Add some Latin groove to your mix with UJAM’s Groovemate LATIGOAre your mixes in need of a little Latin flavour? UJAM’s Groovemate LATIGO is here to deliver. Loaded with recordings of congas, shakers, maracas and more, the new virtual instrument is rammed with plenty of rhythmic Latin percussion to spice up your top-mix.
LATIGO builds on UJAM’s previous Groovemate ONE plugin, offering a more versatile, dynamic selection of percussive options to add some groove to a track. The core focus is on Latin rhythms, with the plugin boasting 9 different Latin percussive setups: Cabasa, Claps, Claves, Conga, Cowbells, Maracas, Tambourine, Tumba and Quinto.

READ MORE: “What’s currently out there isn’t good enough; we can do better”: Why AKG wants to raise the bar for budget microphones

All of LATIGO’s recordings were produced and recorded by ex-Jamiroquai member Nate Williams, and there are 460 phrase performances in 20 player styles to really capture an authentic, cohesive and human sound. All the unique phrases are also MIDI draggable.
In terms of control, LATIGO’s other improvement on the Groovemate ONE plug-in comes in its levels of depth control. Due to the recording process utilising multiple overhead and room microphones, users can move the percussion forward or backwards into the mix. There’s also six unique modes to help shape your track on the plug-in’s multichannel mix console: HiFi, Slam, Tape, Trippy, Vanilla and Vintage.

“Percussion is the icing on the cake for every drum performance – whether in indie, pop, rock, or electronic styles,” Williams explains. “It can add dynamics and emotion and help set the tone and energy. I’d be hard-pressed to find drum tracks of mine that I can’t make sound more live-like and emotionally engaging with Groovemate LATIGO.”
​Groovemate LATIGO supports VST2, VST3, AU2, and AAX formats, as well as being compatible with macOS and Windows operating systems. It’s also available at an introductory price until 30 April, with an extra $10 discount for Groovemate Loyalty members.
Groovemate LATIGO is available for an introductory price of $39 until 30 April. After, it will rise to $79. For more information, head to UJAM, and visit Plugin Boutique to grab your copy.
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Study shows “78% of musicians are now using AI” – but is everything really as it seems?“78% of professional musicians now use AI.”
When that stat landed in my inbox this week — resulting from a study surveying over 1,500 musicians on their AI use — I was stunned.
AI remains a hugely divisive topic among music producers, with a significant chunk still very much sceptical about its place in music. Damon Albarn, for example, who is currently writing the score for a movie about OpenAI, recently said it “isn’t possible for AI to make soulful music”.
There are also concerns about AI-generated music flooding streaming platforms, with a November 2025 study from Tracklib finding that over 80% of producers are against AI-generated songs.
So is it really the case that 78% of professional musicians are now using AI in their workflows? No, not quite.

READ MORE: I tested 9 of the best stem separation tools — here’s how they compare

