BPB Giveaway: Win a FREE Copy of the Temecula DSP SST-206 Space Station Reverb Plugin
Temecula DSP has released the SST-206, a digital recreation of the legendary Space Station reverb, available for macOS and Windows. Before we dive into the details, we’ve got something special for BPB readers. We’re giving away two free copies of the SST-206 plugin. To enter, simply submit your email address via the giveaway form below. [...]
View post: BPB Giveaway: Win a FREE Copy of the Temecula DSP SST-206 Space Station Reverb Plugin

Total VI MAX 2 is IK Multimedia’s most complete collection of virtual instruments – it’s usually over £1,400, but you can get it for just £69 for a limited timeOkay – here’s an absolutely bonkers deal at Plugin Boutique: until 1 March, you can save 95 percent – yes 95 percent (over £1,300) on Total VI MAX 2, which comprises the “most complete collection ever of virtual instruments by IK Multimedia.
Normally priced at £1,439.99, for the next two weeks or so, you can get the entire collection for just £69.99. You don’t need to be a maths whizz to see that’s a ludicrous saving… But what do you actually get? Well, basically everything.
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Total VI Max 2 comprises a range of production-ready virtual instruments spanning everything from bass to drums, keyboards to orchestral sounds. “If you’re looking for award-winning sounds and amazing value, it’s all here,” says Plugin Boutique.

READ MORE: Right now, you can get Behringer’s PPG Wave synth clone for less than £500

Included is SampleTank 4 MAX – a sound and groove workstation offering over 250 GB of sounds and over 8,000 instruments. Orchestral sounds are also covered with the inclusion of Miroslav Philharmonik 2, loaded with “strings that soar, woodwinds that dance, brass the commands and a full symphony orchestra of sounds at your fingertips”.
Every producer’s arsenal needs a solid library of piano sounds, so Total VI MAX 2 comes with Pianoverse MAX, a collection of virtual versions of the “world’s finest concert-grade pianos”.
There’s also Modo Bass 2 and Modo Drum 1.5 for all your bass and drum sample needs, plus “next-level virtual organ” Hammond B-3X, and two Leslie rotary speaker emulation plugins which might just be the ticket to flavouring your guitar tone – or anything else – with that quintessential vintage Leslie sound.
Don’t wait around, this deal is insane and has a very high chance of revolutionising your production arsenal and facilitating your best productions ever.
Learn more at Plugin Boutique.
The post Total VI MAX 2 is IK Multimedia’s most complete collection of virtual instruments – it’s usually over £1,400, but you can get it for just £69 for a limited time appeared first on MusicTech.

I put the HEDD Type 20 A-Core three-way monitor against my Genelecs and now I don’t want to switch back£1,549 each: hedd.audio
Berlin brand HEDD Audio completes its range of analogue monitor speakers with an A-Core version of its Type-20 three-way monitor. The new A-Core series has a purely analogue signal path but enjoys the same, sublime inherent sound quality as the MK2 Type monitors, at a reduced cost. John Pickford was wowed by the smaller Type 05 A-Core, but how does the range’s new three-way fare?
The Type 20 A-Core is a three-way monitor meant for serious studio work: mixing, mastering and meticulous production. Although it’s a heavy beast, it has a slightly smaller woofer than most three-ways (seven inches instead of eight), so the footprint is reduced. The Type 20 is around two centimetres narrower than ADAM Audio’s A8H, and this is ultra helpful when mounting them on a desk.
Speaking of desks, unlike the MK2 series, there’s no desk filter on the A-Core, which I would have found useful as an efficient way of minimising the low-mid bump caused by placing monitors on my desk’s upper shelf. There are simple high and low shelves, though, should you want to tweak the voicing slightly — a treble lift in an acoustically-dead control room or a bass cut when monitors are placed close to a boundary, for example.

