Soundtoys SuperPlate was worth the waitFor over 15 years, Soundtoys’ plugin bundle has been considered by many producers as an essential tool for creative and characterful processing. Little Plate, Soundtoys basic plate reverb, was added to the collection five long years ago, leaving users twiddling their thumbs for the release of a full-featured version. Thankfully, it was worth the wait. Soundtoys SuperPlate has a wonderful sound, concise and easy to use GUI, and a few neat tricks up its sleeves.

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LittlePlate had just one reverb plate emulation and limited controls; SuperPlate gives you the option of five different plate reverb units.
These are based on the classic EMT140 (full-bodied), a Goldfoil EMT240 (darker and tighter), an Audicon (for punch and sparkle), an EcoPlate III (bright and spacious), and a Stocktronics RX 4000 (with pronounced high-frequency response).
Soundtoys really went the whole hog in the design phase, studying the unique characteristics of multiple hardware models (including five EMT 140 units), before combining them to form single algorithms.

It’s great to have multiple options in a single plugin, as each has distinctive characteristics, so you can try them all to see which works best on your audio. You also have decay times beyond the original units’ capabilities, going all the way to infinity to create epic ambiences and pads. With that in mind, it’s a shame that the shortest decay is only 0.5 seconds, meaning you can’t create super-short, room ambience sounds.
Note that SuperPlate’s decay time has an effect on the way the different frequencies die away. Much like on the hardware it emulates, faster times are tighter and brighter, and longer times have a warmer, more boomy sound.
If you have the full SoundToys V5 bundle, then you can add SuperPlate by upgrading to V5.4 for a modest upgrade cost. This also gives you several new EffectRack presets that combine the reverb with other SoundToys processors to great effect.
Alongside the plate choices, you have three preamp options for colouring the signal going into the reverb, which include a clean setting, a harmonically-rich tube preamp, and a solid-state transistor overdrive that has built-in compression to help tame transients.
Soundtoys Superplate. Image: Soundtoys
When testing on an emotive piano part, we find it especially effective at thickening the reverb and pushing the wet signal further back in the mix, and also for introducing pleasing, lo-fi warmth to the body and tail of the reverb. Frustratingly, it’s a chore to dial in the desired sound and then switch between the three drive settings.
You use the input dial to drive into the saturation, and then the output dial to rebalance the reverb signal volume. However, if you turn up the input to drive the Tube or Solid-State, and then switch to the Clean, you get a sizable volume jump. It would have been smoother for Soundtoys to implement a volume-matched amount dial for the coloured preamps, which wouldn’t affect the clean setting.
Elsewhere on the main GUI window are dials for decay, pre-delay, modulation amount, low cut and high cut, the aforementioned input and output, and a mix dial. It’s worth checking the manual here, as the mix dial doesn’t work exactly as you might expect. As you increase from 0 per cent to around 70 per cent, the dry remains unaffected and you are simply adding in more of the reverb signal; then from 70 to 100 per cent, you’re turning down the dry until it’s just the full, wet reverb sound. A little info on the GUI might have helped to avoid any confusion here for new users but, then again, maybe we should all just be reading our software manuals properly!
Although the GUI is fairly legible, it’s unfortunately not resizable, which is a common complaint aimed at Soundtoys’ plugins – as Marlon on the White Noise Studio YouTube channel says, after five years of receiving user feedback, Soundtoys shouldn’t have forgotten about this highly-requested feature.
Soundtoys Superplate. Image: Soundtoys
Of course, it wouldn’t be a true Soundtoys plugin without the ubiquitous Tweak button, which opens up the other half of the GUI with additional editing options. The main thing you’ll notice is the EQ display that shows the low-cut and high-cut filters, plus two parametric bands. The filters are linked to the two dials above on the main GUI, but here you get the additional option to switch between 6db, 12dB and 24dB slopes.
It’s especially useful to have the two adjustable parametric bands, which we’re able to use to effectively clean up some unwanted frequencies before a guitar hits the reverb, and also to make adjustments to rebalance some of the colour added by the different plate models. There’s also a handy bypass button that only bypasses the bands and not the cut filters.
Below the EQ window are controls for the modulation rate, stereo width and stereo balance. Increasing the pitch modulation on the tail can add a more dreamy quality to things like keys or pads, with slow times providing a lo-fi, tape-esque vibe, and faster times a more vibrato-like shimmer.

