Top 5 Best Selling Merch for MusiciansThinking about selling merch but not sure where to start? Learn the best selling merch for musicians. They are easy to launch, customizable, and perfect for musicians at any stage.
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“Most vocal solutions fall into two categories: they’re overly complex or overly simple. We felt there was a gap we could fill”: Why guitar modelling giant Neural DSP has ventured into the world of vocal processingThis week saw the launch of Mantra, a new comprehensive vocal processing plugin from Neural DSP, a company which, until now, has been associated primarily with guitar amp modelling and processing.
Mantra is designed to “reimagine the entire vocal chain”, with compressor, EQ, pitch correction, de-esser and harmonisation functions all housed within one plugin. In fact, Neural calls it a “world-class vocal studio in one plugin”.
But why now for Neural DSP to foray into the world of vocal processing, when its stake in the guitar and bass digital processing market is already so strong? Ultimately, it came down to spotting an opportunity, as Neural DSP CPO and Co-Founder Francisco Cresp and Plugin Product Manager Francois Barrillon tell MusicTech.

After being one of the main players in guitar and bass amp modellers and plugins for some time, why now for Neural DSP to foray into the world of vocal processing?
Francisco Cresp: “We’ve spent years building tools that remove technical friction for guitarists and bassists. Getting a great tone used to mean spending a lot of money and dealing with complicated gear. We changed that by making it simple to get professional results, whether you’re on stage or working from a bedroom studio.
“When we looked at vocal production, we saw a similar opportunity. Most existing solutions fall into one of two categories: they’re either overly complex, requiring stacks of plugins and deep technical knowledge, or they’re overly simple, offering very limited control and unsatisfying results. We felt there was a gap we could fill.
“With Mantra, we wanted to combine the best of both worlds. We used our expertise in analog modelling to design modules like saturation and compression that feel and respond like high-end studio gear. But we also designed the interface and workflow to be modern, fast, and intuitive, so you don’t have to spend time figuring out plugin chains or routing.
“Another key part was tracking. A lot of vocal plugins sound great in mixing, but they’re not usable when tracking because of latency. Mantra was built to deliver a fully processed sound in real time, with no noticeable latency, so vocalists can perform with confidence and hear the near final sound as they record.
“We saw this as the right time to enter the vocal space because we had the experience, the tech, and a clear understanding of where we could offer something different.”
Credit: Neural DSP
A lot of the messaging surrounding Mantra’s release relates to the simplification of vocal processing workflow. Was this a strategy to appeal to those less experienced with vocal processing, or for more advanced users, too?
Francois Barrillon: “We wanted Mantra to be immediately usable for anyone, even if they’ve never mixed vocals before. But the idea wasn’t to oversimplify or limit control. Instead, we focused on making powerful tools faster and more intuitive to use. Beginners can simply browse through presets and get great results by adjusting just a few of the quick controls.
“Even experienced producers often find vocal chains messy and time-consuming. You’re dealing with multiple plugins, routing, latency issues, and overlapping parameters. Mantra puts everything you need in one place, with a signal path that just works, so you can stay focused on the sound and performance with no interruptions to your creative flow.
“So yes, the accessibility helps newer users, but we designed Mantra to be a serious tool that advanced users would trust in real sessions.”
Credit: Neural DSP
Does Neural DSP plan to release more tools catered to vocals – or perhaps production and mixing, more broadly – in the future?
Cresp: “We’re always paying close attention to how people are making music and what kinds of tools they’re reaching for. With Mantra, we saw an opportunity to apply our strengths, particularly in analog modelling and intuitive interface design, to an area that could benefit from both.
While we don’t have anything specific to announce at the moment, we’re certainly exploring ways to expand on what Mantra represents. If we feel there’s something meaningful we can contribute, something that reinforces our core goal of removing technical friction from the creative process, we’ll definitely consider it.”
Mantra is available now for €199. Learn more at Neural DSP.
The post “Most vocal solutions fall into two categories: they’re overly complex or overly simple. We felt there was a gap we could fill”: Why guitar modelling giant Neural DSP has ventured into the world of vocal processing appeared first on MusicTech.

