lun.wtf TapeSoleTapeSole: The producer-focused effect chain plugin that includes 9 essential effects with features that save time and cpu... Here's What's inside: • Analog - 7 console emulations across 7 eras, plus analog-ifying color FX and stereo tools. • EQ - 6-band parametric with dynamic EQ and a multiband stereo width mode. • Dynamics - 4 classic compressor flavors (FET, Vari-Mu, two Optos). • Drive - 8 distortion engines, from amp grit to tube warmth. • SendFX - reverb, delay, modulation and filter strips, all reorderable. • Tape - reel-to-reel saturation, wow, flutter, hiss, tape speed, and aging effects. • Vinyl - record-player grime with noise, crackle, RPM control, and wobble. • IR Loader - load your own impulse responses. • Degrade - bitcrush, sample-rate mangling and codec rot. Then it all hits the Master section which includes: • Realtime pitch shifter (with formant option). • Two styles of multi-band compression/saturation • 6-band master EQ • Limiter/Maximizer • 3-mode clipper • 5-minute recorder to capture your processed input to drag straight into your DAW. All of the essentials, under one roof. Available as VST3 + AU • Windows & macOS. Read More

The AI world is getting ‘loopy’The loop takes agentic AI a step further by authorizing a swarm of agents to work continuously in the background, endlessly.

DPA Mics Play a Crucial Role in Groundbreaking Immersive Audio Live EventsAccording to recent news from DPA Microphones, "For the worldwide anniversary tour celebrating AIR’s iconic debut album, Moon Safari, the French musical duo set out to deliver a live experience that felt as rich, precise and atmospheric as the record itself. Monitor Engineers Julien Vouillon and Florentin Convert had two goals: to recreate a sound as close as possible to the album and provide a fully immersive listening experience. To achieve this, the pair relied heavily on the clarity, precision and natural imaging of DPA Microphones. The result was a mix of solid technical innovation and audio quality that AIR’s music deserves."

“Since the rise of in-ears, a concert has to sound like the record—both at front of house and in the monitors,” Vouillon says. “AIR’s music demands that level of detail and space. The system is centered around binaural processing via spatial audio processing software (SPAT Revolution), feeding the musicians a spatially accurate, responsive ‘room’ inside their in-ears. But the immersive mix only worked with captured ambience that was stunningly clean and true. That’s where DPA came in.”

“What surprised us was how the DPA mics gave us the same drum sound every night, no matter the venue. You really hear the instruments as they are, not some interpretation of them, which is what makes the immersive mix feel like a studio recording happening live,” said Convert.

“Our goal was to get the musicians to listen to their own album, live. With the DPA 5100 and SPAT Revolution, we recovered what is always missing from classic in-ears: the natural 3D of the room, the air and the space,” added Vouillon.

According to a statement, Convert "immediately recognized the microphone as the ideal match for their approach."

“It’s discreet, easy to use and reproduces the natural 3D of the room,” he explains. “With SPAT Revolution, it adds the air and space that are always missing in classic in-ears.”

"To complement the main surround capture, the team relied on several models from DPA’s pencil microphone lineup, including the 2012 Compact Cardioid, 2015 Wide Cardioid and 2017 Shotgun Microphones for the ambience feed," they say.

According to Vouillon, “A crucial point was minimizing the delay between front-of-house and the ambience. If the system was too offset, the musicians would feel it immediately. The solution was adding a pair of DPA 2015s in ORTF stereo format facing the stage, helping musicians feel grounded in the physical space.”

Of AIR's live album release, Vouillon said that, "The vinyl was created directly from the live stereo monitor mix combined with the DPA 5100 room capture, mixed live during the performances and not reworked in the studio afterward. The only post-production step was mastering by Alex Gopher. It’s a good demonstration of how accurately the immersive monitoring system translated the live experience."

Vouillon adds, “The real refinement came when we added pink noise into the sidechain. It keeps the compression active until just the right moment, making the audience reactions feel natural and alive.” Vouillon, who long relied on other ambient microphone solutions, says the transition to DPA felt like a breakthrough. “After Florentin introduced me to the DPA mics, I was blown away. The mics have perfect transients and depth, and zero artifacts. I’ve replaced all my old habits with the DPA range.”

