the developer how he made the plugin and was surprised to learn that it is not based on convolution and that [...]
View post: OTODESK releases FREE open-source Ambience algorithmic reverb plugin for Windows

Three-Body Technology Transi-QInspired by a revered analog classic, this EQ is defined by its fast, smooth, and punchy character. It performs exceptionally well on percussion and any source where preserving transients is essential. It features one high-pass filter, one high-shelf filter, one low-shelf filter, and three proportional-Q bell filters, whose bandwidth tightens with gain to deliver more focused shaping while retaining attack and definition. No matter which filter type you use, the way it handles transients simply sounds beautiful. Zero-sample latency, ideal for live tracking and performance. Read More

AIR Music Technology offers Jura Chorus plugin FREE until August 2nd
AIR Music Technology is offering Jura Chorus as a free download until August 2nd. Jura Chorus is the standalone chorus effect from AIR’s Jura virtual synthesizer, which is based on the classic Roland Juno-60. The plugin normally costs $39, and it is currently discounted to $14 on Plugin Boutique, but you can get it for [...]
View post: AIR Music Technology offers Jura Chorus plugin FREE until August 2nd

Ever fancied playing Flappy Bird in your DAW? Ableton’s new Extensions Software Development Kit has you coveredGather round coders – Ableton’s latest JavaScript toolkit awaits. Today, the DAW launches its most experimental public beta to date. The free Extensions Software Development Kit comes as a way of extending the possibilities of Ableton Live, allowing users to create custom tools to shape and revolutionise their creative process.
Very much embracing the spirit of homebrewed plugins and tools, the Extensions Software Development Kit provides users with a foundational JavaScript framework – and that’s about it. The rest depends entirely on the creativity and innovation of the Ableton community, with the DAW encouraging users to share their Extensions via the Ableton Discord Server.

READ MORE: “The role of the music webstore is becoming less significant”: Independent music webstore Juno Download has shut down

While Ableton is keen to see what its community cooks up, the public beta launch comes with a few example Extensions to get your creative juices flowing… And they range from useful tools to downright goofy gags.
Credit: Ableton
You could conjure up something like BBenCut’s algorithmic breakbeat slicer, or Photo MIDI’s ability to convert any provided image into MIDI notes – or you could create something playable like Bird Game, a Flappy-Bird-esque game that generates corresponding MIDI notes to match each flap of your bird’s wings.
The creative process aims to utilise “familiar web technologies” to help the process be quick and simple. And, again, if there’s any teething pains, Ableton is putting a lot of emphasis on this being a community collaborative project – we’re sure the Discord will be overflowing with coders keen to share their knowledge to help you learn the ropes.
Credit: Ableton
Of course, Extensions are optional tools. There’s no need to employ any into your current set up – but, if you decide to try out a few Extensions, they can easily run alongside your project, accessible with a right-click from anywhere in your Set. And it’s certainly worth trying a few out, as someone may have created the perfect add-on for your project, which you can load onto your DAW and utilise for free.
To download the Extensions Software Development Kit for free, head to Ableton. You can also explore further Extensions via Ableton’s Discord community.
The post Ever fancied playing Flappy Bird in your DAW? Ableton’s new Extensions Software Development Kit has you covered appeared first on MusicTech.

The SSL 1 is Solid State Logic’s most affordable audio interface yetSolid State Logic has launched a new audio interface, the SSL 1, which promises “powerful performance” at a cheaper price point, ideal for beginners and seasoned pros on the go.
This 2-in/2-out interface is more nifty and budget-friendly than its other interfaces, such as its SSL 2 range. The brand says it “combines a portable form factor with the trusted SSL sonic character, making professional results more accessible than ever”.

READ MORE: SSL autoSeries Bundle review: Smarter mixing or just another SSL plugin collection?

The SSL 1 offers two channels: Channel 1 features an XLR input with +48V phantom power, while channel 2 offers a dedicated instrument/line input for direct recording of guitars, synths, and other electronic instruments.
It has a “class-leading preamp”, 4K analogue enhancement, professional-grade 32-bit/192 kHz conversion capability, and a high-current headphone output. With flexible power options, including bus power or a 5V external source such as a phone charger or power bank, SSL 1 is ideally suited to mobile recording setups.
Purchases of the SSL 1 also include the SSL Production Pack, a collection of virtual instruments, samples, and software tools from leading industry brands including Harrison Audio, Slate Digital, Antares, Loopcloud, Native Instruments, AAS, IK Multimedia, Ableton and more. Inside you’ll get SSL’s Drumstrip, VocalStrip 2, Complete Access trial (which features every plugin from SSL, Slate Digital and Harrison), and other tools.
Learn more in the videos below:

In other SSL news, new equipment from the brand has been fitted in the newly launched recording studio at London’s KOKO music venue. The studio, situated in the Penthouse of the members-only House of KOKO, includes the same mixing desk that was used for Kendrick Lamar’s Halftime Super Bowl Show and connects to all rooms within KOKO and The House Of KOKO.
The new SSL 1 interface is priced at $159.99 ex TAX / £119.99 ex VAT / €149.00 ex VAT. Find out more via Solid State Logic.
The post The SSL 1 is Solid State Logic’s most affordable audio interface yet appeared first on MusicTech.

