Edison Phonograph Plays the CylindersYou might be old enough to remember record platters, but you probably aren’t old enough to remember when records were cylinders. The Edison Blue Amberol records came out in 1912 and were far superior to the earlier wax cylinders. If you had one today, how could you play it? Easy. Just build [Palingenesis’] record player. You can even hear it do its thing in the video below.
The cylinders are made of plaster with a celluloid wrapper tinted with the namesake blue color. They were more durable than the old wax records and could hold well over four minutes of sound.

The player is mostly made from wood cut with a mill or a laser. There are some bearings, fasteners, and — of course — electronics. The stylus requires some care. Conventional records use a lateral-cut groove, but these old records use a vertical-cut. That means the pickup moves up and down and has a rounder tip than a conventional needle.
Rather than try to control the motor to an exact speed, you get to set the speed with a potentiometer and see the resulting RPM on a small display. Overall, an involved but worthwhile project.
We recently looked at some players that would have been new about the same time as the blue record in the video. We don’t think you could modify one of these to play stereo, but if you do, let us know immediately!

SUPERBOOTH 25: Fresh hardware from Novation Novation have announced a fresh line-up of hardware at this year’s Superbooth, introducing four new products designed to inspire electronic musicians, live performers and producers alike. 

Arturia owners – you can now integrate Native Instruments’ NKS plugins into your Arturia hardwareArturia and Native Instruments (NI) have confirmed a new product partnership under the ongoing NKS Hardware Partner Program, making it easier to use NKS plugins with Arturia hardware.
From here on out, the mainstay NI integration technology, Native Kontrol Standard (NKS), will be integrated into Arturia hardware. So far, Arturia has confirmed that three machines will be part of the initial rollout: KeyLab MK3, KeyLab Essential MK3, and MiniLab.

READ MORE: Arturia V Collection 11: New plugins, price, V Collection Intro, and everything else you need to know

This means that users of those controllers won’t need to create custom MIDI maps to get the most out of NKS software; it’s all pre-mapped and ready to go as soon as you hook up the controller.
“Arturia is committed to designing universal MIDI controllers, built to inspire creativity without limits,” says Martin Dutasta, Director of Product at Arturia. “We’re thrilled to partner with Native Instruments on NKS integration. This initiative brings greater connectivity and a more fluid workflow, benefiting creators who rely on both ecosystems.”
“This reinforces our commitment to an open and connected music industry,” continues Simon Cross, Chief Product Officer at Native Instruments. “We’re giving musicians the freedom to explore sound without workflow limitations.”
To celebrate this burgeoning relationship, new purchasers of the three Arturia controllers listed in the partnership will receive a free copy of Komplete 15 Select. Regularly, the suite of virtual instruments and production bundles is valued at $99/€99.
This partnership is part of the ongoing series of integrations stemming from the NKS Hardware Partner Program. NI first announced the program at NAMM 2025, and now Arturia joins Akai Professional, Korg, Novation, Nektar, and M-Audio in the ability to implement NI software.
Both NI and Arturia will have displays at Superbooth 2025, taking place May 8-10 at FEZ in Berlin. Head to Arturia at booth W200 or NI at booth H130 see how NKS is works in Arturia hardware.
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Novation just launched a slew of new products at Superbooth, including a limited-edition Bass Station II with artwork from an acclaimed graphic designerNovation has unveiled a series of new products in time for this year’s Superbooth, which is currently being hosted in Berlin. The new offerings include the Launch Control XL 3 MIDI control surface, two white Launchkey MK4 keyboard controllers – in 49-key and 37-minikey formats – and a limited-edition Bass Station II designed in partnership with famed British graphic designer Ian “Swifty” Swift.