For more information, visit dpamicrophones.com.The post DPA Mics Play a Crucial Role in Groundbreaking Immersive Audio Live Events first appeared on Music Connection Magazine.

Music industry leaders, megastars pay tribute to Clive DavisRob Stringer, Patti Smith, Alicia Keys, the Lipmans, Merck Mercuriadis, and more pay tribute to legendary record exec
Source

Investigating Annealing as Fix for Poor CF Adhesion in 3D PrintsAfter recently publishing a few videos covering research into the poor adhesion between chopped carbon fiber (CCF) and the thermoplastic filaments as used with FDM 3D printing, some of the feedback received by [I built a thing] included the idea that the missing step to make CCF additives work was post-print annealing. Naturally this claim had to be investigated, both through the resulting physical characteristics as well as on a microscopic level in the same scanning electron microscope (SEM) as before.
Post-annealing SEM scan, showing clear voids. (Credit: I built a thing, Youtube)
Theories as to why annealing the parts would help here seem to focus on increased bonding and filling of voids in the printed CCF-infused material, while there are the typical worries with annealing such as parts warping and shrinking to also take into account as potential downsides of this treatment.
For the sample materials PETG and PETG-CF, as well as PLA and PLA-CF filaments are used, with each filament type featuring an annealed and not annealed version. These were then tested for tensile strength, stiffness and failure type, as well as dimensional accuracy and warping, before being examined under the SEM. A total of 160 samples were used, with 20 samples per material and annealing state.
Perhaps the biggest surprise here was how much PETG benefits from annealing, making it much more resilient to breaking, whereas neither PLA nor PLA-CF seemed to see much benefit. Shocking was how much worse PETG-CF performs than PETG, with the former being worse than both PLA and PLA-CF here.
In terms of dimensional accuracy, annealing caused a Z direction expansion while shrinking the samples in the  other directions. The CCF addition here actually prevented much of the shrinking and expansion, showing the first clear benefit of this additive. Yet despite annealing at right above the glass transition temperature as is proper, this would seem to be the limit of this approach in terms of practical benefits.
Compared to the previous research that focused on PLA-CF, PETG-CF would seem to make the case even more strongly that there’s no real purpose to CCF additives, especially since you can already account for parts shrinkage during annealing before printing. That there’s no improvement to the CCF and thermoplastic interface adhesion is also no mystery, considering the science behind how e.g. thermoset materials create bonds with CF.

ADDAC System’s new Four Strings Series ADDAC System's latest creation comes in the form of the Four String Series, which comprises a collection of modules that make it possible to incorporate guitar strings and pickups into a modular synth rig.

“If you’re a musician and you support this degenerate shit, you’re disgusting”: SZA calls out the “vultures” training AI on tracks without permissionLast week, The Atlantic’s AI Watchdog revealed that over 12 million tracks are being unlawfully used to in AI development. Now, multi-award winning artist SZA has discovered that 238 of her tracks are included in the “giant datasets of songs” being used to train AI – and she’s not happy about it.
Taking to her private Instagram account, NotMusicAtAllISwear, the singer-songwriter has condemned anyone supporting the use of AI in music. “If you’re a musician and you support this degenerate shit, you’re disgusting and there’s nothing you could ever say to me to make this okay,” she writes over a screenshot of the AI Watchdog search engine.

READ MORE: Gary Numan thinks AI music hype is short-lived: “It will go full circle and people will want to go back to sharing a human experience rather than just brilliantly copied one”

In a separate post, she specifically calls out Diplo. “I don’t know who needs to hear this but Diplo has equity in Suno and is actively attempting to train it on the best and brightest black minds of writers and producers,” she says.
Back in April, Diplo appeared on the Behind The Wall podcast and sung AI’s praises. Amidst his claims, the producer shockingly admitted that he prefers AI-generated voices over real singers nowadays. “I don’t even need a voice any more – I can get the best voice from AI,” he said. “I don’t need anybody to sing the song any more.”