The new study – conducted by AI-powered music platform Moises in partnership with music research firm Water & Music – concludes that it challenges “prevailing narratives about AI” and those who say AI might not be the panacea it’s sold to be.
But the small print is that 80% of the 1,525 surveyed musicians are customers of Moises. The company is built around an AI-focused music-making platform, with context-aware AI, stem separation powered by AI, stem generation with AI and AI voice conversion, with many other similar features.
This looks like a case of selection bias – those using an AI music platform are already comfortable using AI tools, and thus already have positive attitudes towards them. So, the study was framed – not necessarily intentionally – for results which skewed in favour of AI use among music producers.
A more accurate conclusion to draw would perhaps be: “Among musicians already in the AI ecosystem, 78% are regularly using AI in their work.”
So why does this matter? Moises is an AI company, and will naturally benefit from narratives showing high AI adoption rates. Human behaviour is infectious; if we see more of our peers adopting a particular behaviour, we’re more likely to follow suit. Effectively, it might be placing undue pressure on producers to adopt AI to keep up.
It may also lead investors in AI technology to be overconfident, and those in charge of AI regulation to downplay concerns about copyright and training data, assuming resistance is limited rather than widespread, and consequently making ill-informed policy decisions.
Moises logo. Credit: Moises
The Moises study isn’t the only study showing widespread AI adoption rates among producers, but conducted by a company for which AI adoption is a key motivator.
In November 2025, AI-driven audio mastering platform LANDR released its own report, which found that “87% of artists have incorporated AI into at least one part of their process”. It’s just that the 1,241 respondents were sampled from “LANDR’s global community” – existing users of an AI platform. I’m not entirely sure how the remaining 13% is accounted for – are they people who have signed up to LANDR but never used its products?
In a world placing ever-increasing pressure on news outlets to be the first to cover breaking stories, it’s all too tempting to take the headline of a press release and run an article without thoroughly questioning the data or information supplied.
A study made headlines in February when it found that of 81 popular headphone models from Bose, Samsung, Sennheiser and more, all contained hazardous, in some cases “feminising” and even cancer-causing chemicals. The study – titled The Sound of Contamination – was published by Czech non-profit environmental organisation Arnika, as part of the EU-funded ToxFree LIFE For All initiative.
The findings have led some European retailers to begin pulling headphone models from the market, but spokespeople for some of the headphone brands have questioned the legitimacy of the study.
“The study used its own testing criteria and flagged the product based on thresholds for BPA-related substances that are stricter than those typically applied to plastics used in electronic products,” said Anna Forsgren, product compliance and sustainability manager at Marshall Group.
Elsewhere, Sennheiser spokesperson Eric Palonen revealed the company contacted authors of the report “hoping to get the exact data for the Sennheiser products tested in order to verify our data and decide on next steps,” but added authors did not provide the requested data.
It’s a noble pursuit to ensure people aren’t being poisoned by their headphones. But when a study makes retailers actively pull products, and sows widespread worry among headphone users, it’s important that the conclusions are being drawn from accurate and non-biased data, and that the conditions through which the study is set up are statistically sound.
AI adoption is no doubt increasing among music products, with swathes of useful new tools constantly hitting the market, offering improvements to production workflows. But it’s worth being vigilant and not taking all studies as gospel – there’s no pressure to adopt new technologies into your workflow if you don’t actually need to
You can try out Moises’ AI-powered stem separation and voice conversion features by downloading it for free at the official Moises website.
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“It doesn’t matter if you fail, that’s part of the game”: Output CEO Gregg LehrmanOriginally a full-time composer and producer, Gregg Lehrman founded Output when he realised the tools he wanted to use didn’t yet exist. Leveraging early success to build the team, the company developed groundbreaking instruments and effects, including Rev, Movement and Signal, later embracing the cloud with Arcade, and AI with Co-Producer.
Based in California, we recently spoke with Lehrman about Output’s approach to AI in music, the future of creativity, and why a drive to solve musicians’ problems is crucial to his career.
1. Make things you love to use
“Output’s first product was never meant to be public-facing. It was something that I built for myself because I wanted a creative tool to help with my own music — I had a career as a full-time composer, producer, and sound designer and wasn’t planning on changing that. I thought , ‘How can I make something that makes my music more interesting?’ At first, we used Kontakt to build our products but, after a while, it became clear that we had to create our own platform because we wanted to do things that weren’t possible with existing tools.”
2. Embrace new technologies
“One of the core ideas behind Arcade – the first cloud-connected plugin instrument – was solving a simple problem: every time you wanted to release new samples or loops, you had to ship a whole new software product or ask people to download content from websites. So we built a system where the sounds live in the cloud and can update constantly. Happily, it was a big hit from day one. Now we’re continuing to innovate, expanding into chromatic instruments and adding AI-powered features that let people bring in their own samples and transform them into something new.”
“It doesn’t matter if you fail, that’s part of the game”
3. Support people who care about the craft
“AI is here, but Output is never going to be in the business of writing music for people; that’s not who we are. Our Co-Producer plugin uses AI to suggest samples that will complement your track by analysing your DAW project, and we’ve introduced what is basically the world’s first way to make AI variations of human-made samples with the Reimagine feature.
“We used to think of the market as ‘beginners and more serious music makers’. But now we think about it as people who care about the craft of making their own music, and people who just want the end result. Here at Output, we double down on those people pouring their own blood, sweat and tears into writing their music and showing their craft. That’s our business and that’s what we’re about.”
4. Quality makes you stand out
“If you’re making music, you’re now competing against more content than ever before. So you need to rise above it, and the first thing it takes is real craft: You have to be incredibly good and unique to stand out. Also, you need to document and showcase the humanity in your music and let the world know not only that you made it, but how you made it. People ultimately want to support other people making music. Overall quality is going to matter more than anything else.”
“We double down on those people pouring their own blood, sweat and tears into writing their music because that’s our business and that’s who we are”
5. Don’t be afraid to try and fail
“Sometimes music makers get too particular about sharing and releasing what they have. There’s a fear of embarrassment and rejection. If anybody wants to make it in music or even as an entrepreneur, they have to accept that it’s part of the process. I used to demo to get jobs scoring films or TV shows, and for every 20 projects I went up for, I didn’t get 19 of them. Having thick skin enables you to put yourself out there and not care if you fail. It doesn’t matter if you fail, that’s part of the game.”
This story appeared in the March/April 2026 issue of MusicTech Magazine.
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Signing Stories: Alex LambertDate Signed: January 2026Label: Big Loud TexasType of Music: Soul-CountryManagement: Cabell Moskal, cabell@makewake.net; Blake Ferguson, blake@makewake.net; Dylan Wright, dylan@deeprootsmgmt.comBooking: Chris Burrus, chris.burrus@caa.com; Jacob Lapidus, jacob.lapidus@caa.comPublicity: Corey Brewer, corey@bigloud.com; Rachel Heatherly,rachel@bigloud.com - Big LoudA&R: Jon Randall, Sara KnabeWeb: alex-lambert.com