READ MORE: Moog Messenger: Everything you need to know on features, pricing, and availability

Launch Control XL 3
Credit: Novation
Building on Novation’s popular series of DAW controllers, the Launch Control XL 3 offers “hands-on performance, production and mixing workflows” with Ableton Live, Logic Pro, FL Studio, Cubase and more via eight faders, 24 endless encoders and 16 programmable buttons, each with dedicated transport controls.
Theres also a new built-in OLED display to keep the parameters front and centre while users are engaging with their chosen DAW in real-time.
Launchkey MK4
Credit: Novation
The Launchkey MK4 White is the same product as it was upon its widely-lauded release in 2024, except in a sleek new white and grey colour scheme for both the 49-key and 37-minikey versions. Users can expect all the same software additions, such as instruments and effects from Klevgrand, GForce, Orchestral Tools, Native Instruments, and Ableton Live Lite. Cubase LE is a recent addition as well.
Bass Station II Swifty Edition
Credit: Novation
And finally, the Bass Station II Swifty Edition is another aesthetic variation on a standard Novation product. Ian “Swifty” Swift has designed visuals for notable record labels like Mo’ Wax and Talkin’ Loud as well as The Face magazine. On top of this new look, the paraphonic analogue synth includes new patches from prominent artists like Legowelt, Pecq, and Maria Chiara Argirò.
Pricing and availability
In terms of pricing, the Launch Control XL 3 clocks in at £189.99, the 49-key and 37-minikey Launchkey MK4s in white are priced at £229.99 and £139.99, respectively, and the Bass Station II Swifty Edition comes in at £449.99. You can learn more and order over at Novation’s website.
Superbooth attendees can also get their hands on each new product at Novation’s booth (#0285).
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Arturia announce Native Instruments NKS integration Arturia have just announced that their KeyLab Mk3, KeyLab Essentials Mk3 and MiniLab controllers will soon be able to take control of over 2000 NKS-compatible titles via NI’s Komplete Kontrol software.

Climate Change Impact on Festivals: Fan HesitationThe extreme weather and Climate Change impact on festivals an live music is real. Fan hesitation is causing some to delay buying tickets as others choose to attend few outdoor shows overall.
The post Climate Change Impact on Festivals: Fan Hesitation appeared first on Hypebot.

Two Music Industry Grants worth applying for now!Two very different grants from music non-profits - Salt Lick Incubator and Family Alliance in Music - support musicians and music professionals.
The post Two Music Industry Grants worth applying for now! appeared first on Hypebot.

Thomann just launched its Synth Days sale – and you can get up to 80% off synths, drum machines, and pluginsThomann has officially kicked off its Synth Days sale, offering up to 80 percent off a wide selection of synthesizers, grooveboxes, drum machines, and plugins.
Running from 8 May through 18 May, the sale coincides with Berlin’s Superbooth 2025 and features over 100 deals aimed at synth enthusiasts, sound designers, and producers.

READ MORE: Plugin Boutique is hosting a massive Excite Audio sale – including all 10 Bloom plugins for just £149

Here at MusicTech, we’ve sifted through the full range of deals on offer and picked out a few of the best:
25% off Polyend Play+

Kicking things off, we’ve got the Polyend Play+, now available for £518 – a solid 25 percent discount from its usual £689 price tag. The updated groovebox expands on 2022’s original Play, boasting four synth engines (two monophonic analogue emulations, one virtual analogue polysynth, and one FM algorithm with wavetable operators), plus a 64-step sequencer with 128 patterns.
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£40 off Novation Launchkey 61 MK4
Another standout deal is the Novation Launchkey 61 MK4, reduced from £295 to £255. Key features include 16 velocity-sensitive drum pads with polyphonic aftertouch, nine faders, eight encoders for controlling plugin parameters, a generative arpeggiator, an input for connecting a sustain pedal, pitchbend and modulation wheels as well as an OLED display.
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Save £250 on the SOMA Pulsar-23
For those seeking a serious analogue percussion solution, the SOMA Pulsar-23 is now down to £1,499 from its usual £1,750 – a sizeable drop for one of the most expressive and experimental drum machines on the market.
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29% off Cherry Audio Elka-X – plugin emulation of a classic Italian analogue polysynth

