Warner Music Group announces “groundbreaking” partnership with SunoWarner Music Group and AI music firm Suno have teamed up for a new partnership that will see the two companies “open new frontiers in music creation, interaction, and discovery”.
The deal also settles previous litigation between the companies, and will bring Suno’s AI capabilities with WMG’s artist development leadership and expertise. Both entities claim their next steps will ensure that artists and songwriters are compensated and protected.

READ MORE: AI music generator Suno raises $250M in latest funding round

In 2026, Suno will make several changes to its platform including the launch of new, more advanced and licensed models. When the new models launch in 2026, its current models will be deprecated. 
Download restrictions will also be put in place, as downloading audio will require a paid account. Songs made on its free tier will not be downloadable and will instead be playable and shareable. Paid tier users will also have limited monthly download caps with the ability to pay for more downloads.
Creatives may feel a little sceptical of this new partnership, but an opt-in model will be put into place. This means artists will have “full control” over whether and how their names, images, likenesses, voices, and compositions are used in new AI-generated music. Further details on this are yet to be revealed. Suno has also acquired live music discovery platform Songkick from WMG, and “will continue to run it as a successful fan destination”.

Suno says that over the next few weeks and months, it will share more details about the timing of new features as they are ready, and that it is “heading towards a world where people don’t just press play – they play with their music.”
Mikey Shulman, CEO at Suno, says: “Our partnership with Warner Music unlocks a bigger, richer Suno experience for music lovers, and accelerates our mission to change the place of music in the world by making it more valuable to billions of people. Together, we can enhance how music is made, consumed, experienced and shared. This means we’ll be rolling out new, more robust features for creation, opportunities to collaborate and interact with some of the most talented musicians in the world, all while continuing to build the biggest music ecosystem possible.”
Robert Kyncl, CEO at WMG, adds: “This landmark pact with Suno is a victory for the creative community that benefits everyone. With Suno rapidly scaling, both in users and monetisation, we’ve seized this opportunity to shape models that expand revenue and deliver new fan experiences. AI becomes pro-artist when it adheres to our principles: committing to licensed models, reflecting the value of music on and off platform, and providing artists and songwriters with an opt-in for the use of their name, image, likeness, voice, and compositions in new AI songs.”
In similar news, Universal Music Group and Udio also settled their litigation and announced plans to collaborate on a new music creation, consumption and streaming experience earlier this month.
UMG announced that both itself and Udio had laid out “industry-first strategic agreements”, and said that in addition to the “compensatory legal settlement”, new licence agreements for recorded music and publishing will “provide further revenue opportunities for UMG artists and songwriters.”
To find out more on this new partnership with WMG, read the full blog post from Suno.
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Meet Pause – the London studio turning single music video frames into collectible art printsIf you live and breathe music – and your walls need a little artwork to bring them to life – this new move from Universal Music Group UK might just be the ticket.
UMG UK has just launched Pause, a London-based creative studio specialising in transforming single frames from classic music videos into collectible artworks.
Using proprietary technology, Pause allows fans to find their favourite moment from a music video and turn it into physical artwork on a museum-quality print to decorate their space. Each still can only be purchased once, making it a unique collectible item.

READ MORE: Black Friday music deals 2025: The best early deals we’ve found on synths, DJ controllers and plugins

The studio launches with the Amy Winehouse You Know I’m No Good collection, offering her fans the chance to own a one-of-one authenticated piece of artwork taken from the 2006 track’s accompanying music video.