Getting signed isn’t always about making strategic moves. Sometimes, it’s a random twist of fate that makes the difference. For Alex Lambert, having a famous last name was key. He’d been releasing music independently when Miranda Lambert’s assistant stumbled across his song “Cryin’ In the Rain.” She sent it to the country superstar and inquired whether the two were related. “We could be cousins, because she’s from Lindale, TX,” muses the other Lambert, who grew up in Fort Worth. “All my family is from within 30 to 45 minutes of there.”

Regardless of their blood connection, the more famous Lambert loved what she heard. As one of the architects behind Big Loud Texas, a new imprint of Nashville-based Big Loud, she was on the hunt for promising acts. Both Lamberts and the rest of the label’s squad, including fellow artist and Big Loud Texas co-founder Jon Randall, decided to meet up. “I played them a couple songs, and we were off to the races,” tells the singer.

Big Loud was one of approximately 10 labels that courted the soul country performer. Industry attention began in ’22, when Lambert had a viral moment on TikTok. But Big Loud Texas stood out, in part, because other musicians run it. After a career in flipping houses, he’d gone to L.A. to pursue music and eventually began doing whatever his team wanted. “I wasn’t staying true to myself as an artist,” he confesses. “I got burned out.” Now living in Music City, he’s determined to pursue the sounds he loves.

Also, Chris Kappy, founder of his management team Make Wake Artists, stressed that Big Loud was the best choice imaginable. “It was just obvious,” Lambert recalls. “It didn’t feel like we were making a decision. It felt like it was made for us.”

Alex Lambert’s Big Loud Texas debut comes out this year. By way of selecting which songs to put on the record, he hung out and drank tequila with Randall and Miranda Lambert at her home studio. “They knew all my demos,” remarks the crooner. Their deep familiarity with his material reassured him that he’d found the right home. The post Signing Stories: Alex Lambert first appeared on Music Connection Magazine.

SEC is no longer a 'cop on the beat‘ on crypto, says US lawmakerRepresentative Stephen Lynch voiced concerns about the direction of the SEC under Donald Trump, citing dropped investigations and enforcement actions on crypto companies.

Wikipedia cracks down on the use of AI in article writingThe site, whose policies are subject to change, has struggled with the issue of AI-generated writing.