On the software side, Cherry Audio’s Elka-X has its price reduced to £29 from £41. This plugin emulates the rare ELKA Synthex, an ‘80s Italian analogue polysynth used by the likes of Stevie Wonder, Keith Emerson, and Jean-Michel Jarre (who used it for his signature Laser Harp sound).
In our review, in which the synth was given an Editor’s Choice award, we said: “The Elka-X’s sonic capabilities are a bag of surprises. While it clearly has an ’80s feel, it’s definitely different from the sound of Oberheim synths and Sequential’s Prophet series from the same era.”
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Another excellent deal is the Ninja Tune x Erica Synths Zen Delay VST, which has been slashed from £67 to just £33. For the uninitiated, this plugin is a faithful reproduction of the analogue Zen delay hardware by Erica Synths, with additional bells and whistles. In our review, where the plugin scored a high 9/10, we praised the Zen Delay VST for its superb sound and the way it “expands on the hardware in meaningful and useful ways that maximise its sound design credentials.”
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The Thomann Synth Days event wraps up on 18 May at 11:59 PM CET. Deals are available while stocks last.
Check out the full range of deals over at Thomann.
The post Thomann just launched its Synth Days sale – and you can get up to 80% off synths, drum machines, and plugins appeared first on MusicTech.

Get Sampleson’s Predictor for $29 for a limited time
Sampleson recently announced the release of Predictor, a creative plugin and standalone app that learns from MIDI files to produce unique harmonic and melodic content. Predictor isn’t the developer’s first foray into machine learning; Sampleson released the AI-powered rePEDAL earlier this year. Sampleson launched Predictor with a special introductory price of $29, but it will [...]
View post: Get Sampleson’s Predictor for $29 for a limited time

Kel P: “I love producing Afrobeat so much. I guess it was unique enough that when the world heard it, they loved it too”Grammy-winning Nigerian producer, Udoma Peter Kelvin Amba, otherwise known as Kel-P to Afrobeats fans, is shifting from behind the desk to the front of the stage. The producer has worked with the likes of Burna Boy to Wizkid, generating billions of streams, and is now making a name for himself as a solo artist.

READ MORE: Clive From Accounts: “Give me a phone and I’ll happily make you tunes all day”

His latest record, Best of Both Worlds, which was released in collaboration with fellow Afrobeats bigwig Wande Coal, is hoped to make a change in which collaboration becomes more commonplace in the genre.
He talks to MusicTech about how his producing background has shaped his approach to vocal work, and his remote studio that allows him to write, record and produce beats while on the go.
Image: Press
You’ve recently stepped into the spotlight as a solo artist, building your career as a producer. How has your time behind the desk informed your approach to being in front of the microphone, and vice versa?
Being a solo artist is great. However, I find it a little bit hard to do certain things in terms of creating content, but when it comes to making the music as an artist, that is always amazing – I love the process way more than making the music as a producer.
Being a producer from the beginning helped me in shaping my sound — it allowed me to develop my music, taught me and gave me direction on how to actually make my own music. So I’m loving it, loving how I approach it, and finally being in front of the mic while also still producing.
You’ve said in previous interviews that becoming a producer was a happenstance. What was the process of learning how to become a producer? How long did it take to develop your signature style?
The process was an interesting one. I was inside of the studio for two years just making beats nonstop, trying new things and creating new beats every day. Doing that just helped me become better, faster and quicker. Right now, I could make a beat in ten minutes because I’ve been doing this for a long time.
I put in the work, and I found my own sound because I love producing Afrobeat so much and as such, I decided to stick to that and develop that as a producer for myself. I guess it was different and unique enough that when the world heard it, they loved it too.
Image: Press
Tell us a bit about your studio.
I just have a mobile setup at the moment. I travel around the world, and so I set up anywhere I am in the world. I don’t have to be in a proper recording studio to actually make music – that’s how I work. However, when I want to have the vocals cut properly, I go to a proper studio.
What’s your latest gear or plugin purchase?
The last thing I purchased was the new FL Studio plugins. It’s crazy, you could just throw in a song, and it pulls out the stems for you to use. I also bought the Waves V9 plugins, which are very good for vocals. It is super worth the mone,y and I love using them.
What’s the best free plugin you own?
I don’t think I own any free plug-ins currently; however, at the early stage of my career, I used to use Purity, Nexus and some of the internal VST plug-ins that come with FL Studio, such as GMA, FL Keys, to create beats. I also used to use the Internal and vocal plug-ins that come with Cubase, such as compressors, the de-esser, and EQ.
Image: Press
What’s been the biggest investment in your career/studio? Was it worth it? Why?
The biggest investment in my career is actually investing in myself as an artist and investing in myself to become a super-producer!
You seem to be constantly on the move, producing in different cities and locations all around the world. What does your setup look like when you’re away from home?
I travel a lot so I just have this mobile studio, which are my LAN monitors, a laptop, an SSL2+ interface and a Neumann mic. It’s nothing crazy and it means I can set up anywhere.
Sometimes I actually go to a proper recording studio and record things properly, but 80% of the time it’s just this mobile studio setup.

