A daring move to Germany gave Vagabon “purity” to write her first album in four yearsVagabon, AKA Lætitia Tamko, is a Cameroonian-American multi-instrumentalist and producer who has recently transitioned from making dreamy guitar-led music to dancefloor-influenced dance-tinged pop ranging from disco to drum ‘n’ bass. Her latest album, Sorry I Haven’t Called, produced by Tamko, with Teo Halm and former Vampire Weekend member Rostam Batmanglij, was released in September and followed a moment of personal grief for Vagabon. She made the album after moving from New York to the remote countryside in Germany in an attempt to overcome the grief. Influenced by German dance music while there, this album demonstrates her evolution from one genre to another, reflecting an artist embracing a new, unique vision and reclaiming her joy after a period of loss.

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In this interview, Vagabon discusses her music production and songwriting process, emphasising the symbiotic relationship between the two. She elaborates on the impact of her move to the German countryside on her creative approach and shares insights on her preferred music production plugins, which include Soundtoys’ AlterBoy and the Valhalla Shimmer. All of these plugins come together to form a new and exciting sound for Vagabon.
Sorry I Haven’t Called by Vagabon
Hey, Vagabon! How much of your time is spent producing compared to songwriting?
My songwriting and production work in tandem – I write with production in mind and in practice. I use production as a tool for my songwriting, such as formant shifting a vocal before I’ve written the words or using varispeed to slow some chords, improvise melodies, speed it back up, and discover new melodies to use that I couldn’t have thought of without the aid of varispeed.
Where is your music made?
Eighty per cent of my process needs to take place in my home studio. To make Sorry I Haven’t Called, I moved to the countryside of North Germany and set up a home studio in a beautiful wooden house with 1970s carpets and floor-to-ceiling windows. I don’t know a word of German, but that was the right atmosphere for me: quiet, private, dream-like surroundings, and almost… boredom. More generously, boredom can mean there’s no room for distraction.
Vagabon in Rostam’s studio. Image: Max Knight
How did the move affect your approach to making music?
The move to the countryside added purity to the music I was making. It served to suspend the pressure of time and making records quickly. It’s been four years since my last album, and I wanted to return to this work without the baggage of that hiatus, and Germany afforded me that.
What’s your latest plugin purchase?
Soundtoys’ Little AlterBoy. It’s a classic, but I’ve only just bought my copy. I used it on Passing Me By on the record. I really enjoy working with formant shifters and voice alterations, and AlterBoy is the best for it. It’s absolutely worth the money and very reliable. Playing with voice alteration helps me come up with new and fresh melodies I wouldn’t have otherwise considered. It’s especially useful when I’m experiencing writer’s block.
What’s the best value plugin you own?
Sketch Cassette, for sure, at only $30; I find myself using it often. I really like how expansive the tones are, and at such an accessible price. From bedroom studios to huge studios, Sketch Cassette can sit with the rest of them.
Vagabon and Rostam in the studio. Image: Max Knight
What’s the most expensive plugin you’ve ever bought?
Antares Autotune. I use it as a songwriting tool; when I’m writing a melody, I like to use Autotune to feel free to explore worlds that I may otherwise feel unable to explore with my voice. After coming up with something, I take the Autotune off and sing it again without. It just helps me with roadblocks in the process.
What’s a DAW stock plugin you use all the time?
[Laughs], Logic Pro’s Ultrabeat. I learned to program drums with Ultrabeat, and it’s not even that I prefer it; it’s just so familiar, and I can work quickly with it, and that’s good for me, at least for now.
What plugins go on your master bus without fail?
SSL4000E, Rule Tec EQ1A, keeping it pretty simple.
Vagabon and Rostam. Image: Max Knight
What plugin would your album be incomplete without?
FIX Doubler.
Do you have any secret sauce plugins?
Valhalla Shimmer.
What about a guilty pleasure plugin?
It’s not really a guilty pleasure, but Nicky Romero’s Kickstart for sidechain compression.
What do you use without fully understanding?
Sugar Bytes EFFECTRIX.
Check out Vagabon’s music via Bandcamp.
The post A daring move to Germany gave Vagabon “purity” to write her first album in four years appeared first on MusicTech.