Echograin releases Tranzwave v2.0 wavetable synth for Kontakt Player (now 20% OFF)
Echograin has launched Tranzwave Version 2, a major update to its Fizmo-inspired wavetable synth for Kontakt Player. The new version of Tranzwave refines nearly every aspect of the instrument while expanding its creative potential with deep modulation and randomization features. Tranzwave was already a solid tool for atmospheric and textural synthesis, but this new update [...]
View post: Echograin releases Tranzwave v2.0 wavetable synth for Kontakt Player (now 20% OFF)

Terry Marshall, co-founder of Marshall Amplification, donates £100k of his own money to grassroots venuesTerry Marshall, the co-founder of Marshall Amplification, and his wife Lesley, have made a personal donation of £100,000 to the Own Our Venues funding initiative to secure the futures of vital grassroots venues.
Own Our Venues was launched in 2023 by Music Venue Properties (MVP), with the aim of securing important grassroot music spaces, which have been rapidly closing down throughout the UK. The initiative has already raised £2.88 million to secure five grassroots music venues by placing them into community ownership, protecting them from the instability of commercial landlords and ensuring they remain “affordable, accessible, and artist-first”.

READ MORE: The £1 ticket levy scheme has already raised £500,000 for grassroots venues

Grassroots venues, also known as GMVs, are essential in nurturing rising and local music talent. Music Venue Properties recently announced a new £3 million fundraising Own Our Venues campaign with the aim of protecting a further seven iconic GMVs: The Joiners (Southampton), Bedford Esquires, The Croft (Bristol), The Sugarmill (Stoke), Peggy’s Skylight (Nottingham), The Pipeline (Brighton), and The Lubber Fiend (Newcastle).
Marshall comments: “Small venues have played a vital role over the years in my long career as a professional sax player, and, of course, created the path to success for countless other musicians too. But so many have closed their doors since I first started out at the age of 14.
“My wife Lesley and I get to grassroots venues whenever we can, as we both appreciate live music close up and personal. (I still do the occasional guest appearance at 81). We hope that future generations of musicians and music lovers will be able to have these amazing experiences too. That’s why we’re supporting Own Our Venues with a substantial contribution. With enough support from others in the music industry and fellow artists, Own Our Venues can make that hope a reality. It’s up to you.”

Matt Otridge, COO of Music Venue Properties, adds: “Grassroots venues are where careers begin and ensure communities have access to local, live music. They’re rehearsal spaces, testing grounds, and second homes for countless artists. That’s why Terry and Lesley’s incredible £100,000 donation is more than generous, it’s leadership.
“It shows the deeply personal impact these spaces have on everyone and reminds the music industry that we all have a role to play. Their contribution builds on the belief already shown by over 1500 community investors, and we’re proud to welcome them into the Music Venue Properties family.”
If you’d like to support the funding initiative, investments are available from just £50. Find out more via the Own Our Venues Crowdfunder.
The post Terry Marshall, co-founder of Marshall Amplification, donates £100k of his own money to grassroots venues appeared first on MusicTech.

Nomad Factory release Liquid Bundle III Nomad Factory have launched the latest version of Liquid Bundle, kitting the six included plug-ins out with some GUI upgrades and performance improvements.

You can now share legally-safe remixes made with Hook directly to SoundCloud Hook, the app that lets you legally remix songs for social media, has officially integrated with SoundCloud.
The Hook app launched in October last year, allowing music fans to share short-form remixes and mash-ups to platforms like TikTok and Instagram Reels, all while compensating the original artist. This new, “strategic integration” with SoundCloud means fans can now share their Hook-made remixes, which can be up to 60-seconds long, directly with SoundCloud’s community.

