Luftrum releases the Symbiotic Volume 2 preset collection for Omnisphere 3
From Luftrum comes the Symbiotic Volume 2 preset collection for Omnisphere 3. Symbiotic is a new collaborative series from Danish sound designer Luftrum (Søren). The series offers custom Omnisphere 3 presets crafted by Luftrum and guest artists (Omnisphere 3 required). Luftrum recently released Symbiotic Volume 1, a collaboration with Swedish artist Plughugger. Symbiotic Volume 2 [...]
View post: Luftrum releases the Symbiotic Volume 2 preset collection for Omnisphere 3

Positive Grid announce the Spark Pedal The Spark Pedal runs on Positive Grid's HD Tone Engine, comes loaded with 33 amp models and 43 effects, and offers access to more than 100,000 tones through Positive Grid’s online ToneCloud community.

Jensen Huang explains why Nvidia will grow an astounding 70% next yearNvidia has its finger in every pie, and sees another year of plenty in its future, Jensen Huang says. But, he insists, its deals are not circular.

Simply Bass Productions BassMuseBassMuse is a MIDI-effect plugin that writes a musical, in-the-pocket bass part under your chords — in the feel of legendary bassists — then plays it through any bass instrument you own, or drops it straight onto a MIDI track. BassMuse listens to the chords you type or play and generates a real bassline — driving, walking, syncopated or laid-back — modeled on the feel of the players who defined the instrument. It's a MIDI effect, not a sampled instrument: it produces the notes and hands them to whatever bass VSTi you already love, so you keep your tone and gain BassMuse's musicianship, locked to your host transport. Build a whole arrangement on the timeline — verse, chorus, bridge — each section with its own style, key, meter (including odd meters like 7/8) and feel. Capture chords from a MIDI clip, shape the part with a handful of musical controls, and undo or redo anything. When it sounds right, drag it out as MIDI and keep editing by hand. Every part is deterministic: the same song and seed always produce the same bassline, so your ideas are reproducible and your sessions recall exactly. Share styles, songs and bundles with other owners through the built-in community. • 18 bassist styles, each with its own feel — driving rock, walking jazz, Motown pocket, syncopated funk and more • Follows chords you type or play live; stays in key and lands chord tones on the downbeats • Full arranger: sections with per-section style/key/meter (incl. 5/8, 7/8, 9/8...), per-bar fills and mutes • Capture chords from any MIDI clip; drag the generated part out as MIDI • Undo/redo across the entire arrangement • Deterministic engine — same seed, same part, every time • Owner community: share and download styles, songs and bundles • Outputs MIDI, so it drives any bass instrument you own • VST3 (Windows & macOS) and Audio Unit (macOS). AAX (Pro Tools) coming soon. • Windows 10/11 (64-bit); macOS on Intel & Apple Silicon • MIDI-effect plugin (generates MIDI; no built-in sounds) • One-time purchase, no subscription — license for 3 machines. 30-day free trial. Read More

Olivia Van Goor at Ro Cham Beau, Detroit, MIContact: oliviavangoormusic@gmail.comWeb: oliviavangoor.com Players: Olivia Van Goor, vocals; Mike Harrison, piano; Jeff Pedraz, acoustic bass; Dave Zwolinski, drums.

Detroit-based vocalist Olivia Van Goor kept the spirit of bebop and traditional jazz alive at a recent appearance at one of the Motor City’s best new listening rooms Ro Cham Beau. Right from the get go Van Goor possessed a welcoming demeanor encouraging the audience to clap along on Eddie Jefferson’s brisk and swinging “Things are Getting Better.” As is a tradition in improvisational circles some vocalists inject, not only their own arrangement to another composer’s tune, but alternate lyrics as well. That was the case here where Van Goor uttered personalized references to the joys of playing at the very nightclub they were performing in. 