Cherry Audio PS-3300’s is a bona fide classic Korg polysynth resurrected for a new era$49 (street price), cherryaudio.com
Cherry Audio’s relentless pace of releases still shows no signs of slowing, with its latest soft synth excellently recreating a near-mythical hardware unit of which only 50 or so were ever produced.
Released in 1977, the Korg PS-3300 cost $7,500 at the time, which adjusted for inflation is around $40,000 in today’s money. Suffice it to say, the cost and scarcity of units made it available only to a very small but elite and legendary group of musicians – Vangelis, Jean-Michel Jarre, Kraftwerk and later, Aphex Twin, to name a few.

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The real deal
Cherry worked with the Electronic Music Education and Preservation Project (EMEAPP) and its original PS-3300 to model this software version which, like all the American developer’s instruments, comes in standalone and all major plugin formats. It also features Cherry’s innovative interface layout including Focus to zoom in on and navigate the interface – particularly useful with this large and busy front panel – as well as up to 4x oversampling, tooltips and a MIDI mapping system for easy management of MIDI assignments.
The Korg PS-3300 in the private collection of EMEAPP (Electronic Music Education and Preservation Project) used by Cherry Audio to model their virtual instrument. Image: Cherry Audio
The PS-3300 has some remarkable design features which are even more impressive when you consider the era in which it was built. Not only was it a polysynth in an age of monosynths, but it has three separate ‘signal generator’ panels (what Korg called oscillators), each one a polyphonic synth in its own right. Each included 12 independently tunable, divide-down oscillator banks and an independent, discrete voltage-controlled filter, envelope generator and voltage-controlled amplifier for every note. Incredibly, this meant all 48 keys of the external keyboard could be simultaneously played with distinct articulation.

PS – it’s fat
This three-oscillator design means the synth is especially adept at fat, layered sounds, something that soon becomes clear when you start to play it. Extensive modulation capabilities and free patching mean it’s possible to create dynamic, animated and vibrant patches with multiple elements going on. The best way to think about the synth is as three identical and powerful sections that come together in the mixer and effects sections on the right-hand side. Here, you can set the volume and pan of each one as well as the overall volume, bend range and master tune.
It can be useful when getting to know the synth to pare it down to one engine by turning down the other two. This means you’re not getting multiple types of signals and can better grasp how the changes you make to a single oscillator are affecting the sound. Then, reintroduce the others when you are more familiar with it all.
The excellent introduction and walkthrough videos on Cherry’s website will give you a definite headstart – instead of trying to pick your way around the potentially daunting interface, at least to begin with.
Cherry Audio PS-3300 presets
Each of the three sections has a wealth of controls starting with a selection of six waveforms, a low-pass filter, three-peak resonators, an envelope with velocity, an amp, two modulation-generating LFOs and per-note tuning.
The resonators can be used to produce vowel and phasing tones, while the syncable modulation generators can be patched around the instrument to create movement and variation. There’s a clever virtual patch system that we’ve seen in similar designs like software-version ARP and Moog synths, where you can pick up an input or output port and drag a cable to another port to send various kinds of signal.
Like other systems, the cabling here won’t allow you to connect ‘incorrect’ ports, such as an output to an output, so incompatible ports are greyed out when dragging. What’s more unusual is the easy assignability of colours to any cable with variable transparency, to keep you sane when making lots of connections, and that clicking and holding on a connection reveals six virtual ports, meaning you can send that parameter to multiple destinations, even across the three individual sections.
This system is beautifully implemented and a nice alternative to using dropdown menus to achieve the same goal. The patching system will take some time for beginner synthesists to comprehend, since it’s a complex instrument. You can, of course, simply use the presets to experiment, but for those new to modular synthesis, a tour of Cherry Audio’s helpful video will be a worthwhile use of time.