The relatively compact woofer gives a tight bass response that doesn’t overwhelm small-to-mid-sized listening environments, although there’s bass extension all the way down to 32Hz. When compared to my usual 6.5-inch Genelec M040 monitors, there’s definitely more sub-octave material that can be heard and felt. And because the cabinet is front-ported, that also helps in smaller studios where placement closer to a wall is often a necessity.
Further up the frequency range, there’s a four-inch midrange driver and then the proprietary HEDD AMT tweeter, similar in design to that found on ADAM Audio speakers (since their designs both originate from the hands of HEDD’s founder, Klaus Heinz). The three drivers are powered by a generous 300 Watts of amplification each — far exceeding the specifications of competitors in the same price bracket. So there’s plenty of power and headroom, yet lower amounts of harmonic distortion to get in the way of what you’re listening to.
Inputs are either a balanced XLR/TRS combi socket or unbalanced RCA, with a switch to toggle between them, so you could feed separate sources into each of these stereo inputs. A kit is available for mounting the monitors to brackets, using the integrated M20-sized bolt threads.
HEDD Audio Type-20 A-Core. Image: HEDD Audio
How do the Type 20 A-Cores sound?
Starting with the low end, bass instruments are tight and focused. Although initially lingering in room modes — which makes bass sound more subby than it is — a quick measurement and correction using Sonarworks reveals the full potential of these monitors. Those who really like to feel the bass might want to add a sub with larger woofers to push the air around, but with the Type 20 A-Core, the low end is truthful, without flattering exaggeration, but with stunning clarity thanks to the incredibly low levels of distortion afforded by the amount of headroom on tap.
Mids and highs are equally revealing, lacking the brittle edge of my usual Genelecs when you start to push the levels. It’s lacking a little transient detail from the mid-range driver, to my taste, though this is typically only achievable with more expensive monitors. I’m happy to report that self-noise on this model is negligible — only noticeable with your ears pressed to the tweeters. The Type 07 MK2s would have been a must-buy for me if they hadn’t been noisy, so this is a big step forward.
I don’t miss the phase linearisation DSP of the MK2 range, or screwing plugs in and out to close and open the ports. These are both welcome and useful technologies in theory, but they’re marred by not being easily accessible because the controls are all tucked away. There’s also the latency introduced with DSP, meaning you need to turn the Lineariser off when monitoring live inputs such as electric guitars through amp simulators. Plus, there’s an unspoken recognition here that users will have their own way of handling room correction, be it Sonarworks integrated within their higher-end audio interface, an affordable hardware option such as IK’s ARC Studio or Audient’s ORIA Mini, or a more sophisticated Trinnov unit.
Given the A-Core’s considerable weight, you’ll need a big desk or sturdy speaker stands. Tweeters are placed on the inside, and HEDD doesn’t recommend vertical placement. Consequently, it might be difficult to push the stereo field wide enough in tighter spaces.
Should you buy the HEDD Type 20 A-Core?
HEDD Audio Type-20 A-Core. Image: HEDD Audio
In terms of competitors, the aforementioned ADAM A8H plus Dynaudio’s Lyd 48 are frankly bargain competitors at less cost at street price, with the A8H having the added bonus of being able to host Sonarworks profiles within its DSP. Both have larger woofers, too, so if you prefer a deeper injection of bass, they might be more your thing. Another close competitor would be the Neumann KH 310 A — around £300 per side more than the Type 20 A-Core, but with additional EQ options and similarly increased bass extension, given its larger 8.25-inch woofer.
But if you want to get really serious with sound quality, a defined bass end, smooth yet extended highs, and less chance of distortion muddying the waters, then the Type 20 A-Cores are in a different league from the two less expensive competitors, especially if their eventual street price eventually makes them a little cheaper still than the Type 20 MK2s.
The Type 20 A-Cores hit the perfect balance of price and performance, and at street price, this will become an even better deal. They’re accurate, powerful and a real pleasure to listen to — so much so, I’m not looking forward to reverting back to my usual monitors.
Key features

3-way active monitor
7-inch woofer, 4-inch mid driver and AMT tweeter
3 x 300W ICEpower Class D amplifiers
Frequency range: 32 Hz – 40 kHz
Switchable XLR/TRS combi socket and RCA analogue inputs
High and low shelving EQ
Bracket mounting option
Weight: 15.4 kg per monitor
Dimensions: 280 x 358 x 338 mm

The post I put the HEDD Type 20 A-Core three-way monitor against my Genelecs and now I don’t want to switch back appeared first on MusicTech.