READ MORE: Subtext now lets Artists on SoundCloud text their fans directly

The collaboration also enables DJs to discover new remixes on Hook, and export them to their own SoundCloud pages. Using SoundCloud’s integrations with Serato, Algoriddim, Denon DJ, Numark, and other DJ software and hardware, they can also be mixed into their live sets.
Hook’s aim is to continue a sustainable model of monetisation for the future of music creation, with each of its remixes rights-cleared and trackable. Since its launch, Hook has signed deals with “dozens of music partners” which includes music from more than 1,200 artists such as Hardwell, Swae Lee, Soulja Boy, Sadie Jean, Jaden Smith, Killer Mike, and many more.
To mark this integration with SoundCloud, the two platforms have teamed up to create the Lil Wayne Tha Carter VI Remix Challenge. To enter, Hook users can select one of three featured tracks – Hip-Hop (feat. BigXthaPlug, Jay Jones), Sharks (feat. Jelly Roll, Big Sean), or Banned from NO – from Lil Wayne’s Tha Carter VI album to create their own remix.
Fans who listen to the record on SoundCloud will be invited to customise the featured songs via the Artist Storefront on each track page for both web and mobile, where they will be sent directly to Hook. By sharing your finished remix to SoundCloud, you’ll be in with a chance to win prizes including tickets to Lil Wayne’s upcoming tour, and a signed copy of Tha Carter VI vinyl.

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A post shared by Hook (@hookmusic.app)

“Fans aren’t just listening to or reacting to music anymore; they are helping to shape it,” comments Hook Founder and CEO, Gaurav Sharma. “For many years now, SoundCloud has played a key role in helping to transform and catalyse music trends around the world.
“This partnership builds a bridge between creation and culture, enabling fans to go from ‘listener’ to ‘remixer’ to ‘music tastemaker’ in seconds. Nothing could mark this collaboration in a more appropriate way than this fun Lil Wayne remix challenge that we think fans are going to love.”
To learn more about the Hook app, or find out more about Tha Carter VI Challenge, go to the official Hook website.
The post You can now share legally-safe remixes made with Hook directly to SoundCloud  appeared first on MusicTech.

HeadRush VX5 puts real AutoTune at your feet in an ultra-portable pedal made for live performanceHeadRush has unveiled the VX5, a powerful new vocal effects pedal that brings studio-grade pitch correction and vocal processing to the stage in a sleek, travel-friendly format.
Billed as the “first performance-ready pedal to feature genuine Antares AutoTune”, the VX5 allows singers and performers to access the same iconic vocal tuning technology used in countless hit records – without the need for a computer or DAW. Whether you’re a producer, gigging musician, or content creator, the VX5 promises to deliver polished, expressive vocals with minimal fuss.

READ MORE: 5 audio effects that will make your synth pads more rhythmic

From light tuning for pitch consistency to the iconic, stylised AutoTune effect popularised by artists like T-Pain and Travis Scott, the VX5’s dedicated Retune Speed and Humanize controls enable a wide range of vocal correction options. The pedal also features a deep suite of studio-grade effects such as reverb, delay, chorus, and flavour effects for signature sound customisation. All with “zero perceivable latency”.
Another standout feature is its Intelligent Harmonizer mode, which can automatically generate vocal harmonies based on your chosen key and scale – or connected guitar/ keyboard input.
The VX5 also functions as a 24-bit/48kHz stereo USB audio interface, making it easy to record vocals directly to your device. USB-MIDI support allows you to automate preset changes during live sets, ideal for syncing with backing tracks or playback rigs.

Navigating your sound on stage is straightforward thanks to two top-panel footswitches, which let you scroll through presets or switch up your sound mid-song.
A dedicated Talk Mode quickly mutes all effects for you to speak with the audience between songs, while A/B mode enables toggling individual effects within a preset. A vibrant colour display and streamlined menu system make adjusting settings fast and frustration-free even mid-performance.
Priced at $299, the unit includes 99 factory presets with storage for up to 250 in total. Under the hood, the VX5 features a high-quality XLR mic preamp with +48V phantom power, plus an XLR line output with ground lift switch to eliminate unwanted noise issues caused by ground loops.
Get an in-depth look at the HeadRush VX5 below.

Learn more at Headrushfx.
The post HeadRush VX5 puts real AutoTune at your feet in an ultra-portable pedal made for live performance appeared first on MusicTech.