Modern vintage
As is often the case, Cherry has added a few extra touches not found on the original. Principally, an effects section with chorus, echo with sync, three types of reverb and a master limiter.
In addition to having a bunch of their own controls, the effects can receive input from modulation and control voltage (CV) elsewhere in the synth which makes them very flexible. The voice panels are also expanded compared to the original hardware with Korg PS- or MS-style filter selection, tempo sync and temperament tuning presets. Last but not least, you can copy and paste settings between any or all of the panels, potentially saving a huge amount of effort.
Sonically, the PS-3300 is very impressive. Each voice panel can work mono or polyphonically, though we find ourselves mostly in poly mode since we love the rich, layered sounds achievable by blending all three oscillators.
Cherry Audio PS-3300 oscillators
While some of the simpler presets can sound a little generic, as soon as you venture into the layered ones, things step up a gear. In fairness, there’s plenty of useful and exciting patches in the other categories too, with some evil basses, pulsating strings and fierce leads to be found. Given that the PS is vintage, it’s not surprising to discover many sounds are reminiscent of Vangelis or of sci-fi soundtracks, but the crazy depth of editing you can perform makes it suitable for a wide range of applications, from electronic music to scoring and contemporary sound design.
There’s a lot going on in Cherry’s PS-3300 – it is, after all, a recreation of a monster, flagship synthesizer. As such, a less experienced user will want to invest some time in finding their way around but once you think of it in terms of its building blocks rather than one huge panel, it’s easier to make sense of.
There’s a 30-day demo available and then, as usual, there’s Cherry’s ‘how do they do it?’ pricing of $49 which makes it a super low-risk investment for anyone looking to add the sounds of this vintage synth, a unique and versatile polyphonic analogue rarity, to their setup.
Cherry Audio PS-3300 cable colours
Key features

Semi-modular synthesizer with virtual jack and cable system
Standalone and plugin modes
3 independent signal generator panels
Polyphonic mode with up to 24 voices of polyphony and 3 monophonic modes
Master signal mixer panel with sample & hold, general envelope generator, and two CV processors
Studio-quality integrated effects
Complete MIDI control and DAW automation for all controls
User-selectable bend range and master tune
Zoom-to-focus user interface
User-adjustable oversampling control

The post Cherry Audio PS-3300’s is a bona fide classic Korg polysynth resurrected for a new era appeared first on MusicTech.

Sonicware Lofi-12 XT on Kickstarter Sonicware are currently running a Kickstarter campaign to fund the creation of Lofi-12 XT, an advanced version of their popular Lofi-12 groovebox and sampler instrument.

3 things we might see from crypto as 2023 winds to an endDon’t be surprised if we see more investment, more regulation and more artificial intelligence defining crypto during the last two months of 2023.

Epiphone Partners with Gibson to Recreate Kirk Hammett's 1979 Flying VFor 150 years, Epiphone has been a leading innovator in instrument design. By leveraging its iconic past and leaning into the future, Epiphone has set the stage for the next era of sound for present and future generations. Heavy metal guitars don’t get more iconic than Kirk Hammett’s 1979 Gibson Flying V. Epiphone is proud to unveil its first official global release and partnership with Kirk Hammett, legendary guitarist of the multi-platinum-selling and GRAMMY® Award-winning band Metallica. In partnership with Gibson Custom Shop, Epiphone is bringing the genre-defining sound of Metallica’s early albums to every stage with the Kirk Hammett 1979 Flying V – a painstaking recreation of Kirk’s prized original, available in Ebony and Purple Metallic finishes worldwide on www.epiphone.com. “I am extremely honored to be able to put out an Epiphone Flying V today,” says Kirk Hammett. “Epiphone represents great sounding guitars at accessible prices, which is fundamentally important for up-and-coming musicians. I’m beyond pleased that I can offer the ‘79 Flying V in this capacity. It means so much to me to be able to put good guitars in the hands of young players.”  “We’re bringing the collaboration with the legendary Kirk Hammett to every stage for the first time through Epiphone, allowing every guitarist to wield the power and passion of Metallica’s music.” - Jenny Marsh, Director of Global Cultural Influence at Gibson Brands Explore the Epiphone Kirk Hammett 1979 Flying V, HERE.