Sonora Cinematic releases Dark Veil Essentials, a FREE cinematic Soundbox library
Developer Sonora Cinematic has released Dark Veil Essentials, a free cinematic Soundbox library. If you’re new to Soundbox, it’s a free and highly customizable MPE sampler developed by Audiomodern. There are some excellent free Soundbox libraries from Audiomodern and third-party developers, including Ptone (Kymátika Sounds), Spectra (Audiomodern), and Drift (Sonora Cinematic). Now, Edinburgh-based Sonora Cinematic [...]
View post: Sonora Cinematic releases Dark Veil Essentials, a FREE cinematic Soundbox library

Altar of Wisdom Time SpiralTime Spiral is a creative delay plugin featuring a groundbreaking Spring BBD mode — where delay taps bounce, overshoot, and settle like real springs, creating organic modulation effects you can't get anywhere else. Spring BBD Mode Delay taps that bounce — change delay time and watch taps overshoot, bounce back and forth, creating gorgeous pitch modulation. 1 to 8 independent taps — fewer for clear spring effects, or up to 8 for swarms of evolving echoes. Weight & Tension controls — shape how springs behave: sluggish and smooth, or fast and bouncy. Spread parameters — give each tap its own personality for rich, complex textures. Ready-to-go presets — No Osc, One Slow, Medium, and Fast spring behaviors. Animated scope — watch your taps bouncing in real-time. Three Delay Modes Digital Delay — pristine, transparent delays with smooth parameter changes. BBD Mode — authentic Bucket Brigade Device emulation for warm analog character with vintage pitch wobbling. Spring BBD — physics-based spring simulation for unique organic modulation. Flexible Timing Beats — musical subdivisions synced to tempo (1/32 to whole notes, including dotted). Milliseconds — precise timing from -1000 to +1000 ms. Samples — sample-accurate control for phase tricks and comb filtering. Negative delays — push tracks ahead in your mix. Pitch mode — short delay times show musical note for Karplus-Strong effects. Ping-Pong — bouncing stereo delays for width and movement. Advanced Filtering Three filter types: One-Pole, SVF, and IIR. Low-pass, high-pass, or band-pass modes. Filter before, after, or in the feedback loop. Real-time spectrum analyzer with adjustable FFT resolution. Interactive frequency response graph (20 Hz – 20 kHz). Drive & Dynamics Drive/Saturation — from subtle warmth to gritty distortion. Built-in compressor with ducking. Hard limiter. Full metering at every stage. Professional Loudness Tools Five measurement standards: Momentary, Short Term, Integrated, True Peak, and VU. Color-coded history graphs with smart auto-scaling. Zoomable time display. Visual Feedback Animated delay scope with pitch markers (±24 semitones). Total delay display showing beats, milliseconds, and samples simultaneously. Clean, resizable interface. Perfect for: ambient textures, vintage tape delay character, rhythmic delay patterns, experimental sound design with spring physics, Karplus-Strong synthesis, and professional mixing with broadcast-standard metering. Available in AU, VST3, and CLAP formats. Works with macOS 10.13+ and Windows 10+ (64-bit). Read More

Germany‘s central bank president touts stablecoin and CBDC benefits for EUJoachim Nagel said euro-pegged stablecoins would offer the bloc more independence from US dollar-pegged coins soon to be allowed under the GENIUS Act.

A Computer That Fits Inside A Camera LensFor a long while, digital single-lens reflex (DSLR) cameras were the king of the castle for professional and amateur photography. They brought large sensors, interchangeable lenses, and professional-level viewfinders to the digital world at approachable prices, and then cemented their lead when they started being used to create video as well. They’re experiencing a bit of a decline now, though, as mirrorless cameras start to dominate, and with that comes some unique opportunities. To attach a lens meant for a DSLR to a mirrorless camera, an adapter housing must be used, and [Ancient] found a way to squeeze a computer and a programmable aperture into this tiny space.
The programmable aperture is based on an LCD screen from an old cell phone. LCD screens are generally transparent until their pixels are switched, and in most uses as displays a backer is put in place so someone can make out what is on the screen. [Ancient] is removing this backer, though, allowing the LCD to be completely transparent when switched off. The screen is placed inside this lens adapter housing in the middle of a PCB where a small computer is also placed. The computer controls the LCD via a set of buttons on the outside of the housing, allowing the photographer to use this screen as a programmable aperture.
The LCD-as-aperture has a number of interesting uses that would be impossible with a standard iris aperture. Not only can it function as a standard iris aperture, but it can do things like cycle through different areas of the image in sequence, open up arbitrary parts or close off others, and a number of other unique options. It’s worth checking out the video below, as [Ancient] demonstrates many of these effects towards the end. We’ve seen some of these effects before, although those were in lenses that were mechanically controlled instead.

