BhangmeterV2 Answers The Question “Has a Nuke Gone Off?”You might think that a nuclear explosion is not something you need a detector for, but clearly not everyone agrees. [Bigcrimping] has not only built one, the BhangmeterV2, but he has its output publicly posted at hasanukegoneoff.com, in case you can’t go through your day without checking if someone has nuked Wiltshire.
The Bhangmeter is based on an off-the-shelf “nuclear event detector”, the HSN-1000L by Power Device Corporation.
The HSN 1000 Nuclear Event Detector at the heart of the build. We didn’t know this thing existed, never mind that it was still available.
Interfacing to the HSN-1000L is very easy: you give it power, and it gives you a pin that stays HIGH unless it detects the characteristic gamma ray pulse of a nuclear event. The gamma ray pulse occurs at the beginning of a “nuclear event” precedes the EMP by some microseconds, and the blast wave by perhaps many seconds, so the HSN-1000 series seems be aimed at triggering an automatic shutdown that might help preserve electronics in the event of a nuclear exchange.
[Bigcrimping] has wired the HSN-1000L to a Raspberry Pi Pico 2 W to create the BhangmeterV2. In the event of a nuclear explosion, it will log the time the nuclear event detector’s pin goes low, and the JSON log is pushed to the cloud, hopefully to a remote server that won’t be vaporized or bricked-by-EMP along with the BhangmeterV2. Since it is only detecting the gamma ray pulse, the BhangmeterV2 is only sensitive to nuclear events within line-of-sight, which is really not where you want to be relative to a nuclear event. Perhaps V3 will include other detection methods– maybe even a 3D-printed neutrino detector?
If you survive the blast this project is designed to detect, you might need a radiation detector to deal with the fallout. For identifying exactly what radionuclide contamination is present, you might want a gamma-ray spectrometer.
It’s a sad comment on the modern world that this hack feels both cold-war vintage and relevant again today. Thanks to [Tom] for the tip; if you have any projects you want to share, we’d love to hear from you whether they’d help us survive nuclear war or not.

Love ambient music? Sonicware’s LIVEN Evoke might be the perfect polyphonic synthJapanese synth brand Sonicware has unveiled its latest polyphonic synthesizer, LIVEN Evoke.
Described as a “nostalgia-evoking ambient music box” specially designed to make “acoustronic” music, LIVEN Evoke features an Acoustronic Flux Oscillator, which uses sample-based and wavetable synthesis to create “nostalgic pianos, drone strings and bizarre vibraphones” among its vast array of sonic possibilities.

READ MORE: MusicTech’s favourite plugins of 2025 — so far

Within its built-in wavetable oscillator lie 34 sample engines and 20 wavetables, which are overlaid with a noise generator for a spacious, ambient quality. LIVEN Evoke also comes equipped with a range of reverbs: “10 diverse reverbs – including the veiled ambience Mirage – for deep atmospheres”.
Like other LIVEN products, the Evoke features a four-track sequencer, allowing users to layer these expansive sounds over one another in real time. There are also 128 patterns preloaded into the hardware that are able to be extended as far as 64 beats, laying the groundwork for the longer compositional style many ambient artists, such as Arushi Jain and James Ginzburg, flaunt.

Effects are also essential to the ambient sound, and so the Evoke has a signature Grain FX: “Micro-grain slicing transforms phrases into musical glitches and evolving textures.” With five options of grain, filter, pitch, random, and reverb, the effects can hone in on specific elements created from the wide-ranging sounds and manipulate their most subtle elements into brand new musical ideas.
In terms of physical hardware, the Evoke is modelled after other pieces of hardware in the LIVEN series, offering a 27-key keyboard as well as an internal speaker and battery-powered capability for producing on the go.
The LIVEN series includes various synths, drum machines, groove boxes, and more. Some of the other pieces are the LIVEN Ambient Ø, LIVEN Texture Lab, and LIVEN Lofi-12.
The LIVEN Evoke is priced at $239/£229. Shipping begins 30 June.
Learn more at Sonicware.
The post Love ambient music? Sonicware’s LIVEN Evoke might be the perfect polyphonic synth appeared first on MusicTech.