Epiphone Kirk Hammett 1979 Flying V in Ebony and Purple Metallic. Metallica fans worldwide are familiar with Kirk Hammett’s 1979 Flying V. It was Kirk’s first Gibson and established his passion for Gibson guitars. Its purchase was inspired by famous Flying V players Kirk admired and because he was looking for a fuller sound. And what a sound! Kirk still plays the original guitar to this day, and used it on all the early Metallica albums, including Kill ‘Em All, Ride the Lightning, Master of Puppets, …And Justice of All, and The Black Album, making it one of the most important heavy metal guitars of all time. Now Epiphone is partnering with the Gibson Custom Shop to release the Epiphone Kirk Hammett 1979 Flying V, a meticulous recreation of Kirk’s prized original. It features a mahogany body, a one-piece mahogany neck with volute, Grover® Rotomatic® machine heads with “spade” buttons, and a custom bridge. The electronics are also top-notch, with a pair of Gibson USA Calibrated T-Type humbucker pickups wired to CTS® potentiometers and an Orange Drop® capacitor, and a Switchcraft® 3-way pickup selector toggle switch and a 1/4” output jack. A Kirk Hammett logo adorns the rear of the headstock, and a black hardshell case with a red plush interior is also included. Watch/share the following video for the Epiphone Kirk Hammett 1979 Flying V: HERE.

Epiphone Kirk Hammett 1979 Flying V in Purple Metallic.

Epiphone Kirk Hammett 1979 Flying V headstocks in Ebony and Purple Metallic.

Epiphone Kirk Hammett 1979 Flying V in its hardshell case with red plush interior. One of the most iconic rock guitarists of our generation, Kirk Hammett has been the lead guitarist and a contributing songwriter for Metallica since 1983. Before joining Metallica, he formed and named the metal band Exodus. For a deep dive into his music influences, the early days in the San Francisco metal scene, and his 37 years as the lead guitarist of Metallica, watch Gibson TV’s “Icons” series interview with Kirk Hammett. This episode of “Icons” features archival and never-before-seen photos of Metallica, with Kirk talking about touring history and personal stories about recording the group’s pivotal albums, including Kill’em All, Ride The Lightning, Master of Puppets, …And Justice For All, and The Black Album; watch and share Gibson TV’s “Icons” featuring Kirk Hammett, HERE.

WeWork reportedly on the verge of filing bankruptcy, stock plummetsWeWork is on the verge of filing for Chapter 11 bankruptcy in New Jersey, according to sources cited by The Wall Street Journal. If WeWork does indeed file, it shouldn’t come as a shock to close followers of the flexible workspace provider. WeWork warned in August in its second-quarter earnings that “substantial doubt exists about the […]
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9 music production elements common in horror themes
Discover nine songwriting and music production techniques that embody the horror genre, and then check out our collection of 50 Halloween samples on Splice.

Overloud Choptones Bogie F100 CHOPTONES BOGIE F100 - RIG LIBRARY Choptones Bogie F100 is the TH-U expansion library, created by Choptones, seeking to recreate the sound of an authentic Mesa Boogie F100*... Read More

Anghami could be delisted from the Nasdaq this week (or in the very near future)Anghami has received a 'delist determination letter' from the Nasdaq
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Overloud Hybrid Premium – IR Library for REmatrix Reverb Collection with hybrid reverb sources for unique sound textures (250 IRs). HYBRID REVERB SOURCES. UNIQUE SOUND TEXTURES. Hybrid is a Reverb Impulse library,... Read More

Bandcamp Union files Songtradr labor complaint, points to racial biasThe Bandcamp United Union has filed an unfair labor practices complaint with the National Labor Relations Board against Songtradr, who recently purchased the indie music marketplace from Epic Games. The. Continue reading
The post Bandcamp Union files Songtradr labor complaint, points to racial bias appeared first on Hypebot.