Seeing soundsGrowing up in Mexico and Texas, Mariano Salcedo ’25 couldn’t readily indulge his passion for creating music. “There are no bands in Mexican public schools,” he says. While some families could pay for instruments and lessons, others, like Salcedo’s, were less fortunate.“I’ve always loved music,” he continues. “I was a listener.” Salcedo, the Alex Rigopulos (1992) Fellow in Music Technology and Computation, earned an BS in Artificial Intelligence and Decision Making from MIT, where he explored signal processing in machine learning and how a classical understanding of signals can inform how we understand AI. Now he’s one of five master’s students in the Music Technology and Computation Graduate Program’s inaugural cohort. The program, directed by professor of the practice in music technology Eran Egozy ’93, MNG ’95, is a collaboration between the Music and Theater Arts Section in the School of Humanities, Arts, and Social Sciences (SHASS), and the School of Engineering. It invites practitioners to study, discover, and develop new computational approaches to music. It also includes a speaker series that exposes students and the broader MIT community to music industry professionals, artists, technologists, and other researchers.Rigopulos ’92, SM ’94 is a video game designer, musician, and former CEO of Harmonix Music Systems, a company he co-founded with Egozy in 1995. Harmonix is now a part of Epic Games, where Rigopulos is the director of game development music.“MIT is where I was first able to pursue my passion for music technology decades ago, and that experience was the springboard for a long and fulfilling career,” says Rigopulos. “So, when MIT launched an advanced degree program in music technology, I was thrilled to fund a fellowship to help propel this exciting new program.”Salcedo’s research focuses on neural cellular automata (NCA), which merges classical cellular automata with machine learning techniques to grow images that can regenerate. When paired with a stimulus like music, these images can “show” sounds in action.“This approach enables anyone to create music-driven visuals while leveraging the expressive and sometimes unpredictable dynamics of self-organized systems,” Salcedo says. Through the web interface Salcedo designed, users can adjust the relationship between the music’s energy and the NCA system to create unique visual performances using any music audio stream.“I want the visuals to complement and elevate the listening experience,” he says.Egozy is enthusiastic about Salcedo’s work and his commitment to further exploring its possibilities. “He is a beautiful example of a multidisciplinary researcher who thinks deeply about how to best use technology to enhance and expand human creativity,” he says.Salcedo has been selected to deliver the student address at the 2026 Advanced Degree Ceremony for SHASS. “It’s an honor, and it’s daunting,” he says. “It feels like a huge responsibility,” though one he’s eager to embrace. His selection also pleases Egozy. “I am super excited that Marino was chosen to deliver this year’s keynote,” he enthuses. Changing gearsSalcedo began his MIT journey as a mechanical engineering (MechE) student, applying to MIT through the Questbridge program. “I heard if you like engineering and science that attending MIT would be a great choice,” he recalls. “Nerds are welcomed and embraced.” While he dutifully worked toward completing his MechE curriculum, music and technology came calling after a chance encounter with a large language model (LLM).“I was introduced to an LLM chatbot and was blown away,” he recalls. “This was something that was speaking to me. I was both awed and frightened.” After his encounter with the chatbot, Salcedo switched his major from mechanical engineering to artificial intelligence and decision-making.“I basically started over, after being two-thirds of the way through the MechE curriculum,” he says. He learned about the possibilities available with AI but also confronted some of the challenges bedeviling researchers and developers, including its potential power, ensuring its responsible use, human bias, limited access for people from underrepresented groups, and a lack of diversity among developers. He decided he might be able to change that picture.“I thought, one more person in the field could make a difference,” he says. While completing his undergraduate studies, Salcedo’s love of music resurfaced. “I began DJing at MIT and was hooked,” he says. While he hadn’t learned to play a traditional instrument, he discovered he could create engaging soundscapes with technology. “I bought a digital audio work station to help me make music,” he continues.Egozy and Salcedo met in 2024, while Salcedo completed an Undergraduate Research Opportunities Program rotation as a game developer in Egozy’s lab. “He was incredibly curious and has grown tremendously over a very short time period,” Egozy says. Egozy became an informal, although important, mentor to Salcedo. “He brings great energy and thoughtfulness to his work, and to supporting others in the [music technology and computation graduate] program,” Egozy notes.Salcedo also took a class with Egozy, 21M.385/21M.585/6.4450 (Interactive Music Systems), which further fed his appetite for the creativity he craved while also allowing him to indulge his fascination with music’s possibilities. By taking advantage of courses in the SHASS curriculum, he further developed his understanding of music theory and related technologies. “I took a class with professor Leslie Tilley, 21M.240 (Critically Thinking in Music), which helped establish a valuable framework for understanding music making,” he says, “while a class like 6.3000 (Signal Processing) helped me connect intuition with science.” Working across disciplinesWhile Salcedo is passionate about his music and his research, he’s also invested in building relationships with his fellow students. He’s a member of the fraternity Sigma Nu, where he says he “found a home and community.” He also took a MISTI trip to Chile in summer 2023, where he conducted music technology research. Salcedo praises the culture of camaraderie at MIT and is grateful for its influence on his work as a scholar. “MIT has taught me how to learn,” he says.Professors encouraged him to present his research and findings. He presented his work — Artificial Dancing Intelligence: Neural Cellular Automata for Visual Performance of Music — at the Association for the Advancement of Artificial Intelligence conference in Singapore in January 2026. Salcedo believes his research can potentially move beyond music visualization. “What if we could improve the ways we model self-organized systems?” he asks. “That is, systems like multicellular organisms, flocks of birds, or societies that interact locally but exhibit interesting behaviors.” Any system, Salcedo says, where the whole is more than the sum of its parts. Developing the technology used to design his application can potentially help answer important ethical questions regarding AI’s continued expansion and growth. The path to his work’s development is both daunting and lonely, but those challenges feed his work ethic. “It’s intimidating to pursue this path when the academy is currently focused on LLMs,” he says. “But it’s also important to explain and explore the base technology before digging into more nuanced work, which can help audiences understand it better.” Knowing that he has the support of his professors helps Salcedo maintain excitement for his ideas. “They only ask that we ground our interests in research,” he says. His investigations are impacting his work as a musician. “My music has gotten more interesting because of the classes I’m taking,” he says. He’s also interested in understanding whose music the academy and the world hears, exploring biases toward Western music in the canon and exploring how to reduce biases related to which kinds of music are valued.“The work we do as technologists is far less subjective than we’re led to believe,” he believes.Salcedo is especially grateful for the support he’s received during his time at MIT. “Program faculty encourage a variety of pursuits,” he says, “and ask us to advance our individual aims, rather than focusing on theirs.” During his time in the graduate program, he notes with enthusiasm how often he’s been challenged to pursue his ideas. Ultimately, Salcedo wants people to experience the joy he feels working at the intersection of the humanities and the sciences. Music and technology impact nearly everyone. Inviting audiences into his laboratory as participants in the creative and research processes offers the same kind of satisfaction he gets from crafting a great beat or solving for a thorny technical challenge. Helping audiences understand his work’s value fuels his drive to succeed.“I want users to feel movement and explore sounds and their impact more fully,” he says.