Irving Berlin’s “Blue Skies” began with some light interaction between Van Goor’s mellifluous phrasing and Jeff Pedraz’s gently plucked bass lines. Mike Harrison’s lithe keyboard entry blended perfectly with the leader’s seemingly effortless scat singing. Cannonball Adderley’s slow and bluesy “Mercy, Mercy, Mercy,” once again, proved a great vehicle for Van Goor to add her own original lyrics to such an established piece. Her inspiring words on humanity, love, and forgiveness seemed to really connect with the crowd. Digging into the deep tracks, the quartet took a normally lush Billie Holiday ballad, and transformed “Crazy He Calls Me” into a brisk top shelf burner. Dave Zwolinski stepped out toward the latter section of the piece and brought it home. They followed that with another Holiday classic called “God Bless the Child.” Van Goor locked in nicely with Harrison who really got inside the melody. “Nature Boy,” a staple from the late ‘50s/early ‘60s by Nat “King” Cole, gets a thoughtful and ponderous solo intro by Pedraz. That leads into a slow and enchanting samba that dreamily drifts into the New Orleans feel of Louie Armstrong’s “La Vie En Rose.”

Set two opened with Van Goor’s faithful take on the Judy Garland classic “Somewhere Over the Rainbow.” She also made reference to Christmas in July as she performed a selection off her 2025 vinyl release Waiting for Santa. Pedraz opened the gem “Honeysuckle Rose” with solo bowed bass. That was a nice lead-in to Harrison’s Fats Waller-like stride runs and melodic leads. The light swing of Blossom Dearie’s “Sweet Georgie Fame” served as a brilliant vehicle that displayed Van Goor’s sweet sense of enunciation and phrasing. In maintaining that light-hearted fare Van Goor offered a tune off her Don’t Be Mad at Me album called “Sweetness.” It is an auto-biographical tribute to the singer’s love of chocolate and swung in a bluesy and tongue in cheek manner. The quartet wrapped up the night with a tribute to Ella Fitzgerald ‘s “Moonlight Serenade” followed by the finale, where everyone took a solo, Jerome Kern’s “Look for the Silver Lining.”

Olivia Van Goor has an active performance schedule throughout the year. For the best in straight ahead jazz, with a velvet touch, you can’t go wrong. The post Olivia Van Goor at Ro Cham Beau, Detroit, MI first appeared on Music Connection Magazine.

Little Droid Has Party ModeRemember those tiny little droids skittering around the pristine corridors of the Death Star in Star Wars? [heychaostheory] has put together something vaguely along the lines of those charming little mobile toasters. It’s an autonomous mouse droid with party mode!
The build is interesting in that it’s based on an off-the-shelf metal robot chassis—which provides mounting points for the gearmotors and wheels that make up the drivetrain. The mouse droid body sits atop this, being a 3D printed part that is afixed with heat set inserts and nylon standoffs. It’s 3D printed and expertly decorated with a fun vibe. Inside the body lives an Arduino Uno, hooked up to an L298 motor driver board and ultrasound sensors used for obstacle avoidance. It’s also got a smattering of LEDs to flash, because blinkenlights matter. The best bit, though, is the party mode button, which fires off music via a DFPlayer Mini module.
The mouse droid may not be as flashy and imposing as the Droideka or as mechanically impressive as BB-8, but that just makes it more accessible and fun to build. You can easily create one at full scale without breaking the bank. If you’re cooking up your own fun droids in the workshop, don’t hesitate to let us know. Video after the break.

AI Will Test Music’s Infrastructure, Not Just Its CreativityThe following MBW op/ed comes from Jorge Brea, CEO of Symphonic
Source

Oliver and dwilly react to your beats
Watch acclaimed producers Oliver (BLACKPINK, Megan Thee Stallion) and dwilly (KATSEYE, bbno$) react to the Splice community's beat submissions.

Arturia launch the AudioFuse Studio Rev2 The latest iteration of Arturia’s flagship desktop audio interface has just arrived, introducing improved preamps, an updated Bluetooth module and some enhancements to its control software. 