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Of course, if more producers take a shine to AI-generated voices, that will have a severe knock on effect on real singers. And, as SZA points out, training AI on the work of black musicians such as herself is another way of the music industry undercutting and exploiting black minds. “We make up 13% of the American population yet influence the world with our sound and perspective,” she explains.
“We have no protection in legislature medical or creative – the easiest to steal from…” she continues. “Do not train AI with your genius! Fuck these weird ass vultures.”
SZA’s anger towards AI has been bubbling beneath the surface for quite some time. Back in May, the singer commented on guitarist Sophie Burrell’s Instagram post exposing an AI deepfake account cloning her performance videos.
“I am so genuinely offended,” SZA wrote in support of the guitarist. “Hurts more that streaming services and our labels won’t protect or advocate for us. We mean nothing to anyone omg.”

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The post “If you’re a musician and you support this degenerate shit, you’re disgusting”: SZA calls out the “vultures” training AI on tracks without permission appeared first on MusicTech.

OTODESK releases ANATOMY, a FREE transient sound design plugin for Windows
OTODESK has released ANATOMY, a free and open-source VST3 plugin for Windows. This is the third free plugin from OTODESK we’ve covered on BPB in June, following Ambience and Quad Morph Filter. Both received some very cool comments from the BPB community, although I especially liked Quad Morph Filter. ANATOMY is different from any transient [...]
View post: OTODESK releases ANATOMY, a FREE transient sound design plugin for Windows

Sampleson release Aeronaut Built around a custom spectral engine, Aeronaut captures and ‘freezes’ segments of incoming audio and continuously morphs them with the live input, creating evolving atmospheric sounds that follow and respond to users’ playing. 