“Music videos are some of the most creative, emotional, and culturally influential pieces of visual storytelling we have,” says Steven O’Connor, Co-Founder, Pause. 
“Yet too often they disappear into the digital ether after release. At Pause, our mission is to resurrect these moments as art, turning single frames from iconic videos into lasting, collectible artworks. We want to give fans the opportunity to own a piece of music history, and in doing so, help people rediscover and celebrate the artistry of the music video.” 
“Each print we create is a bridge between music, creativity, and the tangible world,” adds Wai Hung Young, Co-Founder, Pause. “Our goal is to elevate the music video from a transient screen experience to a collectible art form, inspiring a new generation of collectors while preserving the cultural and emotional significance of these works. 
“The Amy Winehouse collection is one of our largest launches in the UK and a significant step in building a broader category where visual music culture is valued as art.”
Credit: Universal Music Group UK
According to UMG UK, Pause’s process of turning single frames from music videos is “meticulous”. First, the grading team undertakes colour and visual enhancement of the music video, after which test prints are created and run through numerous cycles to achieve the best colour on paper.
Then, digital enhancements are made to improve the sharpening and resolution of the still, in order to find the perfect balance between the original video and a high-quality print.
Pause’s A3 pieces are printed on a 360gsm acid-free paper from the Italian papermill, Fedrigoni, while A2 artworks are printed on archival, heavyweight Hahnemuhle photo rag paper, regarded as the gold standard for gallery-quality fine art prints. Each piece comes with a certificate of authenticity, and where applicable, is offered hand-signed and hand-stamped by the artist.
“The beauty of Pause and what excites us about the proposition is that it is easy to articulate to artists, management and fans alike, everyone gets it and recognises the value,” says James Wheatley, Senior Director, Commercial Development & Technology, Universal Music Group.
“To be able to choose a favourite moment from the artist you love as a one-of-one art piece that no-one else can ever own feels truly special. Amy Winehouse’s legacy continues to resonate across generations, and we’re excited to give fans a new way to connect with her work. It’s about celebrating the creativity and artistry that went into her music videos, and recognising music videos as an important cultural medium in their own right.” 
Learn more about Pause and shop the Amy Winehouse You Know I’m No Good collection at pause.studio.
The post Meet Pause – the London studio turning single music video frames into collectible art prints appeared first on MusicTech.

XLN Audio releases a FREE Black Friday drum sample pack
XLN Audio has released a free Black Friday drum sample pack, a compact 36 MB collection of WAV samples and loops sourced from the new Hip Hop and Gospel expansion for Addictive Drums 2. It’s a simple download from the XLN Audio website, with no registration, checkout, or email forms. Just visit the page, press [...]
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Vain Audio releases PFT, a deep stereo filter playground (BPB readers get 50% OFF)
Vain Audio has released PFT, a versatile stereo filter plugin for Windows and macOS that focuses on detailed modulation and motion. Also, BPB readers get an exclusive 50% OFF with the coupon code BPB. PFT is a multi-filter powerhouse built for sound designers who want precise control over movement. You get three sequential filters, each [...]
View post: Vain Audio releases PFT, a deep stereo filter playground (BPB readers get 50% OFF)

Is This The Future of Superfandom?This week, Ari is joined by Matt Jones who shares how artists can own their fan relationships through the new app, Medallion.

Why ‘hold forever’ investors are snapping up venture capital ‘zombies’An investor explains the "buy, fix, and hold" model employed by Bending Spoons and similar companies that buy distressed startups.

A Personal Welcome from New Apogee Owner Dirk UlrichOn Tuesday, new Apogee owner Dirk Ulrich released a personal note, which reads as follows:

"Dear Apogee Family!

My name is Dirk Ulrich, and as of November 14th I am honored to be the new owner of Apogee which some of you may have seen in our previous email or on our social media channels.

Today I wanted to take a minute to introduce myself in a semi-formal way, and tell you a bit about myself and where I want to take the APOGEE team in the future, now that Betty & Bob have entrusted me with their lifetime achievement of the past 40 years. I am thankful for that amazing opportunity, and promise you – just as I have promised them that I am fully committed to Apogee's legacy and reputation.

We will continue to develop and offer the best-sounding audio tools that we can create. And just like in the past, we won’t cut corners in the future, whether that’s hardware or software & plugins. In fact, we have new products & updates coming out starting January 2026.

Many of you may know me as the founder of both, PLUGIN ALLIANCE and BRAINWORX (both of which I sold in 2021), or more recently, as the new owner for California based tube-audio specialist MANLEY (www.manley.com). MANLEY & APOGEE have already begun working on mutual and hybrid products that will highlight the best of what both companies have to offer. Both companies are now part of our new www.rckfrc.com group, which I have funded privately. 100% no private equity or hedge-funds involved! Stay tuned.

Hardware and software development will take some time, and the team and I are committed to looking at every aspect of what makes Apogee desirable to you all, whether that’s updates and improvements for apps, plugins or drivers, or new and improved hardware and features. We kindly ask for your patience as ownership transition and internal process changes in a 40 year old company take more than just a few days. We appreciate your understanding and support.