Looking at a bike built for the apocalypseSo-called bug out cars are a rather silly venture that serve little purpose more than snagging your jumper. The odds of a car working well through a nuclear winter are rather minimal. But what about a bicycle? On paper it’s a better choice, with extreme efficiency, reliability, and runs off whatever sustenance you can find in the barren landscape of a collapsed society. But [Seth] over at Berm Peak proved an apocalypse bike is at least as silly as a bug out car.
While a utilitarian bike fit for a cross-country trek across a nuclear wasteland can certainly be a reasonable venture, this particular bicycle is not that. This three wheeled monstrosity of a bicycle (is it still a bicycle if it has three wheels?) was built by [TOMO] for the Bespoked bike show’s apocalypse buildoff. It placed second among a number of strange bikes with features ranging from pedal driven circular saws to beer keg grills. But this particular example of apocalypse bike is easily the strangest example of the lot.

The features on this custom build are rather extensive, but the star of the show is the trailing link two wheel drive rear end. The third wheel was thrown on last minute with a random shock providing some measure of compliance to the rather unwieldy system. But while adding unnecessary complexity, the third wheel does offer the benefit of bringing along a number of spare parts on the last bikepacking trip of a lifetime. Moreover, it can be easily removed to get something resembling bicycle.
The aforementioned front of the bike while being an actual bike, is likewise a rather strange build. It’s best described as a fat-tired long nosed tall cargo bike. The removable cargo rack is quite effective in storing heavy loads by keeping the center of gravity near or below the axles, it can remain rideable with quite heavy loads. But, if ground clearance is needed, then simply remove the cargo rack, and the bike becomes a bike capable of navigating the nuclear wasteland it was made for.
While this is a silly and questionable bike, it’s certainly not the first strange bike we have seen.

Wide Blue Sound releases Tracer, a free beat-synced oscilloscope plugin
Wide Blue Sound has released Tracer, a beat-synced oscilloscope plugin that is free for a limited time. After the promo period, it will cost $39. There is no clear information about when the free offer ends, so if this sounds interesting, download it as soon as you can. To get it, you can simply enter [...]
View post: Wide Blue Sound releases Tracer, a free beat-synced oscilloscope plugin