How to find fans and build a fanbase as a musicianWith over 20,000 tracks uploaded to Spotify every day, standing out as an artist has never been harder - but also never more possible. This guide breaks down 10 essential strategies to find fans and build a fanbase as a musician.
The post How to find fans and build a fanbase as a musician appeared first on Hypebot.

All-American Rejects play House Parties to help fix live musicThe All-American Rejects play house parties to help fix what's broken in live music. Their backyard concerts and pop shows come during a summer when the band is also opening for the Jonas Brothers in major venues.
The post All-American Rejects play House Parties to help fix live music appeared first on Hypebot.

$69 Behringer Klon clones are being spotted online for over $2,000 following Bill Finnegan lawsuitIt’s not uncommon to see vintage guitar pedals listed online for considerable prices. But what about copies of vintage pedals? Well Behringer‘s Centaur Drive isn’t fake, per se; it was modelled after the legendary Klon Centaur overdrive pedal, and originally retailed for just $69. Now, in some cases, it’s going for prices similar to the original Klon. But why?
Well, it’s all due to a lawsuit filed by Bill Finnegan, creator of the original Klon Centaur, against Behringer’s parent company Music Tribe last month, in which he accused it of “blatant counterfeiting” over its Klon clone.

READ MORE: 91% of creators say they use AI in some form during their creative process, per new Epidemic Sound report

“I have filed a federal lawsuit against a well-known pedal manufacturer that is currently marketing and mass-producing a pedal that we believe blatantly infringes upon specific intellectual property owned by my company Klon LLC,” Finnegan wrote in an Instagram post.

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A post shared by Bill Finnegan (@klonllc)

Finnegan continued, “For the record, I have never been consulted in any way about this pedal, it has never been authorised by me, and I have never had any involvement whatsoever in its design, production, or marketing.”
As a result of the lawsuit and the possibility of Behringer’s Centaur Drive being discontinued, owners of the once affordable pedal are attempting to capitalise. We’ve seen listings on eBay for as much as £1,500 (approx. $2,014), while another, slightly more reasonable listing is priced at nearly 10 times the original at $500.
In its description, the latter listing reads, “Listings are getting taken down everywhere, so grab it before it disappears.”
In lawsuit court documents, “consumers expressed extensive actual confusion (that went deliberately unabated by Defendants), with many rushing to purchase Defendants’ counterfeit pedal believing Defendants are delivering on a mass scale a discounted product licensed or endorsed by Plaintiffs”.

The post $69 Behringer Klon clones are being spotted online for over $2,000 following Bill Finnegan lawsuit appeared first on MusicTech.