Compared to the big challenges, there are a few other things, like small improvements on our website and in our email system, that we are already working on and that we can improve quickly. For example, since it just happens to be “the season” for plugin sales (and since I initially earned my wings in this industry as “the plugin guy”), we have decided to run our current and future plugin promotions in a more contemporary and streamlined way, effective this week.

Please make sure to check our upcoming emails in the next few days (starting tomorrow!), as we will send you some email-exclusive voucher codes through the end of the year. These promo codes will give you instant access to non-public, additional (!) discounts on our APOGEE and BOB CLEARMOUNTAIN plugins.

Lastly, I wanted to invite you to connect with me via social media, so here are my personal accounts in case you want to follow me in real-time and hear more about where RCKFRC, APOGEE, MANLEY and all of these ideas may be going. Please understand that I cannot answer every single private message on social media, but I do read every comment on my posts, and I am always happy to have a fun and respectful conversation about sound and technology.

Dirk's INSTAGRAM

Dirk's FACEBOOK

As the pictures suggest, I am a sound & audio fan / freak first, not just a biz guy. I have earned a single Gold Record from back in the days when I still produced, mixed and mastered music for a living (so I can’t ever compete with Bob here), and I still master some releases here and there (see my Facebook & Instagram if interested). I wanted to mention it though just to show you that APOGEE is what we all believe will be in “good hands” and with a “PRODUCT is #1” approach, and a quality-driven mindset.

Happy mixing everybody, and I am very excited to hear from you in the future!

Dirk."The post A Personal Welcome from New Apogee Owner Dirk Ulrich first appeared on Music Connection Magazine.

Antares Black Friday / Cyber Monday Antares' Black Friday / Cyber Monday sale is live now, and extends to the recently released AutoTune 2026 and Metamorph AI voice transformer.

Build A High Voltage Supply For Vacuum Tube WorkIf you work on simple digital projects, just about any bench supply will offer the voltage and current you’re looking for. However, if you’re working with valves, you’ll often find yourself needing much higher voltages that can be tricky to source. [Chappy Happy] has shared a design for a simple HV power supply that should prove useful to vacuum tube enthusiasts.
The build is fairly basic in nature, lacing together some commonly available parts to generate the necessary voltages for working with common vacuum tubes from a 12 volt DC input. Inside the supply is a UC3843A DC boost converter, set up to output high voltage up to around 300 volts DC, with a ripple filter added for good measure. The output can be adjusted with a knob, with a voltmeter on the front panel. There’s also a 12-volt output, and a LM2596 step down converter to produce 6.3 volts for the filament supply. The whole project is built in an old Heathkit project box, and he demonstrates the supply with a simple single-tube amplifier.
If you find yourself regularly whipping up tube circuits, you might like to have something like this on your workbench. Or, you might even consider cooking up your own tubes from scratch if you’re more adventurous like that. Video after the break.

[Thanks to Stephen Walters for the tip!]

Warner Music Group strikes ‘landmark’ deal with Suno; settles copyright lawsuit against AI music generatorThe deal also settles previous litigation between the companies; Firms will collaborate 'on next-generation licensed AI music'
Source

Cherry Audio Mercury-8Cherry Audio Mercury-8 is a virtual instrument plugin that models the circuit behavior and signal path of the Roland Jupiter-8 synthesizer. Unlike sample-based libraries, Mercury-8 utilizes virtual analog synthesis to replicate the original hardware's dual VCOs, 12dB/24dB resonant low-pass filters, and cross-modulation characteristics. The engine features a dual-layer architecture, allowing users to stack two independent patches or split them across the keyboard, with 16 voices of polyphony available per layer. To simulate the variances of vintage hardware, the instrument includes "Drift" and "Condition" controls, which introduce adjustable instability to the oscillators, filters, and envelopes. Beyond the original specification, Mercury-8 integrates modern workflow enhancements including a modulation matrix with four slots per layer, assigning over 20 sources to 40+ destinations. The synthesizer also includes a comprehensive effects section with three independent chains (one per layer plus a global bus) featuring 20 algorithms such as reverb, delay, and a new "DCO Chorus." Uniquely, Mercury-8 supports bi-directional System Exclusive (SysEx) data transfer using the Encore Electronics format, allowing owners of MIDI-retrofitted Jupiter-8 hardware to swap patches directly with the plugin. Key Features Synthesis Engine: Virtual analog emulation of the Jupiter-8 dual-oscillator architecture with PWM, Sync, and FM Cross-Modulation. Dual-Layer Voicing: Two independent layers with 16 polyphonic voices each; supports Split, Stack, and Layer modes. Sequencing: Integrated arpeggiator and 16x4 polyphonic step sequencer per layer. Modulation: 4-slot matrix per layer with extensive source/destination routing. Effects: 20 studio-quality effects including Galactic Reverb, Tape Echo, and Panner; arranged in three customizable chains. Hardware Compatibility: Import/Export support for Encore Electronics format SysEx data. Library: Ships with over 600 presets, including the original factory banks. YouTube/CmO277yS6SU Read More