Thanks to [kemfic] for the tip!

UK-based investor Independent Franchise Partners takes 3% stake in Universal Music Group worth $1.2bn+Reuter reports that the transaction makes IFP the sixth-largest shareholder in UMG
Source

Have money, will travel: a16z’s hunt for the next European unicornAccording to a16z, it has eyes around the world in order to spot companies as early as local funds might.

DS5 Multiband Compressor from Softube & Weiss Softube’s latest collaboration with Weiss delivers a new multi-band dynamics plug-in that brings together five bands of processing based on the renowned Weiss DS1-MK3.

The Live Beat: Jimmy Eat WorldArizona alt-rock mainstays Jimmy Eat World are hitting the road in a major way, unveiling a sprawling U.S., Canada, and Europe headline run in celebration of Bleed American’s 25th anniversary. The tour launches June 9 at Colorado’s iconic Red Rocks Amphitheatre and stretches into November, culminating with appearances at Vans Warped Tour in Orlando—marking the band’s long-awaited return to the festival circuit after more than two decades away.

Beyond the nostalgia, the band is approaching the milestone with renewed perspective. Drummer Zach Lind describes the run as a chance to properly thank the fans who have sustained them since the early 2000s, while frontman Jim Adkins has emphasized a more intentional, elevated live production designed to reflect years of artistic growth. Audiences can expect a full-album performance of Bleed American alongside deep cuts and surprises still under wraps.

Select dates will feature an impressive rotating lineup of special guests including Rise Against, Thrice, Motion City Soundtrack, The Get Up Kids, and Sunny Day Real Estate, among others—turning many stops into mini-festival experiences in their own right.

Originally released in 2001, Bleed American helped define a generation of alternative rock, earning platinum status in the U.S., gold in the U.K., and spawning the era-defining anthem “The Middle,” which recently crossed one billion streams on Spotify. A quarter-century later, its influence continues to echo through countless bands that followed—and this anniversary tour is shaping up to be both a victory lap and a heartfelt thank-you to the community that grew up with it.

More info and tickets here.

Photo credit: Christopher Wray-McCannThe post The Live Beat: Jimmy Eat World first appeared on Music Connection Magazine.

Amorph is a FREE plugin that turns text prompts into fully functioning instruments and effectsIndie developer team Artists in DSP have created a free text-to-DSP plugin which they say can be used to turn any text prompt into a working FX or instrument.
Meet Amorph, a free piece of software which arrives with the bold goal of “democratising audio programming”, by allowing musicians and producers to harness AI to “amplify their creative potential”.
“Amorph removes the barrier between the idea in a musician’s head and the signal in their DAW,” Artists in DSP writes. “Users simply describe the effect, and the plugin builds it for them.”

READ MORE: “We didn’t aim to make portable recording better – we aimed to define its future”: Meet the high-end, portable Isovox Pro vocal booth

An example of how the plugin might work in practice is as follows:

Prompt: User types the sound, instrument or effect they want in plain english
Generate: Amorph’s AI writes the DSP code for the idea in real time.
Play: AI-generated code allows the user to play with a fully functional effects processor or instrument

Amorph appears to be aimed chiefly at those with little to no coding knowledge, but it’s worth noting the plugin does grant “full access” to its Cmajor engine, meaning more code-savvy producers can tweak AI-generated instruments or effects, or even write them from scratch. 
“The most important feature of Amorph is freedom. You do not need to know how to code to use it,” Artists in DSP says.

Amorph is currently in its stable beta stage, and is being beta tested by Discord users to ensure it writes reliable code.
“I have spent about 20 years buying plug-ins and never really releasing anything.” One writes. “Total waste of money but now at least I can make my own ‘new toys’ without feeling guilty. [It’s] hard to describe how awesome this thing is.”
In terms of system requirements, Amorph demands MacOS 10.13 or later, or Windows 10/11 (64-bit). Artists in DSP also notes that the plugin is compatible with most major DAWs, including Ableton Live, Logic Pro, FL Studio, Reaper and Bitwig.
To download and learn more, head to Artists in DSP.
The post Amorph is a FREE plugin that turns text prompts into fully functioning instruments and effects appeared first on MusicTech.