Cherry Audio ODC 2800Cherry Audio's ODC 2800 is an exceptional three-in-one virtual instrument that pays tribute to the legendary synth pioneer Alan R. Pearlman on the momentous 100th anniversary of his birth. This powerful synthesizer plugin draws inspiration from the revolutionary Odyssey analog duophonic synthesizer, launched by ARP Instruments in 1972. With precision-crafted and circuit-modeled DSP designs from the award-winning developer Mark Barton, ODC 2800 goes beyond merely emulating ARP's "Model 2800" synthesizer. ODC 2800 not only provides an authentic reproduction of the sound and appearance of all three versions of the original hardware, but also enhances the experience with expanded polyphony, an additional oscillator and LFO, extensive modulation options, and support for both velocity and polyphonic aftertouch. Furthermore, it features a redesigned and intuitive integrated effects suite that simplifies the sound design process and improves usability. ODC 2800 offers the ultimate sonic journey through time, connecting the past of synthesis innovation with today's essential tools for music production. ODC 2800's user interface includes matching designs for Models 2800, 2810, and 2820. You can lock the design to your favorite, and hide a lower panel for the keyboard and effects, now easily accessible through a new tray. The duophonic architecture has been upgraded to support Monophonic, Mono Legato, Duophonic, and Polyphonic modes. Users can choose from 1, 4, 8, or 16 voices, along with a unison mode. The synth supports velocity, channel aftertouch, and polyphonic aftertouch with three assignable controls. It also includes adjustable portamento settings and a CS-80-like "smart portamento" for enhanced musicality. The syncable dynamic arpeggiator includes Swing, Chance, and Feel to add degrees of randomness and a human touch to arpeggiated patterns. ODC 2800 has also been expanded to include three complete VCOs with sawtooth and square/pulse waveforms, with quantizable frequency control and extended oscillator sync routing. Each VCO has three frequency modulators (FM), including an assignable modulator offering 35 source options. Ring modulation is straightforward, and cross-modulation is now possible through assignable FM menus. The LFO options have been significantly expanded, now featuring two separate LFOs with five waveforms and options for mono and poly modes, key reset, sync, pulse width, and delay. The Sample/Hold Mixer allows for assignable modulation of the VCF and VCA, with 35 predefined modulation sources. ODC 2800's VCF emulation features three filters: the Mk I 4023 (12 dB/Oct, 2-pole), the Mk II 4035 (24 dB/Oct, 4-pole ladder), and the Mk 4075 (24 dB/Oct, 4-pole cascade). Each offers lowpass, bandpass, and highpass responses, with optional gain compensation to prevent bass loss at high resonance. A separate highpass filter is also included. The envelopes have also been expanded, with two complete ADSR envelope generators with velocity control and trimmer-style drift controls for VCO, VCF, and EG to further emulate the analog vibe. ODC 2800 features a resourceful new effects strip with accessible controls for toggling effects, soloing tracks, and adjusting the dry/wet mix. Global controls allow for enabling all effects, changing the overall level, and expanding the stereo width. The expanded effects tray includes five studio-quality pedal-style options: Distortion/EQ, Dual Phaser, Flanger/Chorus, three Delays, and five Reverbs. ODC 2800 also includes comprehensive MIDI mapping for controllers, seamless DAW integration, and over 330 professional presets across 13 categories, making it an essential virtual instrument for vintage synth lovers and modern music producers. Features: All aspects of the classic ARP Instruments Odyssey synthesizers — the 1972 Mk I 2800 series, the 1975 Mk II 2810 series, and the 1978 Mk III 2820 series — have been meticulously replicated with precise detail. Additionally, ODC 2800 has been significantly enhanced with expanded functionality and modulation options, making it the ultimate expression of the legendary synth that inspired it. Award-winning synth designer Mark Barton's proprietary DSP coding perfectly reproduces every sonic nuance and response of the original synthesizers. Introduces a new look for Cherry Audio virtual instruments with the integration of an expandable panel for more immediate access to effects settings. Over 330 professionally-designed presets in 13 categories. Monophonic, Mono Legato, Duophonic, and Polyphonic modes with 1, 4, 8, or 16 voices, and unison. Three complete VCOs, each with sawtooth and square/pulse waveforms. VCO frequency with quantize options. Extended oscillator sync routing for VCO-2 to VCO-1 or VCO-3, and VCO-2 to VCO-1 or VCO-2. Three Frequency Modulators (FM) for each VCO, including an extra assignable modulator with 35 source options. Portamento with adjustable VCO-2 and VCO-3 delay settings. Smart portamento enhances polyphonic performance in a more musical fashion. Customizable options for PPC (Proportional Pitch Control) for Pitch Bend (+/-12 semitone range) and PPC modulation (+/-7 semitone range). Noise generator with white and pink, with additional violet and brown noise colors. Ring mod, and now cross-modulation between the VCOs possible through the assignable FM menus. Greatly expanded LFO options with two discrete LFOs, each with sine, triangle, square, sawtooth, and ramp waveforms, and options for mono or poly, key reset, and sync. Additional waveshaping options with pulse width and delay amount. Sample/Hold Mixer with assignable modulation sources. VCF filter emulation based on the three versions: Rev 1 4023 (12 dB/Oct, 2-pole) from the 2800; Rev 2 4035 (24 dB/Oct, 4-pole, ladder) from the 2810; and Rev 3 4075 (24 dB/Oct, 4-pole cascade) from the 2820. Highpass filter. Lowpass, bandpass, and highpass responses on all three VCFs. Selectable gain compensation on both 4-pole filters so you don't lose bass at high resonance. Adjustable VCA drive. Individually assignable modulation controls in the mixer for VCF and VCA with 35 possible sources. Two full ADSR Envelope Generators with velocity control. Trimmer-style Drift controls for VCO, VCF, and EG. Matching UI panel designs for Models 2800, 2810, and 2820 with UI lock option and hideable panel for keyboard and effects. Syncable dynamic arpeggiator with Swing, Chance, and Feel to add degrees of randomness to arpeggiated patterns in regular, order, or random play modes. Support for velocity, channel aftertouch, and polyphonic aftertouch with compatible USB/MIDI controllers. Three distinct assignable aftertouch controls with 24 destinations. New Effects panel with persistently accessible UI controls for on/off, solo, bipolar modulator amount slider, and dry/wet mix for each effect. Global FX on/off, level, and stereo expand. Integrated studio-quality pedal-style Effects: Distortion/EQ effect, Dual 4/8-stage Phaser, Flanger/Chorus, three Echo delays, and five Reverb types. Syncable discrete Effects Modulator (FX LFO) with ramp, saw, triangle, sine, square, and random waveforms and delay. Master Volume with Limiter, and Master Tune. Standalone virtual instrument and plug-in versions included. Super accurate DAW sync. Highly optimized coding for optimal performance with ultra-low CPU load. User-adjustable oversampling control. Complete MIDI control and DAW automation for all controls, with easy-to-use MIDI learn and mapping (Preset and Global). Cherry Audio's popular Focus zoom-in feature, as well as standard UI zoom and resize via drag. Complete documentation available directly online from the instrument or in downloadable PDF format. YouTube.com/watch?v=5piA9mnEGrI Read More