Mixed In Key launches Black Friday Sale (up to 73% OFF)
Mixed In Key launches its 2025 Black Friday Sale with deep discounts on DJ and production tools. Mixed In Key has launched its 2025 Black Friday sale, offering up to 73% off its catalog of DJ software, creative tools, and soundware bundles. If you’ve been meaning to pick up Mixed In Key 11 Pro, the [...]
View post: Mixed In Key launches Black Friday Sale (up to 73% OFF)

At $69, Cherry Audio’s Mercury-8 is looking like a very impressive Jupiter-8 emulationCherry Audio releases software emulations, alongside tools of its own design, at a remarkable pace. The latest is apparently its most-requested synth — its vintage hardware counterpart is tough to find, with used models fetching over £25K. Mercury-8 is an emulation of Roland’s legendary Jupiter-8, a mainstay of countless chart hits and film scores since the 1980s, coveted for its warm, versatile sonic palette.
The instrument completes Cherry’s Mercury Trilogy, joining the existing Mercury-4 and Mercury-6, but why has the company waited so long to model this much-requested synth? As the brand tells us, the emulation was no easy task — but it also wanted to update the synth with a considered set of modern features that the original didn’t have.
Cherry Audio’s marketing director, Robert St John, says that “following the overwhelmingly positive response to Mercury-6, Mercury-8 was bound to follow. However, like previous major releases such as GX-80, Rhodes Chroma and PS-3300, we knew it would take time to get it just right. The Jupiter-8 is renowned for its broad tonal sweet spot, while its multitimbral splits and dual layers offer nearly limitless potential. We carefully studied and measured a perfectly calibrated original to preserve its essence and achieve matching sonic results, regardless of the settings.”