“This is not an assembly line. I’m literally just a girl making art”: For DJ_Dave, there are no musical shortcutsAny lifelong muso knows well the joy of finding their chosen instrument: the first time you hear the growl of an analogue synth, the frets of an electric guitar. For DJ_Dave, or Sarah Davis to her friends, it was the sight of an LCD screen – blank, save for a few lines of multi-coloured text.
“There was totally a ‘click’ moment,” Dave enthuses. “I was like, ‘oh my god, this is it.’ I knew this was exactly how I wanted to make music, exactly how I wanted to express my creativity.”
DJ_Dave on the MusicTech Cover. Image: David Milan Kelly for MusicTech
What looks like creativity to Dave looks like an extremely strong online banking password to most others: (“bd bd hh bd rim bd hh bd”) is a drum sequence, and (“c2, eb3 g3 [bb3 c4]”) denotes both melody and harmony. You see, Dave is a live music coder by trade, and her instrument is Strudel. Using this open source programming environment, she’s able to conjure up a world of airy synths, angelic vocal chops, and thumping beats. Now based in Los Angeles and hard at work on her first full-length album, Dave is gearing up for a tour of the US, Europe and the UK alongside horsegiirL in the second half of the year.
If you’re wondering exactly what ‘live coding’ is, you’re not alone. Up until recently, this stuff was largely confined to experimental music meetups, academic hubs, and aptly titled ‘algoraves’ where practitioners take turns showing off their skill at manipulating command line interfaces for real-time music making.
Image: David Milan Kelly for MusicTech
“It’s an environment where you write code and the output is sound,” Dave says simply when asked to explain how it all works. Skipping all the fancy graphic user interfaces you might get in Ableton Live or Bitwig, live music coding relies on written instructions to generate everything from simple sine waves to complex sequences. “It can be any type of sound, any genre of music. My specific genre of interest has always been dance music.”
Emerging in the mid-90s as an offshoot of Europe’s Demoscene – a DIY-centric subculture where digital visual arts and computer music combine to produce weird and wonderful results – live coding has grown into a vibrant, albeit niche, community. Dave first encountered it by chance during her college years; while completing a degree in fashion she decided on a whim to enroll in a class on live coding. By the end of it, she was hooked.
“Screen-sharing is nerve-wracking… I don’t always remember to clean up my files before I perform!”
The Covid pandemic initially kept Dave from performing live, but over the coming years she built a reputation as a skilled performer – and one unafraid to push against scene norms.“I was predominantly performing outside of live coding spaces,” Dave recalls. “Not even intentionally – I also played at algoraves – but I would go play at these random clubs in New York. That just hadn’t really been done before.”
It was also the kind of music she was making: dance tunes with more than a dash of pop sensibility. Dave went from playing small NYC venues to multi-night stints at buzzy joints like The Echo in LA and even Grimes’ Met Gala afterparty. She began performing live vocals during her sets, and also to automate parts of her code, which allowed her to step away from the laptop and take centre stage when needed.
However, there’s one area where Dave holds true to the ‘traditional’ aesthetics of live coding: sharing her screen to allow the audience to see the code as it’s being written.
Image: David Milan Kelly for MusicTech
“It is nerve-wracking,” she concedes. “My coding process feels intimate, similar to how anyone would probably feel about their music production process. And I don’t always remember to clean up my files before I perform!”
Despite the understandable anxiety of having thousands watch you programme a musical algorithm on the fly, Dave emphasises that transparency lies at the very heart of live coding’s appeal. “The way it’s performed is so direct,” she states. “I’m cueing these sounds, people are watching them be triggered, hearing the music be created in real time. It’s such a cool way for audiences to see the full production process, start to finish, happening right in front of them.”
For a time, Dave experimented with bringing some of the now-standard EDM spectacle to her shows, with visual art overlays atop her lines of code. However, she’s increasingly stripping all that back to give audiences maximum insight into how the music comes to life.
Image: David Milan Kelly for MusicTech
“I make sure the code is visible as much as possible,” she says. “When I get on stage, I can almost guarantee that I’ll be performing to some people who have never seen live coding before and it’s been such an interesting learning process for me to think about how to catch them up to speed, to explain what I’m doing without speaking.”
Educating the masses isn’t just something Dave does on stage. In 2024 she co-authored an academic paper on live coding in pop music, and embarked on her Always Learning Tour of college campuses in the US, where she’d give coding classes and public lectures in the day followed by performances in the evening. As most of the tools required are free and open source, the only real obstacles to the growth of live coding are a lack of public awareness and the need to master some basic console commands – something Dave has been trying to rectify.
“There is so much room for improvisation. The random outputs, the mistakes – I’ve always embraced that”
“Not a lot of schools offer a class on live-coding music and I want to try to bring this to people where I can,” Dave explains. “I was introduced to live coding in such a helpful way: having someone sitting in front of me, telling me the history and being there to answer my questions. It was such an invaluable introduction that I’ve always been so grateful for.”
Live coding is something that typically happens in the moment – with sounds and structures often wholly created or dynamically modified on the fly. This presented something of a challenge when Dave began recording and releasing her music.
“There is so much room for improvisation,” she exclaims. “The random outputs that it’ll give me, the mistakes – I’ve always embraced that. So, in the beginning, I would record the music as raw as I could. The first three songs I put out in early 2020 were recorded straight out of my live coding environment; I didn’t structure them, and there was no mixing or anything. I just bounced them and put them on Spotify.”
Image: David Milan Kelly for MusicTech
These days, Dave leans more on DAWs for structuring her song arrangements but makes clear that everything still starts with code. “I love doing vocal chops in Strudel because every single time it sounds amazing. So, I make a vocal loop and then run that stem for a really long time, maybe for three minutes, and then take that into Logic Pro and find a section that I like. I don’t cut things up too much because I like when it sounds a little fucked up. So, there’s always these live elements present.”
As she works on her first full-length album, Dave says she’s balancing a “concerted effort to hone my sound” with a desire to break new ground. “I’m working on a lot of high-energy dance songs for the album,” she says. “But I also want to let myself go into other areas, other sub-genres that I haven’t really been able to do before.”
She’s also drawing from her experiences as a producer and a remixer. Having worked with Grimes and remixed Tove Lo but also Channel Tres, Dave says a lot of what she loves about remixing has found its way back into her own production process. “I love taking pre-existing sounds and manipulating them to sound brand new, and so I was always drawn to remixing other people’s work,” she says. “Creating the album, I was like, ‘well, if I love remixing so much, why not just remix my own songs?’ So, I would finish a track and then take part of it and remix it into a new track.”
Image: David Milan Kelly for MusicTech
In 2026, generative AI, vibe coding, and social media’s propensity to stoke controversy all make technology a contentious subject, especially in music. Despite, or perhaps because, her creativity is so intrinsically linked to computer programming, Dave is not taking a rose-tinted view of how technology writ-large is influencing the world. “I am tech positive in some ways,” she allows. “But tech just felt a lot more fun when I was younger. Growing up, I was obsessed with gadgets, with classic early-2000s technology, and the aesthetics that went along with it all. It shifted for me when I started learning about planned obsolescence, because that is some bullshit.
“We as a society have been purposefully pulled away from our own power,” Dave continues. “I mean, I know this kid who made his own WiFi router – that is the type of shit that really excites me about technology. It’s putting technology back in our hands and making it fun again.”
For Dave, the allure of live coding is the music – but also the people, the culture, and the promise that technology doesn’t have to be standardised and streamlined. The rough edges, the anarchic spirit, the individualities and idiosyncrasies that have been ironed out of the modern internet still exist in subcultures like these.
“I like when it sounds a little fucked up. There’s always these live elements present”
“What I’ve always loved about live coding is that it has these really authentic, really punk roots. It has always been this transparent interaction with technology. The people that are involved in live coding are genuinely awesome, have good morals, are smart and amazing. Being involved in this community has made me feel a lot more optimistic about tech.”
Against the pervasive background noise of AI, productivity plugins, and frictionless user experiences, there is something inspiring about an artist making digital music line by line, beat by beat.
“It always cracks me up when I get emails telling me to try some AI coding tool that will read my screen and suggest what to code next, or when people leave comments telling me that I should use blah, blah, blah because it’ll ‘streamline the process’,” Dave says, rolling her eyes. “What process? This is not a corporation. This is not an assembly line. I’m literally just a girl making art. There’s nothing to shortcut.”
Words: Clovis McEvoy
Photography: David Milan Kelly
Location: Martinsound
The post “This is not an assembly line. I’m literally just a girl making art”: For DJ_Dave, there are no musical shortcuts appeared first on MusicTech.