“You kind of know what you’re going to get”: Chris Lake on the problem with “traditional great synths”Chris Lake is no stranger to dancefloor alchemy. Known for his sleek productions and chart-topping tracks, the British producer is also a gearhead with an instinct for what works – and what doesn’t – in a studio setup.
On a new episode of MusicTech’s My Forever Studio podcast, brought to you in partnership with Audient, Lake opens up about his approach to sound design, why he prefers synths that ‘misbehave’, and how creative constraints can be a secret weapon.

READ MORE: My Forever Studio: Howard Benson says tech can’t save bad songs

Discussing the allure of less traditional synths, Lake explains that sometimes, too much precision can be counterproductive.
“I think sometimes that can be the problem with some of the traditional great synths,” he says. “Like, you kind of know what you’re going to get and you can really dial in the sound that you know you’re going to get.”
“It’s predictable, it’s easy to get to. And that can sometimes be a hindrance, depending on the style of music you’re making.”
Instead, the producer is drawn to gear that throws a bit of unpredictability into the mix. He recalls a studio moment with French DJ-producer Sébastien Léger that forever changed how he viewed the creative process.
“I remember when I was working with Sébastien Léger. He’s like, ‘I’m not looking for the best idea. I’m just looking for the best mistake.’ And that’s really stuck with me, just like looking for that little piece of magic that you weren’t expecting to find. And I like the pieces of gear that increase the chances of you getting to that.”
It’s a mindset that also explains his fondness for semi-modular synths – tools that impose just enough limitation to spark something fresh.
“It’s like, put the guardrails up. Don’t give me too many options. I don’t want to get lost in this.”
“I’m a musician. I actually want to make something,” says Lake, who earlier this month released his first full-length album Chemistry. “I think one of the best things about modular for certain types of people is that they love that you can make anything and everything. You can go so many different directions. And that’s part of the joy of it.”
“[But] that’s not the joy for me. I actually like the restrictions. I like working within restrictions because it can get to a result quicker.”

The post “You kind of know what you’re going to get”: Chris Lake on the problem with “traditional great synths” appeared first on MusicTech.

Marshall’s Heston 120 soundbar is another bold move from the guitar amp brand£899, marshall.com
Few audio brands have successfully occupied both the pro and consumer spaces. Marshall, however, has reason to be proud of its efforts so far, finding success in recent years with its audio products like the Emberton and Motif Bluetooth speakers, and earbuds styled after the company’s legendary guitar amplifiers and speakers.
The Heston 120 is a step up in terms of price, ambition and scale; the company’s first soundbar, designed to compete at the higher end of what one might reasonably spend on such a product without venturing into the supremely costly world of audiophile models from the likes of Bang & Olufsen.