The developer used advanced circuit and behaviour modelling techniques — virtual analogue synthesis rather than samples — to allow both a compact footprint and complete control over all aspects of the sound. Impressively, this approach also enables SysEx data exchange with pre-MIDI Jupiters that have been updated with the Encore Electronics kit. Identifying this as the product’s most unique feature, Robert explains, “Mercury-8 can import patch data from — and even export data to — these Jupiter-8s, and the sound is absolutely identical. With several SysEx banks available online, what started as part of our deep analysis process has evolved into an exciting feature for users to enjoy.”
The Mercury-8 uses Cherry’s familiar GUI, a friendly and approachable system that provides easy access to MIDI, mapping and control functions as well as a large bank of presets. Though the interface has many controls like the original, the zoom and focus features make it a breeze to quickly enlarge any parameters. And sonically it doesn’t disappoint, capable as it is of character-drenched tones and textures across a range of styles from fat basses to frenetic sequences, blissed-out pads and spiky rhythms. Browse through the presets and you’re instantly transported to the worlds of John Carpenter, The Prodigy and many other classic electronic tracks.
Cherry has upgraded the Jupiter on a number of technical levels, all without overcrowding its interface. There’s a new four-slot mod matrix, an enhanced Jupiter arpeggiator with humanise controls and a 16-step, 4-pattern polyphonic sequencer. “We added a multi-voice mode, repurposed the original digital display to provide context-sensitive settings for trigger, note priority, condition simulation and analogue drift and more, all without the need for menu diving,” explains Robert. “All of these, including expanding the voice count from 8 in the original to 16, are on a per-layer basis.”
Perhaps the biggest upgrade is the new effects system, which the company developed for this synth (and presumably we will see in others going forward). Essentially, there’s now a modular three-part effects system — one for each layer and one global — with a modulator for each layer and a choice of 20 effects that can be arranged, edited and saved within the synth.
Cherry Audio Mercury-8. Image: Press
Pop out the Effects section, and each of the effects has a proper, full-sized controller section and chain system that makes them flexible. Best of all, they’re actually useful — Cherry seems to have really thought about what is going to make the Mercury-8 shine, including lo-fi, filter, echo, distortion and delays that add grit, movement and depth to your patches.
The company has also managed to maintain its affordable pricing — Mercury-8 comes at a nice price of $69, and that’s not just an introductory offer. A lifetime license for Roland’s own Cloud Jupiter-8 softsynth is £196 and doesn’t pack some of these updated features.
Still, it’s not the only game in town; Arturia’s Jup-8V is €149 and has a lot of extra tech, including a pop-out modulation/sequencer section. And TAL’s J-8 is around the same price as the Cherry Audio, with a similarly real-time synthesis (rather than sample-based) engine.
So there is competition at this price point, with the other models all coming with various flavours of free trial — you may want to give some of them a spin to see which suits you best.
We’ll have a full review of Mercury-8 online soon but upon our first look, we’re very impressed by the synth’s sound and features.
Cherry Audio’s Mercury-8 is available now for $69.
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Ben Billions on low-end production, plugin obsessions, and why AI “comes down to taste”Ben Billions didn’t hear his work on Lil Wayne’s The Carter VI until the rest of the world did. The three-time Grammy-winning producer and engineer left his mark on the album’s fourth track, Hip-Hop, which critics hail as one of the high points on the album, and brings Billions’ signature trills and bass-heavy beats to the forefront.
“I felt like a kid,” says Ben Billions at Warner Chappell Music’s 2025 Songwriting Camp in Las Vegas. “Nowadays, most of the time I’ve heard the song before it comes out, [So] I rarely get that feeling like a listener, which is fun.”
Having collaborated with hip-hop and R&B’s biggest stars — from Beyoncé, Doja Cat and The Weeknd to Snoop Dogg, Mary J Blige and Kodak Black — the multi-platinum producer has learned to read the room. He knows when to step in and push an artist and when to just let them cook.
“Wayne’s one of the greatest ever,” Billions continues. “I think he just likes to rap, he doesn’t really want to be produced. A lot of artists these days – especially rappers – want to do it on their own. Sometimes it’s good to have a producer in there to help guide the process, but it’s [all about] however they feel most comfortable.”

Such a skillset proves invaluable at the Songwriting Camp, where the Warner Chappell team bring producers, songwriters and artists together to collaborate spontaneously. Ben Billions has been in several day-long sessions before our interview, often not meeting his collaborators before stepping into the studio. His 20-year career as an engineer and producer has tempered him for stints like this. Plus, he’s in love with music production: “I’m gonna make music till I die. It’s got its ups, its downs, but it’s a great gig.”
Billions’ first studio gig was an internship at Circle House Studios, Miami, where he learned how to become an audio engineer. There, he worked with some high-profile artists such as DJ Khaled, but also honed his skills working on some less inspiring material. “We called it trash for cash,” he chuckles. “From that, you learn how to make things sound good. You’d take things that were horrible and try to make them presentable.”
But whether it’s Lil Wayne walking into the studio or an upcoming act, he advises to keep an open outlook, adding that it’s crucial to “treat all artists the same.” At the Songwriting Camp, he’s walking into unfamiliar studios with unfamiliar people, but this doesn’t faze him.
“From being an engineer, there’s always some familiarity; we know our way around all these studios,” Billions says. “Plus, when you’re actually [working] with somebody with talent, it’s actually pretty easy — that’s a blessing.”
Billions’ new studio in Miami is still under construction. It’s being built in his home, and he’s being intentional about what his dream setup might look like, taking the comfort of his collaborators into consideration. “I was gonna do the whole ‘speakers in the wall’ thing,” he says, “but I’ve done enough jam sessions now that I’m like, ‘I’ll just put the speakers on the floor.’ I want it to be more cosy for people.”