How we remixed Taylor Swift: Tips and tricks from Chris Lake and Ely OaksWhat do Chris Lake’s 13-year-old niece and 90-year-old grandfather have in common? The main thing they understand about his career as a DJ and producer is his Taylor Swift remix:
“My 13-year-old niece called me up, saying, ‘Uncle Christopher, this is possibly the coolest thing I have ever seen anyone do in their life.’ That would only come from accepting a remix from Taylor Swift,” Lake says with relaxed enthusiasm. Then he explains his grandfather’s reaction:
“I told [my grandfather] I was up for a Grammy nomination, and he goes, ‘What’s a Grammy?’ I told him I did a remix for Taylor Swift, and he [was shocked]. So, Taylor Swift’s global.”

READ MORE: How We Remixed Fred Again..: Tips from HAAi, Oppidan and Hamdi

Lake is one of four dance artists to put their spin on Opalite, a single from Swift’s latest album, The Life of a Showgirl (2025). The other artists are Ely Oaks, BUNT., and Skream. Remixing music that wasn’t made for the club into a DJ-ready version is often a challenge, but a challenge that carries more pressure when the song is from the only artist who is as familiar to 13-year-olds and 90-year-olds.
MusicTech spoke with Lake and Oaks about taking on the challenge of remixing the biggest pop star of this generation.
Chris Lake

What is your favorite remix of all time, and why?
Tory Amos, Professional Widow, Armand Van Helden remix. Armand’s style has truly stood the test of time. You listen back to his old records, and people are trying to emulate that today. That’s the sign of a really good sound and signature, and that’s Armand.
How did it feel to get a request to remix Taylor Swift, the undisputed biggest pop star in the world?
I’ve dedicated my life to music production and DJing, and there are lots of people who understand it. But people who don’t go to clubs just don’t really get what DJs do. They don’t get what producers do. They have no concept of it. Well, you tell them that you’re remixing Taylor Swift, and suddenly you have people’s attention. She resonates on a frequency unlike anyone else on this planet.
I don’t think it’s easy, remixing her songs. She writes beautiful, emotional pop songs, and she’s one of the best in the world to do it. I don’t think that’s necessarily the best song to be remixing, so I accepted it with hesitation, but it was a fantastic experience. It was uncomfortable for me because I wouldn’t normally do it, but I enjoyed the challenge, and I’m really happy with how the remix turned out.
Why did this make you uncomfortable compared to remixing another legacy house artist?
I was determined to find a progression and a series of sounds that could work from the verse through into the chorus, but give it a different feel and would work with the vocal. That was challenging because the verses are in [unconventional] chords, then the chorus flips to a [standard] major chord progression. It’s very poppy, very happy. When I figured that out, I was like, “Yes! This is really exciting.” That’s what I’m most proud of.
What are some key plugins, synths, or other pieces of gear you used to make your remix?
One of the things that worked really well was that I continually printed to audio anything that I was making. I’d make a complicated project, break it down to six stems, move to a new project, then start the cycle again, until I ended up on that last version. That last version, from the moment I started the beat to the finished remix, took me about two hours to get the sounds that I was using within that. I’d spent about three days putting it together.
The other thing that’s really key is loads of Overdrive. I think it’s one of the most underrated plugins in Ableton Live. It just gives vibrancy and life to the songs and makes them a bit more imperfect. It’s just really musical to me.
When you bring in the pure instrumental drop, there are a lot of really gorgeous, shimmering melodic sounds. How did you make those, and what about the original track inspired that quality?
That was a little guitar run from the original song. I don’t think it’s a majorly prominent sound in the track, but I added reverb, delay, and then put overdrive afterwards. So you’re over-driving the reverb and the delay, which makes it sound disgusting.
Ely Oaks

What do you think makes a good remix?
A great remix is done when you shine some new light on the original song, but also don’t completely change the intention and vibe of it. It’s a fine balance, and ultimately the goal is opening the song to a potential new audience.
How does your approach to remixing a pop artist compare to remixing another dance/electronic artist?
Definitely, the door is more open to explore different directions, which also makes it more difficult to find the right spot. Taylor’s vocals are in a softer range than the vocals I’m mostly working with, so that was also a challenge.
What are some key plugins, synths, or other pieces of gear you used to make your remix?
The synths are mostly Serum 2. I also like to use Ableton stock stuff. I almost overuse RC-20 Retro Color, Comeback Kid, and Valhalla Reverb for the space. I try to source as many of the internal effects from Ableton as possible, as I love the workflow, and they also sound great. My go-to Ableton effect is probably the drum bus. It‘s just amazing.
Those 3 plugins would be heard best on the synth. RC-20 is for me almost an instant “feels kinda better“ plugin, and with the Valhalla and Comeback Kid combo, you can create insane spaces immediately. Comeback Kid has a built-in ducker feature, which is amazing and keeps your mix from cluttering without any sidechaining and Send/Returns.
The original version is dancey, and Taylor Swift has plenty of dancey songs in her discography. But she’s never gone into full-on rave territory like your remix. How did it feel to take the song into a realm she’s never explored?
Honestly, it was a risk I wanted to take, and luckily it paid off. It’s a big honor. As I mentioned before, her vocal is softer than what I usually work with, so the synths are definitely a bit more melodic and softer compared to what I usually use. Honestly, it took me some tries, and the first ones sounded terrible, so I think it was quite a lucky shot.
The post How we remixed Taylor Swift: Tips and tricks from Chris Lake and Ely Oaks appeared first on MusicTech.