ElevenLabs strikes first deal with a major label to launch AI-powered music platform and audio productsUniversal Music Group and AI firm ElevenLabs have partnered for a multi-year licensing agreement and wider strategic collaboration, with plans to launch a new AI-powered music platform and AI audio products for artists.
The new deal marks ElevenLabs’ first with a major label, and is said to reflect a shared belief that “AI-enabled music innovation should be built responsibly, respect human artistry, and enable artists and songwriters to share in the value created”, as per a press release shared with MusicTech.

READ MORE: Tamber music creation suite gets a 2.0 update: here’s everything you need to know

The new music creation platform, which is currently in development, will be built on licensed music and artist participation. Details at this time are scarce, but it will “give fans new ways to co-create with music from participating artists and songwriters”, including remixes, new track interpretations, and personalised vocal experiences.
The agreement also includes the development of additional products and fan experiences in the months and years to come. The new platform will be distinct and offered separately from ElevenLabs’ existing Music API music models and the Eleven Music creation app.
“The most exciting possibilities for AI and music are those that put artists, songwriters, and fans at the centre. UMG and ElevenLabs are aligned that responsible AI can inspire discovery, deepen engagement between artists and fans, and unlock new revenue opportunities for the creative community,” says Sir Lucian Grainge, Chairman & CEO, Universal Music Group.
“ElevenLabs’ leadership in AI audio brings a new dimension to our growing ecosystem of partners committed to expanding what’s creatively and commercially possible for human artistry.”
ElevenLabs cofounder and CEO Mati Staniszewski, adds: “AI opens up incredible possibilities for interacting with our favourite music and artists. By combining UMG’s global community and rights management expertise, with our AI models and products, we’ll enable artists and songwriters to create powerful new experiences for their fans, and ensure they are fairly compensated.”
Both UMG and ElevenLabs have been expanding their horizons with new collaborations over the past couple of years. While ElevenLabs partnered with Splice earlier this year on new AI tools, UMG has been going all out on a number of significant deals involving AI.
UMG has already joined forces with Spotify on an AI-powered remix feature, with chipmaker giant NVIDIA to pioneer “responsible AI” for music discovery, and also with Splice – just to name a few examples.
Learn more about ElevenLabs and Universal Music Group.
The post ElevenLabs strikes first deal with a major label to launch AI-powered music platform and audio products appeared first on MusicTech.

Get The $129 JST Gemini Twin Synthesizer FREE For A Limited Time
Joey Sturgis Tones is giving away Gemini Twin, a dual-mode virtual synthesizer for macOS and Windows, for a limited time. Gemini Twin normally costs $129, and JST has not announced an end date for the giveaway, so I wouldn’t leave this one sitting in an open browser tab for too long. Gemini Twin was created [...]
View post: Get The $129 JST Gemini Twin Synthesizer FREE For A Limited Time

Neumann launch the KH 310 II & KH 350 A new version of Neumann's hugely popular three-way monitor has just joined the KH line-up, and has been launched alongside the KH 350, an all-new design that sits between the new KH 310 II and flagship KH 420.

Neumann expands its range of 3-way monitors: meet the KH 310 II and KH 350Neumann has lifted the lid on two new studio monitors, the KH 310 II and KH 350, expanding its portfolio of three-way monitors.
Both built upon a platform of in-house drivers and advanced 32-bit DSP processing, the KH 310 II and KH 350 are said to offer “consistent sound with excellent translation” in a vast range of production scenarios. 
The KH 310 II is the next iteration of the KH 310, one of the industry’s leading reference monitors, while the KH 350 is an all-new full-range monitoring platform with “exceptional low end” for larger rooms.