Kreativ Sound Daft PlastiCZ Sounds — 102 Free Presets for reFX PlastiCZ (Legacy Release)Daft PlastiCZ Sounds is a collection of 102 original presets created for the reFX PlastiCZ synthesizer. This is a legacy release from Kreativ Sound — shared for archival, creative exploration, and inspiration. While PlastiCZ has been discontinued, the sounds still carry a distinct digital character — raw, synthetic, and slightly unpredictable. What's Inside – 102 handcrafted presets – Digital leads and synthetic tones – Experimental textures and sequences – Early Kreativ Sound design work. Sound Character – Raw digital timbres – Slightly unstable / lo-fi textures – Classic early VST aesthetic – Imperfect, exploratory sound design. Important. reFX PlastiCZ is a discontinued synthesizer. This soundset is provided: – for archival use – for experimentation – as a free creative resource. No updates or support are planned. Free Download. https://kreativ.gumroad.com/l/daft-free-plasticz-presets Read More

ASMR Choir from SRM Sounds Captured at the main live room at the composer’s Studio Richter Mahr facility, the collection includes four separate instruments that focus on close-miked, ‘tiny’ sounds.

Primary Wave makes strategic investment in Vietnam’s POPS Music – with plans to ramp up catalog deals in Southeast AsiaPOPS claims to be 'home to the largest catalog of Vietnamese and Indonesian music'
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Get Bloom Ensemble Strings Lite for under $1 at Plugin Boutique and claim a FREE gift
You can use the coupon code amacam8 to drop the price of Excite Audio’s Bloom Ensemble Strings Lite to under $1 at Plugin Boutique. Bloom Ensemble Strings Lite normally costs $29 and is already on sale for $19, but applying the code amacam8 at checkout brings it down to around $0.66 (the exact amount may [...]
View post: Get Bloom Ensemble Strings Lite for under $1 at Plugin Boutique and claim a FREE gift

Dynamic Range Day 2026 Friday 27 March will mark Dynamic Range Day 2026, the annual day of online activity that was started in 2010 by mastering engineer Ian Shepherd.

Your ears, your mix: Personalised Dolby Atmos headphone monitoring lands on mobileSonarworks has teamed up with Dolby to launch SoundID Tools, a free mobile app that allows you to generate Dolby Atmos personalisation profiles for headphone monitoring.
Available now on iOS and Android, SoundID Tools brings a surprisingly advanced piece of studio tech into your pocket. Using your phone’s camera to scan your head and ears, the app captures your unique physical characteristics and applies Dolby’s personalisation technology to generate a Dolby Headphone Personalisation profile – a calibration file tailored to how you perceive spatial audio.

READ MORE: A full Dolby Atmos set up for £169: Meet Majority’s new flagship Bowfell surround sound systems and soundbars

That distinction is key. Immersive audio isn’t just about speaker placement or binaural rendering. It’s shaped by the listener’s anatomy.
As David Gould, Senior Director of Content Creation and Distribution at Dolby Laboratories puts it, “Every creator’s physical characteristics are unique, which affects how they experience immersive audio over headphones. By combining Dolby’s technology with Sonarworks’ calibration expertise, the app enables more accurate Dolby Atmos monitoring.”
The process itself is designed to be frictionless. After a quick scan, the app generates a profile in minutes, ready to be loaded into the Dolby Atmos Renderer standalone app or used within supported DAWs via native Dolby Atmos rendering. No additional hardware is required beyond your phone and a pair of headphones.
Once applied, the improvements land where they matter most. Direction, distance, and height in a headphone mix become more accurately perceived, giving you greater confidence that your spatial decisions will translate. In practical terms, that means fewer surprises when checking your immersive mixes across different playback systems.
Credit: Sonarworks
The app’s promise is simple but ambitious: create a monitoring baseline that travels with you. Whether working in a professional studio or a makeshift mobile setup, the personalised profile aims to deliver consistent spatial accuracy, tonal balance, and mix confidence. No two creators hear a soundstage the same way, and SoundID Tools is built around correcting for exactly that.
For Sonarworks – whose SoundID Reference calibration software is used in over 300,000 studios worldwide – the collaboration marks a natural step into immersive workflows.
“At Sonarworks, our mission has always been to help creators hear their mixes accurately and with confidence, no matter where they work,” says Sonarworks CPO and co-founder Martins Popelis. “We are thrilled to partner with Dolby to help Dolby Atmos creators make great-sounding immersive mixes on headphones – and to deliver more value to the broad community of users who rely on SoundID Reference calibration for accuracy.”
With SoundID Tools free to download and Dolby Atmos profile creation available at no cost, personalised immersive monitoring is no longer a high-end studio luxury.
Learn more at Sonarworks.
The post Your ears, your mix: Personalised Dolby Atmos headphone monitoring lands on mobile appeared first on MusicTech.