Right now, you can get Behringer’s PPG Wave synth clone for less than £500Behringer’s Wave synth – inspired by the classic PPG Wave Hybrid synthesiser from the ’80s – is now reduced over at Thomann, and here’s your chance to get it for less than £500.
The budget gear brand launched its Wave synth back in 2024 after four years of development, and it replicates the unique architecture of the PPG Wave 2.2 and 2.3, known for their wavetable synthesis capabilities. The original can be heard across multiple classic records as it was embraced by huge artists like Depeche Mode, David Bowie, Rush, Gary Numan, and Tangerine Dream.
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Behringer’s take on the Wave is an 8-voice multi-timbral hybrid synth equipped with 16 digital oscillators, each of which can draw from 30 original factory wavetables.
This more compact, modernised version hosts 64 user-defined wavetables, each containing 64 waveforms, along with 32 user-defined transients. You can also import your own wavetables and transients via the SynthTribe app.

READ MORE: Behringer’s BM-17 Frequency Box channels the iconic Moogerfooger MF-107 – for just £99

If you need to jog your memory further on all it has to offer, you can find out more in the video below:

In other Behringer news, it recently launched the BMX, its clone of the classic Oberheim DMX drum machine. The release landed hot on the heels of its take on the Roland Juno-60, the JN-80, which landed a week prior. It had been a long time coming, as a BMX prototype was teased all the way back in March 2023. The original DMX was first released in 1980, and featured on beloved records including The Police’s Every Breath You Take and Madonna’s Holiday. 
To shop the discounted Behringer Wave, head over to Thomann now.
The post Right now, you can get Behringer’s PPG Wave synth clone for less than £500 appeared first on MusicTech.

Tracktion bring Dawesome plug-ins to Pro Tools Tracktion have announced that their entire Dawesome plug-in line-up now features AAX plug-in support, meaning that the tools and instruments are now officially supported in Pro Tools. 

“We didn’t aim to make portable recording better – we aimed to define its future”: Meet the high-end, portable Isovox Pro vocal boothSwedish vocal equipment specialist Isovox has unveiled the Isovox Pro, a new high-end vocal booth “engineered for the world’s finest voices” and designed on the back of “years of global feedback”.
With a portable design enabling use everywhere from professional studios to home recording environments, the Isovox Pro is built to “let professional microphones and signal chains truly shine”.

READ MORE: Liven up your workflow with this animal-themed Safari Audio plugin bundle for just £44

At the heart of the Isovox Pro is Isovox’s proprietary RAS (Reference Acoustic System), which, via all-new acoustic architecture, controls low-frequency build-up while maintaining clarity for “crystal-clear, punchy” vocal recordings. This is achieved via “advanced acoustic materials”, plus an optimised, non-parallel internal geometry.
Isovox says patent-pending Acoustic Gills sit at the core of this approach, and the brand’s Isomax BENS (Bass Enhancing Noise Shields) are available as add-on panels for boosting the low-end weight of vocal recordings. These panels attach magnetically to the outside of the vocal booths Acoustic Gills, allowing for effortless installation and removal.
Credit: Isovox
Measuring approximately 59 cm/23.2” (W) x 94 cm/37” (D) x 68 cm/26.8” (H) externally and 47 cm/18.5” (W) x 66 cm/26” (D) x 48 cm/18.9” (H) internally, the Isovox Pro represents a 20% increase in size over Isovox’s Isovox 2 portable vocal booth, allowing for more room for vocalists to perform within the booth itself.
A Magic Mic Pole is also included, and is adjustable in height, depth and 360-degree angle, allowing for custom positioning of any microphone within the unit. The booth also features a universal Magic Mic Holder, which provides easy setup and a sleek look “without the hassle of traditional shock mounts”.
Credit: Isovox
Additionally, the Isovox Pro features internal, rotatable LED lighting to allow a vocalist to see what they’re doing and their proximity to the mic, for example, while performing in any lighting level. There’s even an IsoFan – an “ultra-silent” active ventilation system.
“We didn’t aim to make portable recording better, but rather we aimed to define its future,” reads a bold statement from Isovox owner and CEO Philip Mayson. “Isovox Pro delivers the sound people expect from serious productions – anywhere.”
Isovox Pro is available now priced at €3,999/$3,999. For more information, head to Isovox.
The post “We didn’t aim to make portable recording better – we aimed to define its future”: Meet the high-end, portable Isovox Pro vocal booth appeared first on MusicTech.