We’re also able to reduce piano resonances building up on longer decay times, and push the reverb sound even further back in the mix. A Width dial keeps the reverb signal in full stereo at 100 or collapses down to mono at 0. This can be used in conjunction with the Balance dial to shrink sounds down and pinpoint them more specifically in the stereo field, while retaining the reverberated character.
Our favourite feature is the Auto-Decay function. This works similarly to using sidechain to duck the reverb when the clean signal is playing, but instead of volume, it reduces the decay time. Threshold sets the level the effect kicks in, and then a Target dial controls the amount of reduction, followed by a Recovery dial to set the release time. It’s a genius idea that we found works incredibly well to help clean up transient passages on guitar, piano and vocal parts. You get to keep the overall volume and character of the reverb, but without it washing out the entire signal when more prominent parts of the dry audio are playing. Joshua Casper from Plugin Boutique rightly calls it a “must-have” once you’ve used the feature for the first time.
Aside from a few minor misgivings, SuperPlate is a fantastic and versatile plate reverb plugin. It combines high-quality algorithms, a characterful hardware-style plate sound, and warm preamp modelling, with useful digital controls that can help you quickly sculpt the perfect reverb for your mix.
It might not be the plugin you turn to for more creative reverb sound design, but for pure plate tones, it’s one of the best we’ve heard.
Key Features

Plate reverb plugin (VST2, VST3, AU, AAX Native, AAX Audiosuite)
5 plate styles
EMT140, Goldfoil EMT240, Audicon, EcoPlate III & Stocktronics RX40000
3 preamp options: clean, tube and transistor
Infinite decay
Built-in pre-delay
Modulation controls
Decay ducking feature
EQ with low cut and high cut filters and 2 parametric bands
Price: $149 (SuperPlate only), $499 (Soundtoys 5 bundle), $59 (upgrade from Soundtoys V5 to V5.4 including SuperPlate)
Contact: Soundtoys

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Laidback Luke responds to YouTuber who “became a professional DJ to prove that it’s easy”Laidback Luke has “critiqued” YouTuber Cody Ko’s video where he attempts to prove that becoming a pro DJ is easy.

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In Ko’s original video, titled I became a professional DJ to prove that it’s easy, Ko jokes that because Shaquille O’Neal and Paris Hilton became DJs, he should be able to as well. Of course, Ko had the benefit of already having an established following, a good friend in renowned EDM act Dillon Francis, and the budget to splash out on high-end Pioneer DJ gear. It’s not a bad leg-up.
However, as Luke explains, it’s not that clear-cut. “I do know that Shaq started djing in 1998 so it’s always been there for him, and I know that Paris Hilton really, really loves EDM and dance music – but it’s interesting to think how it evolves.”
Ko later responded in another video that he made a mistake calling it “easy”.
“That’s the one thing I got really wrong about the video,” Cody Ko admits. “I didn’t do enough research into Shaq’s history with music and DJing. He’s been doing it for a long time, people really respect him. I used him as an example of someone that did something else and just transitioned to DJing, but I didn’t realise he’d been doing it for a long time and he has a long history in the music scene. That was kind of a fuck up on my part.”
“One of the biggest critiques I got from DJs about this video, is that it’s really not that easy for them to get gigs,” he continues. “Obviously if you’re someone that has a name you can just book a gig, and it was something I was trying to prove.
“I do understand the criticism of a budding DJ who is just trying to get booked and doing sets at random bars and parties and trying to build their name up that they would be pissed that I just call someone up and book a gig.”
You can watch the full video below:

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Reverb Machine DrumVerse R8 The R-8 is a late 80s drum machine that combined high quality 16-bit samples with a plenty of sound-editing options and human-like grooves; it went on to become the studio drum machine... Read More

How every musician can (and should) be part of Band Shirt Day 2023The second annual Band Shirt Day has been announced for Friday, September 15th, and every musician can participate in this global charity fundraising event which celebrates the iconic band t-shirt.. Continue reading
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“I get so inspired listening to his production”: AMAKA on working with Kaytranada on new EP OasisAMAKA has released her debut EP, Oasis, today (18 August). The release marks her first solo offering since she and her sister brought R&B duo, VanJess, to a close.
Oasis was solely produced by two-time Grammy-winning producer Kaytranada, who featured VanJess on his 2019 album, Bubba, for the track Taste. We caught up with AMAKA to find out more about the project, and her time working alongside Kaytra.