READ MORE: New ZERO9 plugins have a gloriously simple UI: “We’ve removed anything that doesn’t need to be there”

Each speaker features both analogue and AES3 coaxial digital connectivity, plus seamless integration with Neumann’s state-of-the-art room correction solution, MA 1 Automatic Monitor Alignment. Both the KH 310 II and KH 350 are equipped with a 3” soft dome midrange driver, a precision 1” tweeter and 8.25” woofer.
Credit: Neumann
Now in its second generation, the KH 310 II offers 5 dB higher maximum SPL (Sound Pressure Level) than its predecessor, but with identical cabinet dimensions ensuring easy integration with existing studios and setups.
Meanwhile, the all-new KH 350 – positioned between the KH 310 II and Neumann’s flagship KH 420 – offers low frequency playback down to 27 Hz, and a cabinet that’s nearly twice the size of the KH 310 II.
“The KH 310 has earned an exceptional reputation among recording, mixing, and mastering engineers worldwide,” says Roman Kramer, Product Manager at Neumann. 
Credit: Neumann
“With the KH 310 II, we worked long and hard to retain everything users love about the original while elevating performance in virtually every area. At the same time, the KH 350 opens new possibilities for engineers who need greater low-frequency authority and the flexibility to work confidently across both nearfield and midfield environments.”
“The KH 310 II and KH 350 share the same acoustic DNA and commitment to truthful sound reproduction,” says Stephan Mauer, Product Management Director at Neumann. 
“Today’s engineers work across a wide range of rooms, formats, and production styles. Our goal was to provide two solutions that deliver the same trusted reference standard while allowing users to choose the monitoring concept that best supports their workflow.”
Learn more at Neumann.
Credit: Neumann
The post Neumann expands its range of 3-way monitors: meet the KH 310 II and KH 350 appeared first on MusicTech.

AudioNodes is a FREE modular synthesizer and DAW
AudioNodes LLC offers AudioNodes, a free modular synthesizer and digital audio workstation for macOS, Windows, Linux, and compatible web browsers. The current version is 0.14.3, released on September 8th with another round of VST hosting fixes and workflow improvements. AudioNodes is still officially labeled as alpha software, but the feature list is already pretty epic. [...]
View post: AudioNodes is a FREE modular synthesizer and DAW

Tonalic adds the smooth grooves of upright bassist Paul Kleber to its libraryCelemony‘s Tonalic plugin turns performances by legendary players – from Foo Fighters, Evanescence and Dizzee Rascal – into DAW-ready creative palettes. Now, a new player has stepped on stage and into the programme: upright bassist Paul Kleber.
Kleber has been well known in the Berlin jazz scene since the mid-1990s. He’s played with Jazzanova Live and the Moka Efti Orchestra, Emilíana Torrini, Fink, Dee Dee Bridgewater, and Nina Hagen. His performances for Tonalic were recorded at LowSing Studio in Berlin.

READ MORE: “These mixers set the bar for the perfect intersection of performance and value”: Soundcraft unveils new line of analogue mixing consoles

“People book me for studio sessions for several styles, because they know I love several kinds of music. I’m not specialised in only jazz. I love to play jazz but pop and funk and electronic music as well,” Kleber says. “We had several sessions with DJs in a famous club in Berlin called ‘Club der Visionare.’ There were guys like Ricardo Villalobos, and we jammed the whole night.”
Now Kleber’s grooves are ready to be spliced into any digital project. This update to Tonalic also greatly expands the options for bowed upright bass. Where there was only one option before, now Kleber brings in his expertise on the instrument for smooth, flowing basslines, but he’s also a master of other styles.
“Paul Kleber is not just sought out for his bowing. The tone that he gets from plucked upright bass makes this content expansion that much better,” says musician, producer and composer Ryan Harlin.

Celemony, the company behind the popular pitch correction software, Melodyne, introduced Tonalic at the beginning of this year.  There are currently over 30 musicians in the program, including drummers, bassists, guitarists, and percussionists who have recorded over 7,000 performances.
Tonalic is available for monthly or annual subscriptions. This new drop comes with a $1/€1 offer for the first month. Prepaid licenses without subscription commitments can be purchased through music dealers.
Learn more at Tonalic.
The post Tonalic adds the smooth grooves of upright bassist Paul Kleber to its library appeared first on MusicTech.