READ MORE: Sonos Arc soundbar review: sleek, powerful and Dolby Atmos-compatible

In case anyone needs a refresher, soundbars exist to enhance the home entertainment audio experience. But the Heston 120 does much more, incorporating multiple speakers firing in different directions to create a surround sound effect without the additional boxes and trailing wires.
Before we get to that, though, some basics: Weighing just over 7 kg, the soundbar is well built and feels like a solid piece of kit. The design is again clearly taken from Marshall’s black leather-style guitar amps and has a classy feel. While any design is a matter of personal taste, Marshall has pulled off the right balance of high-end finish and retro looks here. In the box, you get a power cable and an HDMI cable, with a downloadable mobile app working as the device’s remote. Not including a physical remote for a product at this price might irk some people, and not unreasonably, though increasingly many regularly use iOS apps as remotes, so maybe it’s not a stretch.
Around the back you’ll find a selection of ports, including HDMI 2.1 with eARC (a high-bandwidth audio transfer protocol that allows seamless transmission of uncompressed, multichannel audio), HDMI passthrough, RCA for connecting devices like turntables with a preamp stage and a USB-C port that can be used to charge a portable device. There’s also a 10/100 Ethernet port for connecting to your router if it’s nearby, which will take some load off your wi-fi network.
Image: Press
While the HDMI connection is essential for achieving latency-free streaming from your TV or set-top box to the soundbar, many of the Heston’s other talents work over wi-fi 6 or Bluetooth 5.3 connections. Use the mobile app to get things set up – joining your wi-fi network is easy, as is pairing any devices.
The soundbar supports multiple codecs from simple AAC to FLAC and also supports AirPlay 2, Google Cast, Spotify and Tidal Connect, all of which can be managed in the app and pre-programmed to the three hardware shortcut buttons on the bar itself. Apple users should note that streaming music over AirPlay from an iPhone, Mac or iPad allows lossless quality, while Bluetooth is restricted to much lower-bandwidth AAC.
Internally, the soundbar houses a total of eleven speakers made up of two subwoofers, two mid drivers, two tweeters and five full-range drivers, each powered by its own class D amplifier – two at 50W and nine at 30W.
As noted earlier, this model creates a surround sound effect by employing drivers that fire in multiple directions from inside the unit instead of from separate physical speaker cabinets. Dolby Atmos and DTS-X are natively supported, and the soundbar will allocate compatible source channels to speakers dynamically.
There’s also a room calibration procedure you can run from the app that uses the two small onboard microphones — we do notice that this results in a slightly more focused surround effect.
Image: Press
Heston’s performance with movies and indeed with TV is superb. There are four modes you can choose from the top panel (as well as volume and EQ) or from the app – movie, music, night and voice, each of which is self-explanatory. In movie mode, the soundstage is hugely impressive, revealing the power and detail of a well-mixed surround production in a way regular speakers can’t manage. In 2024’s Twisters, tornadoes are viscerally rendered, debris crashing around you as the score pulsates. In Alien: Romulus, jump scares are greatly enhanced. The Dolby Atmos effect is quite remarkable from a single box, with sounds genuinely seeming to come at you from different directions. Even with simpler content the soundstage is broad, rich and deep, the low end being particularly striking.
It’s also capable when playing music, although it’s impossible to escape the fact that this is a soundbar and not a pair of stereo speakers. That’s not a criticism but rather just a recognition that even the best soundbar is going to output music in a way that’s different to a pair of stereo monitors. Maybe only music producers will notice the difference, but it’s there nonetheless. You might argue that music playback will always be a secondary feature in a product primarily designed for movies and TV, which is a valid point.
The Heston 120 is priced the same as the Sonos Arc, which has a similar feature set, adding voice control and smart home integration, which Heston doesn’t have built in, but lacks DTS-X support and some of the casting options. It also lacks the RCA inputs that make the Marshall compatible with a wider range of hardware.
After experiencing your movie collection and favourite streaming services through this soundbar, it’s tough to go back to a smaller, less capable model, let alone the TV speakers, which seem almost comically weak by comparison. And yet £899 is a serious investment – you’re probably spending at least that much on your TV to make this whole package perform as well visually as it does sonically.
But why pair this with a cheap TV? If you are the kind of person who takes your home viewing seriously, you’ll love the sonic depth, power, and sheer visceral joy this soundbar adds to your experience. Sounding as impressive as it looks, you might never go to the cinema again.

Key features

11 drivers with dedicated class-D amplifiers
Frequency response 40 Hz – 20 kHz with a total output of 150W
Wi-fi 6, Bluetooth 5.3, 10/100 Ethernet
HDMI 2.1 eARC and passthrough, RCA inputs and sub output
Dolby Atmos and DTS-X
Room calibration via app
AirPlay 2, Google Cast, Spotify Connect
Multiple sound modes
Tactile on-body controls
1.1m width, 7kg weight

The post Marshall’s Heston 120 soundbar is another bold move from the guitar amp brand appeared first on MusicTech.

Google’s AI Overviews have 2B monthly users, AI Mode 100M in the US and IndiaGoogle shared new stats about its AI features' adoption during its Q2 earnings.

SOL price drop to $180 would be 'golden' entry before rally to new highsSOL is down nearly 10% on the day, but charts suggest the bull trend remains intact.

Producer Lex Luger and Lemonaide launch ‘creator-first’ AI Model with BeatStarsThe Lex Luger AI Model offers music creators royalty-free WAV and MIDI loops generated in Luger’s signature style
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Why having a PRO isn’t enough to collect all publishing royaltiesOne question we hear songwriters, producers, and artists ask all the time is “why do I need a music publisher if I’m a member of a PRO?”. It’s a fair question.