CapySynth synthwave synthesizer is FREE for the next few hours
CapybaraSoftware is offering CapySynth as a free download for 24 hours, with roughly 12 hours left at the time of writing. Thanks to BPB community member N. Robin for sharing this in the BPB Community. It was perfect timing. I saw the comment as soon as I woke up this morning, so I’m trying to [...]
View post: CapySynth synthwave synthesizer is FREE for the next few hours

Why Bob Dylan's Most Famous Question From 1963 Still Has No AnswerBob Dylan wrote "Blowin' in the Wind" in ten minutes in 1962. Presidents have quoted it. Protestors have sung it. Philosophers have wrestled with it. The answer is still blowing in the wind.

Xylo Audio XyloWidthXyloWidth is a professional multi-band stereo wideness and phase decorrelation tool. Video Guide Key Features : 3-Band Linkwitz-Riley Crossover Uses 4th-order (LR4) filters to split your signal into Low, Mid, and High bands. Sums perfectly flat with zero phase distortion, letting you widen highs while keeping lows tightly centered. Sustain-Only Stereo Widening Separates dry transients from sustaining reverb and pads, applying widening only to the sustain tails to preserve transient punch in the center. Mono-Safe Decorrelation All-pass filtering Cascade creates lush width out of mono tracks that sums perfectly back to mono without comb-filtering. Read More

SmallRun.net Enters the Marketplace MarketSo you have a project that you love, and everyone else loves too. People start saying “you should sell this” but where? Well, there’s a new marketplace you might want to consider called called SmallRun, aiming at makers and their, well, small production runs.
SmallRun will absolutely host your custom PCBs, on-demand 3D prints, and other traditional maker products — but they’ll also happily sell your merch, too. Along with electronics and hardware, they aim to allow you to sell products in categories like tabletop gaming, sciences, and yes, accessories/apparel.
For sellers, they offer automatic payouts and promise to take care of the taxes by integrating with Stripe. That said, they’re still working on getting the whole VAT thing set up for products imported to the EU. EU to EU sales are apparently OK. They’ll host build logs, which may drive engagement with your product. There’s even a handy tool to import your existing listings from eBay, Tindie, Lectronz, Etsy, Shopify, or Crowd Supply if you’re already in the biz. They make their money by taking a cut of your sales: eight percent, plus forty cents per listing.
Depending on your perspective, you might wonder if we need another marketplace, To that we can only say: “Let a thousand flowers bloom!” Competition should drive these marketplaces to continuously improve and we all win.
If you’re selling online, even packaging can become a project. If you’re not, but are interested in starting, our “From Project to Kit” series from ten years back remains surprisingly relevant.
Thanks to [Aron] for the tip!

Ubisoft co-founder Claude Guillemot dies in plane crashClaude Guillemot, who founded Ubisoft with his four brothers, has died at the age of 69.