Get Native Instruments FM8 for $24.50 + FREE Wave Alchemy Pulse
Plugin Boutique is currently offering a 75% discount on FM8 by Native Instruments, reducing the price to just $24.50 (regularly $99). To sweeten the deal, you’ll also get a free copy of Wave Alchemy Pulse with any purchase this month. FM8 is a powerful FM synthesizer that’s earned its legendary status for good reason. While [...]
View post: Get Native Instruments FM8 for $24.50 + FREE Wave Alchemy Pulse

AudioKit releases Synth One J6, a FREE Virtual Synthesizer for iOS
AudioKit has launched Synth One J6, a new free synth app for iPhone and iPad, inspired by classic analog hardware and powered by machine learning. If you’ve used any of AudioKit’s previous iOS instruments (like King Of FM or Retro Piano), you’ll know they lean heavily on sample-based engines with an array of synth-style controls. [...]
View post: AudioKit releases Synth One J6, a FREE Virtual Synthesizer for iOS

Why Young Men Care Less About Music and Why It Matters (A Lot)Young men care less about music and and more video games than in previous generations.. With fewer male listeners and no marketing aimed at them, is a major streaming collapse could be closer than anyone thinks?
The post Why Young Men Care Less About Music and Why It Matters (A Lot) appeared first on Hypebot.

Splice has now integrated with Pro Tools as part of a “game-changing” updateSplice is now available directly within Pro Tools as part of a “pivotal” new upgrade, meaning users now have access to its loops, FX, and one-shots without leaving the DAW.
The integration arrives as Avid launches the Pro Tools 2025.6 update. It also delivers MIDI improvements, an AI-driven Speech-to-Text tool, an expanded ARA ecosystem, more tightly integrated ADR and reconform workflows, plus a new in-app dashboard.