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The EP is touted as a “tropical dance soundtrack” for the summer. AMAKA says of the EP, “An oasis by definition is a place you find and this oasis is one we can all find together; a vibe, an energy and a place people can escape to and let the music takes them into feeling their most confident, free and thriving self.”
She continues, “I wrote these songs on the journey to finding that place within myself and I hope listening to Oasis brings people to it too.”
We ask how this solo EP differs from her previous work with her sister in VanJess, and also what it was like to work alongside Kaytranada.
How did you find your writing process different for your AMAKA project compared to VanJess? 
“My process hasn’t changed, I think I’ve just gotten better as a writer in general. I would say it’s become more expansive, simply due to now writing with just myself in mind and having the space to explore things I never have before.”
How do Kaytranada’s productions complement your sound as AMAKA and a vocalist? 
“Beautifully and in a way that pushes me forward, I get so inspired listening to his production in a way that just makes me write between.”
Is there anything you’ve learned about your own writing and performing process during the making of OASIS?
“I’ve learned that I shouldn’t doubt my own voice anymore. I’ve been able to discover how versatile I am and I just want to now keep getting better at executing the different sides of my voice.”
Stream Oasis below:
Your browser does not support iframes. 
 

AMAKA has been teasing Oasis since March 2023 with the release of the single of the same name. The track arrived two weeks after VanJess announced their split via Instagram, which has since been revamped into AMAKA’s page.
As VanJess, sisters Ivana and Jessica Nwokike (the latter now performing as AMAKA), achieved critical acclaim with 2018 album Silk Canvas and 2021 EP, Homegrown. Throughout their discography, they worked with iconic producers such as TOKiMONSTA, GoldLink, Channel Tres, MNEK and more.
Stream AMAKA’s Oasis on your favourite streaming platform.
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SXSW panels worth voting for from Bandsintown, Rock Paper Scissors, The Orchard & moreVoting for SXSW 2024 PanelPicker is coming to a close this Sunday, August 20, and we’ve put together an extensive list of panels worthy of your consideration. Anyone can register. Continue reading
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“At the end of the day, audio processing is much more important to me than the source”: Techno artist Levon Vincent weighs in on gearElectronic artist, producer and DJ Levon Vincent has argued that audio processing is “much more important” than the source when it comes to music-making.

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Discussing his creative process in a new interview with Music Radar, Vincent says he doesn’t have a preference for vintage or modern gear as he “never saw an advantage to one or the other”.
“A nice vintage synth with some tuning stuff going on can sound pretty good, but if you layer that with the punch of software it sounds ten times better,” he explains. “Then again, software alone sounds boring and clinical half the time.”
“The only thing I must have is at least one vintage synth from the Roland Juno series. I probably paid $200 for it back then and I also got a Roland 909 for $300 and a Yamaha DX7. I don’t even need a drum machine anymore and only have my converters because I couldn’t find a buyer.
“What I must replace though is my Chandler line mixer. Right now I’m going with a Neve 5067 and a JCF Audio converter. At the end of the day, audio processing is much more important to me than the source,” he says.
Also in the interview, Vincent reveals how he typically gets started on those Techno tracks of his, saying “If I’m at a DAW I love to work with drums first, but I’ll often just sit at a piano and write the tune before any computer is involved.”
“It depends on whether I want something melody-driven or drums-driven, and it’s best to have several different approaches because I’ll generally build a whole tune out of the first motive.”
He adds, “Everything goes through Reaper. That’s the big mama. I also opened LUNA recently and think I’ll experiment with that because I’m attracted by how luxurious it feels.”

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Endlesss announce Clubs online community Clubs is a new online chat-based space within Endlesss' music creation apps that has been designed specifically for musicians to co-create and publish their music

Jungkook now has 35.5m+ monthly listeners on Spotify – over half a million more than BTS.HYBE-signed K-Pop star had 35,578,104 monthly listeners on the music streaming platform as of August 18
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How to LEGITIMATELY get a song more streams [Chris Robley of CD Baby]Don’t waste your money and risk your reputation on bot farms and other scams, and learn how to boost your music streams legitimately. by CHRIS ROBLEY from CD Baby’s DIY. Continue reading
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Armin Van Buuren DJs atop Burj Khalifa, breaks two world recordsArmin van Buuren has broken two world records by performing a DJ set on the Burj Khalifa building in Dubai, the world’s tallest building.

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The 40-minute DJ set took place on a balcony near the top of the 328-metre-tall building and consisted of the DJ, producer and label owner’s usual stadium-filling blend of electro-house and trance. A recording of the record-breaking set has been uploaded to YouTube, which you can watch below:

Armin Van Buuren’s elevating DJ set broke two world records: the highest performance atop the tallest building on the planet and the largest LED screen employed for a show. Oh yeah, we forgot to mention – the set was accompanied by mammoth audio-reactive visuals that spanned the length of the whole building.
The DJ set took place to promote the upcoming Middle East debut of UNTOLD — Dubai’s first mega festival, which will take place in February 2024. On the lineup is Alok, Alesso and Martin Garrix.
Talking of Martin Garrix, the Animals producer also has some experience in DJing on top of tall buildings. In October 2022, Garrix celebrated winning DJ Mag’s Top 100 DJs list by playing on top of the Empire State Building, becoming the first ever DJ to do so.
Neither DJ are the winner of the highest DJ set ever recorded on land, however. That feat went to Indian students Nosher Ali Khan, DJ Ghasuray, and Saad Ata Barcha, who played on the summit of the Pakistani mountain, Manglik Sar (6,050 meters) in 2021.
More cool DJ sets to have happened recently include a DJ set at Stone Henge and a set at the site of the Pyramids of Giza, both performed by Carl Cox. Nina Kraviz has delivered techno to fans on the Great Wall Of China and Paul Oakenfold once DJed at Mount Everest Base Camp.
Read more about UNTOLD festival via untold.com.
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Bertom Audio Releases FREE EQ Curve Analyzer v2.0.0
Bertom Audio releases the updated EQ Curve Analyzer v2.0.0, a freeware plugin analysis tool. Bertom Audio, if you don’t know them, are the developers of plugins like the Denoiser Classic and the Air Shelf dynamic EQ. Both of those plugins are available for free with a pay-what-you-want option, as is the topic of this post, [...]
View post: Bertom Audio Releases FREE EQ Curve Analyzer v2.0.0

Noisebud Square2 Square2 is an exceptional Equalizer/saturator that doesn't sound like anything else. With Square2 you will be able to dial in exactly the right amount of saturation and distortion to thicken,... Read More

House Of Marley launches sustainable Bamboo-made turntable, Stir It Up LuxHouse Of Marley, an eco-friendly music tech brand created in collaboration with the Marley family, has launched a sustainable wireless Bluetooth turntable called Stir It Up Lux.

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The turntable is made out of sustainable materials, so you don’t have to feel like you’re damaging the planet while dancing to your favourite records. Don’t worry about a thing.
There’s a solid bamboo plinth, a solid glass platter, a replaceable Audio-Technica 95E elliptical stylus and recyclable aluminium headshell, and a double-sided cork slipmat.
House Of Marley’s own Regrind Silicone material also features in the turntable. This is built from silicone scraps, and often can be found in House Of Marley’s slipmats, speaker backings, and wireless charger bumpers.

It’s not all about materials, however, with the Stir It Up Lux. Regarding connectivity, you can traditionally play music via headphones or through speakers thanks to a switchable pre-amp with 3.5mm aux out and RCA (phono/line) out options. The turntable also supports Bluetooth v5.3, allowing you to pair wirelessly to nearby speakers.
When it comes to sound quality, the elliptical stylus has a narrow shape with a larger contact area than conical styluses, making for improved tracking and better sound.
House Of Marley doesn’t just make sustainable turntables. In July, it released new over-ear headphones called Positive Vibration. These are made using FSC-certified wood, recyclable aluminium, and the brand’s own REWIND fabric made from organic cotton, reclaimed hemp, and recycled PET.
Looking to make your turntable setup even better for the environment? In 2022, British tech startup elasticStage introduced “the world’s first on-demand vinyl manufacturer”, a process which involves a “patent-pending” method which requires less energy, and doesn’t require PVC or harmful chemicals.
Stir It Up Lux wireless Bluetooth turntable is available for $399. For more info, visit House Of Marley.
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Meet Snapbeat, a lo-fi sampler so simple it has just 11 buttonsLooking to enter the world of lo-fi sampling? Here’s a tiny piece of instrument that could get you started.

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Dubbed Snapbeat, this cute-looking retro-styled device allows you to sample in real-time via a 3.5mm audio input by pressing any of the keys. The unit features a simple numerical display, a control knob and eight independent sound channels that can play sound at the same time, though multiple keys input is not vaild. Only one pad can trigger its sound at once.
Users can also extract a specific part of their sampled sound such as a single drum shot just by specifying start and end address. Headphones and active speakers can be connected via headphone out and analog LINE OUT, and the unit uses a USB type C connector on the board for power supply (not included).
As creator Hiro Akihabara explains, the sounds on Snapbeat “are true Lo-fi”. The device uses a Nuvoton ISD1700 voice recorder chip commonly found in sound and voice toys. The chip records analog sound directly, without analog to digital conversion, which means that “although the sampling frequency bandwidth is narrow, the sound is smooth and live.”
Fans of customisation can even DIY their own SnapBeat case using a 3D printer as the hardware is completely open source. The keys on the unit are also compatible with popular Cherry MX keyboard switches so you can easily swap them out.
As of now, Snapbeat is available as a pre-soldered board kit at $140 or in its fully assembled form at $180 for early adopters. Prices for the device will rise to $160 after 25 August for the former and $200 after 31 August for the latter.
Check out the Snapbeat in action below.

Learn more at Snapbeat.
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