One of your biggest hits, One More Night, uses a sample from Dilemma, by Nelly and Kelly Rowland. Where do you find sampling inspiration? How do you make them fit into your style of music?
I grew up listening to early 2000s RnB, so I told myself that I’m going to sample pretty much every one of my favourite songs. Hopefully I get to clear everything – sometimes clearing is so difficult – but I really love that record so much.
How do you see your sound and studio evolving in the next two years?
My sound has already evolved so much over the last few years, and I can’t even explain this until my unreleased music comes out!
When it comes to studios, I’m not too crazy about building one because I’m in different countries, in different places, so I have my mobile equipment and wherever I am. I could always work in any studio in any country, so I’m not worried about building a studio.
However, I may want to change my gear soon, such as a new interface, a new microphone, buy new VST plug-ins, get new programmes, even.
Image: Press
What is one of the biggest lessons you’ve learnt from your career?
One of the biggest things I’ve learnt in life is you’ve got to grow. You can’t stay in one place — growth is necessary. It’s compulsory.
Another lesson is that you gotta put in the work, and once you’re successful, stay humble but don’t be stupid. And also, sometimes you gotta say ‘No’! You don’t have to say ‘Yes’ to everything.
The post Kel P: “I love producing Afrobeat so much. I guess it was unique enough that when the world heard it, they loved it too” appeared first on MusicTech.

Moog Messenger: Everything you need to know on features, pricing, and availabilityMoog has launched a new compact and “performance-ready” synth that promises to “deliver the iconic Moog sound through a modern lens”.
The new product, Messenger, is a monophonic analogue synth suited to both beginners and seasoned pros. It mixes analogue warmth with innovative functionality, and it has an intuitive hands-on interface suited to players of all levels. The synth was shortly teased by the brand earlier this month (6 May), with more details landing just in time for Superbooth.

READ MORE: The Bob Moog Foundation is hosting a raffle for a Geddy Lee Minimoog Model D – here’s how to enter

According to Moog, Messenger seamlessly integrates into any studio, live performance setup, or modular rig. On the whole, it seems the iconic brand is keen to push that this new launch represents a “significant evolution” in its synth lineage, introducing “new sonic possibilities and enhanced playability”  so, let’s get into some of the features that make this possible.
Key features
Messenger has the DNA of other iconic Moog monosynths, such as the Minimoog Model D, Voyager, Grandmother, and Subsequent 37. It has two continuously variable-shape voltage-controlled oscillators (VCOs) with unique hybrid wavefolders, sync, and frequency modulation capabilities. There’s also a sub-oscillator with a continuously variable waveshape to further add “deep, powerful low-end”.
The famed Moog transistor ladder filter has also been reimagined for the Messenger, with a unique pole-mixing design offering four-pole low-pass, two-pole low-pass, band-pass, and high-pass responses. A resonance bass compensation (RES BASS) switch is also on board to preserve low-end power at high resonance settings. The classic response is also available.
Further features include:

32 semi-weighted, full-size keys with expressive control, plus 256 presets
Knob-per-function control scheme
64-step sequencer with probability-based generative behaviour and parameter recording
“Versatile” arpeggiator offering multiple pattern modes and rhythmic programming
Two loopable ADSR envelopes with velocity responsiveness and multi-trigger capabilities, along with two LFOs (one variable shape with sync and reset, and one triangle-wave tied to the modulation wheel) to provide “extensive modulation options for creative sound design”
Six analogue control voltage (CV) patch points, an external audio input to the filter, expression and sustain pedal inputs, and MIDI In/Out via both five-pin DIN and USB-C, ensuring compatibility with DAWs, modular systems, and other hardware synths

Pricing and availability
Messenger will be available at select retailers globally from 2 June 2025, and will be priced at $799 USD. If you’re heading to Superbooth this May, you can find Moog at booth 0245 to catch an early glimpse.
Image: Moog
What does Moog have to say?
“With Messenger, we aim to honour Moog’s rich heritage while embracing the future of analogue synthesis,” says Joe Richardson, Moog Music President and inMusic EVP, Chief Commercial Officer. “This instrument is crafted for musicians and producers seeking a portable, powerful monosynth that delivers the iconic Moog sound, enhanced with modern features and intuitive controls.”
Erik Norlander, Director of Keyboard Product Development at inMusic, adds: “Messenger embodies our commitment to advancing analogue synthesis while staying true to the Moog legacy and innovative spirit of Dr. Robert Moog. Our goal was to create a synthesiser that invites immediate exploration – welcoming first-time Moog players and offering the depth and expressiveness that experienced musicians expect. With wavefolding oscillators, a dynamic shape sub-oscillator, a next-generation ladder filter, and comprehensive connectivity options, Messenger is as inspiring as it is accessible.”
Head over to Moog to find out more about Messenger, or view the full list of exhibitors at this year’s Superbooth event.
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Robinhood plans blockchain for US asset trading in Europe — ReportBrokerage fintech Robinhood is reportedly developing a blockchain network that will enable retail investors in Europe to trade US securities.According to a May 7 Bloomberg report citing sources familiar with the matter, the move seeks to expand the company's local presence by offering trading of tokenized securities, such as stocks. Two crypto firms, Arbitrum and the Solana Foundation, are reportedly vying to become partners in the project. Tokenization is the process of turning real-world assets, like stocks, real estate, or commodities, into digital tokens that can be traded on a blockchain.Tokenizing securities instead of providing direct exposure can offer several advantages: reduced costs by eliminating traditional financial infrastructure, enhanced accessibility, faster settlement times, and quicker transactions. More brokerages and investment firms are exploring asset tokenization.Robinhood has been preparing to enter the European market. In April 2025, it acquired a brokerage license in Lithuania that allows the firm to offer investment services throughout the European Union. Robinhood has also inked a deal in 2024 to purchase crypto exchange Bitstamp.“You can sit down in front of some software, create a coin and have it be trading in 5 minutes [...] That’s a scary thing,” Robinhood CEO Vladimir Tenev said in a recent interview. “It’s also an incredibly powerful thing if you juxtapose it with how cumbersome the IPO process is.”Robinhood shares rose 2.7% on the Nasdaq on May 7, according to Google Finance. The company’s revenue fell 8.6% in the first quarter of 2025, though it still beat Wall Street’s estimates.Robinhood’s daily stock price. Source: Google FinanceBloomberg reports that no agreement has been finalized between the brokerage and either Arbitrum or Solana regarding the project, with all three parties declining to comment.More traditional financial firms are exploring blockchain-based solutions. In May 2018, Banco Santander became the first company to use a blockchain for investor voting, while US giant JP Morgan has created its blockchain platform called Onyx.Magazine: Ethereum is destroying the competition in the $16.1T TradFi tokenization race