READ MORE: These free music-making apps for iPhone and Android are a must-have for creators

To use Splice within Pro Tools, music makers can simply drag audio clips from the Pro Tools timeline directly into Splice’s AI-powered “Search with Sound” panel to match samples by rhythm, key and tempo. You can also preview the samples and then drag them back into your session. There are over 2,500 free samples to experiment with, but you can unlock the full library via a monthly paid subscription if you wish.
Kenna Hilburn, SVP, Product at Avid, comments, “Whether producers and artists are sketching out ideas, building out tracks, or applying final touches, Pro Tools’ Splice integration provides a more powerful environment for creating music – giving users the ability to quickly find the perfect sound while staying in their creative flow.”
Kenny Ochoa, SVP of Content at Splice, also adds: “Putting Splice directly into the creative workflow is core to our mission. This integration makes it easier than ever for Pro Tools users to access our AI-powered discovery and world-class sound library – right where they’re making music.”

As for other enhancements arriving via the update, smoother MIDI creation now means that key editing tools are integrated directly into the MIDI Editor so you don’t have to switch windows. The new Speech-to-Text AI engine also helps to accelerate dialogue and music editing, and you can now search any audio file via a dedicated transcript window for speech/lyric information.
Avid’s expansion of the Pro Tools’ ARA ecosystem also brings “tighter, faster and more flexible” integration with key partners. Users can now experiment with Waves’ Sync Vx to align multiple vocal tracks, and Dreamtonics Synthesizer V – a tool for generating and sculpting vocal tracks by sketching out melodies and writing lyrics, offering a collection of recorded vocals which are licensed from real singers.
To view a full round-up of all the new features available with the Pro Tools 2025.6 software update, head over to Avid. 
The post Splice has now integrated with Pro Tools as part of a “game-changing” update appeared first on MusicTech.

Stranger Things composer Michael Stein gets hands-on with the Moog MessengerYou’ve probably heard Michael Stein’s music. Outside the world of screen composing nerds, his name might not have the instant recognition of a Zimmer or Elfman but, alongside his writing partner, Kyle Dixon, his score for Netflix’s Stranger Things has racked up over a billion hours of listening time.
The duo’s retro synth scoring style has gone beyond being an intrinsic part of The Duffer Brothers’ smash-hit show. Along the way, it earned the composers a Grammy, an Emmy, and a slot performing alongside a host of luminary composers at the inaugural edition of Trent Reznor and Atticus Ross’ new composer-centric music festival, Future Ruins. It should come as no surprise, then, that when Moog was scouting for someone to trust with its as-yet-unreleased Messenger synthesizer, Stein seemed like a safe pair of hands.
A compact-powerhouse-monosynth that promises classic analogue sounds and all the modern comforts, the synth community’s anticipation amped up around its early June release. Stein, however, had already heard the Messenger loud and clear.

How the Moog Messenger became Stein’s all-in-one synth
Initially, Stein says he set out to write some original music that would feature the new synth, but ultimately created an entire track using nothing but the Messenger. “It was very different; an edge-case kind of scenario,” Stein recalls of the writing process. “I was playing chords on other instruments, playing through the filter on the Messenger just to figure out the mood – but once I started recording, I just mono multi-tracked everything.
“Some of the chords were probably seven or eight notes,” Stein continues. “I didn’t even know if it would work as a poly synth, but I’d start with a sound, do a four minute pass, and then it’d like ‘okay, I hear it coming together.’ Just to evolve it layer by layer was a really fun way to work, honestly.”
You can hear the results of that process accompanying Messenger’s trippy promo video above. There’s rich bass tones, sci-fi leads, and pulsing percussion, but also some top-tier sound design – such as the surreal bird chirps you can hear in the track’s quieter moments. “I did all of the foley and sound effects on the Messenger, and I wouldn’t actually have been able to do that with a lot of the other synths I have,” remarks Stein. “There’s just this versatility to the filter and the architecture of the feedback and resonance boost. For a lot of those sounds, I didn’t even use the oscillators; I used everything as an FM source to the filter and then used the filter as a resonator and played the pitches of the foley on the keys.”
Image: Moog
Stein says that after spending time with Messenger, he’d now consider himself an advocate for the instrument. “It does a lot of things that I would maybe go to a modular for,” Stein says of its capabilities. “I was doing a lot of very active FM percussion with the sequencer, and that’s something I would do on the modular first, but I can achieve those results faster on this.
“To make something driving and repetitive, you have to introduce a lot of nuance to animate the sound over time,” he continues. “So, the ability to modulate the decay or the attack allows you to get nuanced expression into the patch. I can make a sound like that on the Messenger in, like, a minute. If I patched it on the modular, I’d be there 30 minutes later, still tweaking and getting lost. And I can’t keep a modular patch up very long, so I’m just gonna destroy it within a couple of days or a week. And then it’s gone.”
Michael Stein and Moog: A history
Of course, this is far from Stein’s first outing with Moog. After discovering synthesisers in his early twenties and getting “kind of obsessed”, the composer says he’s owned a number of the company’s instruments. His initial attraction to the brand? The bass, of course. “They’re always able to go one note lower and keep the harmonic content of a sub bass,” Stein enthuses. “Most things, once you go below C, it starts to disappear. On every Moog, you can go down two steps lower. You can go to A, and it still sounds harmonically there. It doesn’t flub.”
Over the years, those unbeatable bass tones have repeatedly found their way into Stranger Things, with the Micro Moog providing pads, sweeps, and rises on the show’s first season, while a Minimoog was brought on board to add some 70s prog vibes in season two. However, it’s the Mother 32 that gets cited as the most prolifically used Moog throughout the series.