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Beyond the big monitors he has his eye on, Billions isn’t desperate to deck out his studio with high-end hardware, but is instead on the lookout for more plugins. A self-confessed “plugin nerd,” the producer is often seeking inspiration from new software and emerging technology.
“[I’m] always on whatever the new plugins are because that’s what makes things [sound] new,” he explains, chuckling. “I keep telling myself I gotta stop buying this stuff just because I’ve used it a couple times, and I gotta make sure that it’s really gonna work into my way of making music.”
“I’m using Ableton Live, so I use a lot of its stock plugins,” he says of his main go-to tools. “If the session crashes, the stock plugins always open back up easily. But I go through phases, and it depends on what music I’m working on. When I was engineering, the Waves RVox was my go-to; for production, it changes because I’m always trying to find new ways to work.”
The Miami producer is renowned for his ability to bring out the low frequencies in a mix, but he assures that there’s no secret plugin or piece of gear behind the technique. It’s simpler than that: “You just gotta make sure you leave room for the low end. That’s the big secret. As an engineer, I’m always conscious of how the speaker moves, and really picking sounds that’ll move the speaker. If you really want it to knock, don’t let anything else get in the way of the low end.”
Like many producers, Billions has found it tough to ignore new generative AI platforms Udio and Timbaland-backed Suno. He’s keen to stay ahead of the curve and is taking a more optimistic approach, despite the brands facing copyright concerns.
“It’s a very gray area; it’s cool, but it’s also scary in many ways,” says Billions. “It really just comes down to taste more than anything now. That’s what music is anyway, but with AI, it’s like ‘alright, this can make anything,’ but somebody has to like the record for it to be good. It’s cool, and it’s fun, but I’m interested in seeing where it actually goes.
Billions is confident that generative AI is here to stay. He cites the Amazon and Suno partnership as a sign that big corporations are backing it; the recent news that Suno is valued at £2.45 billion is also an indication that producers will be competing or collaborating with gen AI for years to come.
“Suno is making a DAW now where you can prompt the bass line into the production,” he continues, suggesting the potential ways songwriters can harness generative AI. “It’s hard for me to feel attached to a song that I just prompted, but if you prompted a bass line, it’s at least like you’re being creative with the AI.”
Breaking through as a producer, however, isn’t about only relying on tools or techniques, says Billions — you have to connect with other artists and producers, and no technology will do that for you.
“The hermit in me wishes I didn’t have to [go out and meet people], but it’s definitely the name of the game,” he says. “I mean, some people are talented enough that they can just be in another country and send out beats. But I always have to be there, and it’s part of what I like. I like recording them, getting them mixed, and [seeing them] all the way through.”
Billions’ unwavering taste and commitment have kept him in the game since the mid-00s, and there’s sure to be more work coming his way. But whether he’s landing more Grammys or just making beats for more casual artists, he’s not expecting anything to stop him making music — disrupting tech or otherwise.
“I’m gonna make music forever, and God willing, we’ve got another 50 years.”
Read more music production interviews
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“This isn’t just a new keyboard. It’s a new era”: Arturia expands its AstroLab lineup with new 37-key modelArturia has unveiled the AstroLab 37, the most compact and portable addition to the AstroLab line yet.
Joining the range’s existing 61- and 88-key AstroLab models, the AstroLab 37 is a lightweight performance-ready instrument designed for producers on the go.

READ MORE: Black Friday music deals 2025: The best early deals we’ve found on synths, DJ controllers and plugins

It boasts 37 slim keys with aftertouch, 44 onboard instruments, 11 sound engines, and over 1,800 presets, with 10 instant-access preset buttons for quick recall. There are also four macro knobs with LED feedback, four FX knobs including a dedicated Delay and Reverb, a Vocoder-ready mono input, and a colour display for fast browsing.

In terms of connectivity, the AstroLab 37 features MIDI I/O, USB C and A, balanced mono I/O, a mic input, Bluetooth, WiFi and a pedal input, if required.
The AstroLab 37 also sports a wealth of onboard performance tools, including an arpeggiator, chord mode and scale mode.
“Instantly access a universe of reference synths, classic keyboards, acoustic instruments, and cinematic hybrids – all deeply customisable via onboard controls. The 37 slim-key slim keyboard with aftertouch, vocoder, and performance modes turns ideas into fast-moving solos, dynamic leads, and unforgettable hooks.”
“Engineered for liftoff, AstroLab 37 redefines what a compact performance keyboard can be. Combining an unrivalled sound palette with intuitive controls and a seamless studio-to-stage experience, it empowers musicians to perform with confidence and limitless sonic freedom.”
The AstroLab 37 is priced at $799. Learn more at Arturia.
The post “This isn’t just a new keyboard. It’s a new era”: Arturia expands its AstroLab lineup with new 37-key model appeared first on MusicTech.