NatLife Sounds Boss RV-500 Custom Presets18 Custom Presets for the Boss RV-500 Crafted for depth, motion, and stunning reverb textures. This pack includes 18 custom presets that transform the reverb pedal Boss RV-500 into a powerful ambient and spatial tool. Every preset focuses on clarity, beauty, and creative flexibility: Ping-Pong Delay with Character. You'll hear rhythmic, stereo-panning delays that move naturally and blend with the reverb. These effects add motion and space to your sound. Lush, Long Reverb Tails. These patches offer rich and extended decay. They work beautifully for ambient textures, emotional solos, and cinematic moments. Beautiful, Musical Hall Reverbs. From warm and vintage to clean and spacious, these halls feel alive. Each one adds character without overwhelming your tone. All presets respond well to expression and dynamics. Whether you're playing live or producing in the studio, this collection gives your RV-500 a new creative edge. These custom presets were built over many long hours of deep, hands-on tweaking — not just assembling effects, but crafting spaces I personally wanted to feel. One of the highlights is the unique Ping-Pong delay, which I managed to achieve on the RV-500 — something I haven't seen anywhere else. It's subtle, musical, and reacts like a true part of your playing. Every sound here was made not for trends, but with care — as if I were making them for myself. Note: each preset is programmed with both Reverb and Delay at the same time. https://youtu.be/nIkyRLZexNg?si=ZLbVmjIMK-hoxAGK Read More

Fastino trains AI models on cheap gaming GPUs and just raised $17.5M led by KhoslaTech giants like to boast about trillion-parameter AI models that require massive and expensive GPU clusters. But Fastino is taking a different approach. The Palo Alto-based startup says it’s invented a new kind of AI model architecture that’s intentionally small and task-specific. The models are so small they’re trained with low-end gaming GPUs worth less […]

Rights Management is Crowded—So Why Does UniteSync Stand Out?From the Music Connection inbox -- UniteSync: How a Producer Merged Information Science and Artistic Passion to Find Songwriters and Musicians’ Unpaid RoyaltiesCarlos Palop should have been living the dream. A producer and electronic artist, Palop was seeing real traction with some of his lofi tracks. Streams were picking up--and yet the more he looked at his royalty statements, the more discrepancies and oddities he noticed.He set out to fix this. With a parallel life in library and information sciences, Palop knew the importance of organizing data. He went deep into how information was organized in the music industry, all the struggles of publishing, metadata, and rights administration. He decided to create software to automate some of the processes he found he needed as a composer and artist.What Palop built for himself, he has now brought to the world as UniteSync, a music rights administration platform that allows independent artists and small labels to collect more money faster. UniteSync can provide lightning-fast audits, procedures that once took weeks or months, finding millions in unclaimed digital royalties.Though the company is just becoming widely available to the public, UniteSync has audited nearly 1m artists and 1.2m albums--and discovered $40-100m in unclaimed US mechanicals alone. Once found, these royalties are collected by UniteSync thanks to its close relationships with 53 paying sources in 117 territories worldwide, powered by its highly efficient tech built for the industry.“Discrepancies can be big. Sometimes, songs simply don’t get registered properly, or matching systems don’t work. The whole industry talks about this. It’s hard to give really good service to this many artists but artists deserve it,” Palop reflects. “We are seeing that AI and better tech makes this possible or at least easier. We are digital from the beginning, and that’s helping us help artists.”UniteSync’s approach is straightforward, though the devil is in the details. Once a composer signs on, the platform pulls up all her tracks. After she verifies her splits for each composition, UniteSync’s algorithms can determine what has yet to be properly registered and how much money she is due for these unregistered tracks. The system uses IPI data, along with other metadata, to determine all the aliases and name versions for each composer, simplifying matters. Once royalties are found, UniteSync can collect them for a percentage fee.In addition to publishing administration, UniteSync can manage a composer or artist’s neighboring rights and sync licensing. The platform is expanding into enhanced analytics, as well as helpful aids such as AI agents that will guide artists and songwriters through this often complex and potentially confusing realm. For Palop, however, the technology is always in service to the artist and to music, the main driving force that led him to build UniteSync. As he puts it, “I always pushed the limit as a composer and as an entrepreneur. But I knew no matter what I did it always had to be connected to music.” And what better way to connect than to uncover hidden revenue and create a stable, sustainable foundation for all.Visit unitesync.com for more info.The post Rights Management is Crowded—So Why Does UniteSync Stand Out? first appeared on Music Connection Magazine.