“The Mother 32 has been a very, very relevant synth on Stranger Things scores,” states Stein. “It does a thing where, if you have two of them and you set their sequence time or the pattern link differently, you get these rolling, evolving, kind of Tangerine Dream style polyrhythmic sequences. They can just roll through a scene and keep it moving.”
Analogue warmth has become synonymous with Stranger Things’ most famous musical moments, and with Stein’s work as a composer more generally. “I like the interaction with it,” he says of his lifelong connection to analogue. “I tend not to save a lot of patches, I like starting from a blank canvas rather than a preset. Also, there’s something about the tuning, where you naturally have to tune them all together, and it’s based on how you feel. I like dissonance a lot, so when everything is perfect, it doesn’t feel right to me. Really, it’s just a lot easier to get what I want with analogue equipment.”
Inside Stein’s studio: The hybrid analogue-digital hub powering Stranger Things and SURVIVE
That love of analogue is evident from his recently renovated studio, which bristles with an impressive amount of patch cables, dials, rack units, and general gadgetry. At the same, Stein makes clear that he’s not an “analogue purist”, and regularly makes use of digital tools as part of his process and in the design of his studio.
“Everything has to get to the computer at some point,” Stein concedes. “So that’s easily the hub. My studio is designed so that there’s no limitation on what it can’t do, which means it takes a long time to set up. I like communication from every direction: I can get CV from the computer, all the synths can now talk back to the computer for their MIDI. I believe your studio is like an instrument itself, you have to play the room.”
We’re curious, how does a small form factor synth like Messenger slot into such a packed workspace? “I’m actually a big fan of it, and I like the form factor,” he readily replies. “It’s small and I can move it around. It reminds me very much of my Micromoog. But, because it’s got two oscillators, it’s more like a Multimoog, and then it’s got all these crazy modern probability stuff that is very now.”
Not only is the form factor and feature set a draw card for Stein, but he says one of the Messenger’s biggest strengths is its versatility. “It’s kind of a chameleon,” Stein says after a moment’s thought. “It’s somewhat neutral. It sounds like a Moog, the envelopes are snappy, and it’s got very good routing. But I like that it doesn’t have some built-in saturation or super-acidy filter where it can’t be used for everything.”
Image: Moog
What Stranger Things superfans need to know about Season 5’s musical return
When he’s not in the studio scoring alongside Kyle Dixon, the pair also make up half of the Texas-based instrumental-electronic band, SURVIVE. “It’s a little different,” Stein says of his work across the group’s four albums. “It’s instrumental, but there’s no picture, so it’s not like scoring. You need to put in a lot of little sounds and production techniques so that, sonically, it tells its own story.”
Stein says the group are sitting on easily an album’s worth of material and hopes to get it out sometime soon. However, the vast majority of his time and attention, naturally, is focused on the fifth and final season of Stranger Things.
“We’re in it,” he says of the workload. “Deep in the process and working every day, 6 to 7 days a week.”
While the composer can’t give any details regarding the plot, he hints at a musical palette that is coming full circle. “[Sonically] it has a lot of ties to the last season,” Stein allows. “It’s kind of a continuation, but it also definitely feels like it’s arching back to earlier seasons as well.”
That doesn’t mean there won’t be plenty of surprises, and Stein emphasises that the music will break out in new ways. “We’re always trying to reinvent how we approach various scenarios,” the composer affirms. “If we’re revisiting themes, then we want to make them new. So, there’s the horror stuff, the action stuff, the cute stuff, and there’s also a lot of stuff we still have no idea about – because we just aren’t there yet.”
With all possibilities on the table, it’s safe to assume that fans can expect Stein and Dixon’s score to continue breaking new ground while delivering those oh-so-nostalgic arpeggios, sizzling sweeps, and warbling pads. Who knows – we might even hear a Messenger in there somewhere.
Learn more about the Moog Messenger at moogmusic.com.
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Avid unveil Pro Tools 2025.6 Pro Tools 2025.6 features integration with Splice, a new AI-powered Speech-to-Text function, support for a number of industry-leading post-production tools, MIDI Editor improvements and much more. 