Fusing Cheap eBay Find Into a Digital RangefinderOne of the earliest commercially-successful camera technologies was the rangefinder — a rather mechanically-complex system that allows a photographer to focus by triangulating a subject, often in a dedicated focusing window, and and frame the shot with another window, all without ever actually looking through the lens. Rangefinder photographers will give you any number of reasons why their camera is just better than the others — it’s faster to use, the focusing is more accurate, the camera is lighter — but in today’s era of lightweight mirrorless digitals, all of these arguments sound like vinyl aficionados saying “The sound is just more round, man. Digital recordings are all square.” (This is being written by somebody who shoots with a rangefinder and listens to vinyl).
While there are loads of analog rangefinders floating around eBay, the trouble nowadays is that digital rangefinders are rare, and all but impossible to find for a reasonable price. Rather than complaining on Reddit after getting fed up with the lack of affordable options, [Mr.50mm] decided to do something about it, and build his own digital rangefinder for less than $250.
Part of the problem is that, aside from a few exceptions, the only digital rangefinders have been manufactured by Leica, a German company often touted as the Holy Grail of photography. Whether you agree with the hype or consider them overrated toys, they’re sure expensive. Even in the used market, you’d be hard-pressed to find an older model for less than $2,000, and the newest models can be upwards of $10,000.
Rather than start from scratch, he fused two low-cost and commonly-available cameras into one with some careful surgery and 3D printing. The digital bits came from a Panasonic GF3, a 12 MP camera that can be had for around $120, and the rangefinder system from an old Soviet camera called the Fed 5, which you can get for less than $50 if you’re lucky. The Fed 5 also conveniently worked with Leica Thread Mount (LTM) lenses, a precursor to the modern bayonet-mount lenses, so [Mr.50mm] lifted the lens mounting hardware from it as well.
Even LTM lenses are relatively cheap, as they’re not compatible with modern Leicas. Anyone who’s dabbled in building or repairing cameras will tell you that there’s loads of precision involved. If the image sensor, or film plane, offset is off by the slightest bit, you’ll never achieve a sharp focus — and that’s just one of many aspects that need to be just right. [Mr.50mm]’s attention to detail really paid off, as the sample images (which you can see in the video below) look fantastic.
With photography becoming a more expensive hobby every day, it’s great to see some efforts to build accessible and open-source cameras, and this project joins the ranks of the Pieca and this Super 8 retrofit. Maybe we’ll even see Leica-signed encrypted metadata in a future version, as it’s so easy to spoof.

The Best Gig I Ever Saw: Nova Twins Debate Beyoncé and DeftonesUK alt-rock duo Nova Twins told us about their Beyoncé and Deftones experiences...Georgia South: The best gig I have ever been to would be Beyoncé on the I Am Sasha Fierce Tour. I would have been no older than 11 years old, and my curious mind was blown by the sheer power of Queen Bey and her incredible all-female band commanding the stage. I went with my family for my dad’s birthday. Originally, our seats were up in the heavens, but due to late postage, they compensated us with 3rd-row seats! This was definitely one of the catalysts for wanting to pursue being a bass player in a band. I saw her bassist Divinity Roxx and guitarist Bibi McGill whipping their dreadlocks and head-banging their afros wildly, doing killer solos in front of a roaring arena. I could feel the sweat dripping off Beyoncé’s face as she prowled across the stage. My feet were firmly planted on the ground, mesmerized and in a trance for the entire performance. These women played such an important moment in history, one that I’m so grateful for and will never forget.Amy Love: The best gig I have ever seen is such a hard question. Queen B brings such an incredible production, and her performance is unmatched, so I have to mention her. But also, there was this incredible moment where we were playing a festival in Australia, and we got to watch Deftones in Brisbane side stage in the middle of the city. Their cinematic music against the skyscraper backdrop, twinned with the sunset melting away into the night sky and a sea of mosh pits as far as the eye could see, was a sight to behold. It was so stunning and mesmerizing.Nova Twins play Zebulon on July 23. The Parasites and Butterflies album is out August 29.(Photo courtesy of Nova Twins)

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