Four things we learned from Sir Lucian Grainge on Universal’s Q3 earnings call… that wasn’t ‘Merchants of Garbage’From Deezer to AI and China, UMG's leadership team discussed a number of key topics for the business
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Eventide reintroduce the Omnipressor To celebrate the 50th anniversary of their versatile Omnipressor dynamics unit, Eventide have announced an upcoming reissue that stays true to the original design. 

Rick Rubin: “The way sounds interact on a micro level to create something is the whole game”Iconic music producer and Def Jam co-founder Rick Rubin has publicly highlighted the importance of “feel” in rhythm, caused by combining two instruments.

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He makes the comments during a recent episode of his podcast, Tetragrammaton with Rick Rubin, in which he sits down with fellow hip-hop producer Kenny Beats. In the nearly two-hour conversation, they discuss swing, their musical heroes, making music visually, collecting music as teenagers and loads more. If you’re a production nerd, it’s an absolute gold mine and worth checking out.
The two are discussing drums and rhythm, when Rubin says, “I had a revelation just recently in the past few weeks: it’s all about rhythm. And when I say rhythm, I don’t mean the beat. I mean, the little internal relationships between whatever is playing, the feel between those things. I don’t think anything else matters. The way the sounds interact on a micro level to create something is the whole game.”
They go on to talk about Chris Dave, drummer, composer, and bandleader whom they both admire because of his impressively tight syncopation and unique “feel”.
“I mean, you said something to me, probably five years ago about Chris Dave,” Kenny Beats says, “and how he could play kick, snare, kick – the simplest beat in the world, and would make it 10 times more interesting than anybody else just because of his feel. And Robert Glasper has said the same thing to me about Chris Dave. Thundercat has said the same thing to me about Chris Dave.
“It’s the reason why [J] Dilla is Dilla for people, why Slayer is Slayer,” he adds.
Also in the podcast, they go on to discuss swing, with Kenny Beats saying he “sees swing and bounce visually” and that he “grew up with a grid” and instead of learning how the likes of J Dilla created a loose sense of swing by jamming into an MPC, he would zoom in to identify the nuances in rhythms within his DAW.
Subscribe to Rick Rubin’s Tetragrammaton podcast via YouTube.
The post Rick Rubin: “The way sounds interact on a micro level to create something is the whole game” appeared first on MusicTech.

Researchers find a way to use “off-the-shelf” earphones to measure heart rateThe days of using special equipment to measure heart rate could be over, as researchers have found a way to use everyday earphones instead.
Researchers at Google are using “off-the-shelf” active noise-cancelling earphones to measure heart rates, simply by using ingenuity and updated software.

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In a new research blog, spotted by 9to5 Google, the scientists explain that something called photoplethysmography (PTG) uses light pulses to measure blood activity, but has limitations. Instead, the scientists are trying a different approach called audioplethsymography (APG), which uses ultrasound to measure the heart rate.
Put simply, it works by bouncing low-intensity ultrasound waves off the ear canal and using a tiny microphone to detect how the skin surface moves as blood pumps through. For some people, it is quite common to feel your heartbeat in your ears, and this technology builds off of that.
According to the blog, the technique was “resilient” regardless of ear canal size or skin tone. This seems quite ground-breaking as dark skin tones and even dark tattoos can often cause issues with heart rate accuracy with smartwatches.
“APG enables [active noise-cancelling earbuds] to monitor a user’s physiological signals, such as heart rate and heart rate variability, without adding extra sensors or compromising battery life,” the blog explains.
The exact earbud used in this experiment is unknown, but from what the researchers describe, it can be used in any off the shelf earphone with active noise-cancelling technology.
The post Researchers find a way to use “off-the-shelf” earphones to measure heart rate appeared first on MusicTech.