Splice x Pro Tools: Unlocking a new era of seamless creativity
Splice is now integrated into Pro Tools—discover how to search, filter, and audition Splice sounds, all synced to your project’s key and tempo.

Electric car brand to introduce the sounds of Abbey Road Studios to its vehiclesElectric car brand Polestar is set to introduce an Abbey Road Studios Mode to some of its audio systems via an over-the-air software update.
Inspired by the iconic recording studio and described as a “brand-new audio experience”, the new audio mode will be available to owners of the Polestar 3 SUV, exclusively for those fitted with the optional Bowers & Wilkins audio system.

READ MORE: New recording studio by Abbey Road, Adidas and Co-op offers “decades of audio expertise and cutting-edge gear”

Abbey Road Studios Mode brings four new sound presets, as well as an additional Producer mode which lets users tailor the sound to their liking using simple controls to alter the tonality and ambience in real time.
Each preset “draws on the sound of the control rooms and live spaces whilst taking inspiration from the studios’ original EMI-era equipment”. Each of these modes have been curated and designed by the studios’ engineers.
The four key modes include Intimate, Open, Energised, and Expansive. The Intimate preset “evokes the intimacy of sitting in the producer’s chair in the studio control room”, and delivers a warm and detailed listening experience inspired by vintage sounds. The Open preset captures the essence of the studio environment where the music is actually performed, so playback sounds as if you’re right among the artists.
Both Energised and Expansive modes are inspired by the studio’s live room, with the former providing lively playback which is “broad, energetic, and engaging”, and the latter “immersing the listener in the ambience” of the space, enhancing the depth and dimension.

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A post shared by Polestar (@polestarcars)

Michael Lohscheller, Polestar CEO, comments: “The Bowers & Wilkins sound system in Polestar 3 is already world class, but this new Abbey Road Studios Mode takes it to another level.
“Its ability to deliver an audio experience so closely inspired by the Abbey Road Studios’ sonic signature means you’d swear you were right there in the legendary London building, not driving a performance SUV. And to be able to deliver this functionality directly to our customers in an overnight OTA update can only be considered something of a smash hit.”
Find out more via Polestar, or learn about Abbey Road Studios.
The post Electric car brand to introduce the sounds of Abbey Road Studios to its vehicles appeared first on MusicTech.

Samplab releases Resynthesizer AI-Powered Sample Rebuilder Plugin
Samplab has released Resynthesizer, an AI-powered plugin that transforms one-shot samples into playable instruments using an on-device synthesis engine. Resynthesizer takes a unique approach by analyzing your audio and rebuilding it from scratch. The plugin separates the harmonic and percussive elements of a sample and lets you shape each one independently. You can adjust parameters [...]
View post: Samplab releases Resynthesizer AI-Powered Sample Rebuilder Plugin