CRITICALLY ACCLAIMED DEVO DOCUMENTARY NOW STREAMING ON NETFLIXDEVO, the feature documentary about the pioneering New Wave band DEVO, is now streaming globally as a Netflix Original. The film premiered to rave reviews from critics and audiences at Sundance 2024:“A zippy, zany, whip(it)-smart documentary” - INDIEWIRE“For Devo fans, it’s 90 minutes of irresistible pop history and dazzlingly edited surrealist audio-visual candy.”  - VARIETY“This is utterly fantastic. On some level stupendous. This is not your average rock doc. You know, a linear retelling of the band's career, pure fact with a bit of rearview interpretation by those still alive. RATHER, this is all about the inspiration, this is all about the ARTISTRY! And we haven't had that spirit here for a very long time. If you're a baby boomer, you will remember. The inspiration of old films, from W.C. Fields to the Marx Brothers to Inherit the Wind, which had a profound effect on Mark Mothersbaugh. Who is inspired by a pamphlet given to him by a teacher which lays out so much of the Devo philosophy long before there even is a band.” –THE LEFSETZ LETTER  Netflix trailer: https://www.youtube.com/watch?v=FgV8X2x6xvE An announcement from Rhino touted 2025 DEVO endeavors:“Acclaimed filmmakerChris Smith (Wham!, Fyre, 100 Foot Wave, and Jim & Andy: The Great Beyond) captures the gloriously radical spirit that is DEVO – a rare band founded by a philosophy; a Dada experiment of high art meets low, hellbent on infiltrating American popular culture. Through never-before-seen archival and interviews with Mark Mothersbaugh, Bob Mothersbaugh, and Jerry Casale, DEVO relishes in the highs, lows, surreal moments and incredible performances of a 50-year career, embracing the spectacle of the band from their lo-fi beginnings to pioneers of the music video in the early days of MTV’s cultural dominance. “Band members are open with their memories and archives, charting their origins as Kent State University arts students shaped by the activism of the late 1960s. Following the 1970 massacre on their campus, the band’s concept of cultural “De-Evolution” turned from satirical humor to urgent social commentary, and what began as subversive counterprogramming to KSU’s 1973 arts festival would go on to warn of, comment on, and reflect back the absurdism of the late 20th century. Finding mainstream success at the height of 1980s consumerism, DEVO soundtracked the De-Evolution they’d long predicted – and influenced a 21st century they’d have never believed. “DEVO is a Library Films / VICE Studios production in association with Mutato Entertainment, presented by BMG, Undeniable (a Fremantle label), and Warner Music Group. The film is available exclusively on Netflix starting today. Listen to the DEVO Netflix Official Playlist here: https://netflixmusic.ffm.to/devo.“Accompanying the band's documentary is a companion piece, Energy Dome Frequencies: Songs From The DEVO Documentary, available as a 1LP and CD on October 31. Featuring unforgettable DEVO hits like "Girl U Want," "Uncontrollable Urge," and their platinum-certified single, "Whip It."“Energy Dome Frequencies: Songs From The DEVO Documentary track listing:Side OneMongoloid (Warner Version)

Jocko Homo (Warner Version)

(I Can't Get No) Satisfaction

Uncontrollable Urge

Girl U Want

 Freedom Of ChoiceSide TwoWhip It

Gates Of Steel

Working In The Coal Mine

Beautiful World

Through Being Cool

That's Good“In summer of 2025, the group is gearing up to unite with The B-52’s for the 2025 “Cosmic De-Evolution Tour”: a co-headlining 12-date run serving as both bands’ continuing concert farewells. Lene Lovich will open the trek, which launches September 24th in Toronto and wraps November 2nd in Houston.Tickets are available at LiveNation.com.” COSMIC DE-EVOLUTION TOUR DATES 2025:9/24 - Toronto, ON @ Budweiser Stage9/25 - Clarkston, MI @ Pine Knob Music Theatre10/2 - Mansfield, MA @ Xfinity Center10/4 - Holmdel, NJ @ PNC Bank Arts Center10/5 - Wantagh, NY @ Northwell at Jones Beach Theater10/16 - Mountain View, CA @ Shoreline Amphitheatre10/18 - Los Angeles, CA @ Hollywood Bowl10/19 - Los Angeles, CA @ Hollywood Bowl10/24 - Charlotte, NC @ PNC Music Pavilion10/25 - Alpharetta, GA @ Ameris Bank Amphitheatre11/1 - Austin, TX @ Germania Insurance Amphitheater                                                                    In 1973, out of the remnants of late ’60s political activism and the rising post-punk music climate, the seminal band DEVO was born. The formative lineup consisted of two sets of brothers—Mark and Bob Mothersbaugh, and Gerald and Bob Casale—along with drummer Alan Myers, all hailing from Akron, Ohio. The band’s prophetic message of “Devolution” and their strikingly original fusion of electronics and punk made them a singular influence throughout the ’80s and into the ’90s.”DEVO began when Mark Mothersbaugh and Gerald Casale met as students at Kent State University and began exchanging ideas about art and music. Deeply influenced by the Vietnam War, campus protests, and the tragic Kent State shootings of May 1970, the duo started making films and writing songs that would evolve into a wholly unique performance style.Their art-meets-music ethos quickly propelled them into the spotlight as one of the most high-profile acts in the New Wave movement.During 1976, it was the Hollywood-based music publisher Dan Bourgoise of Bug Music who played me DEVO recordings right after the group landed in Southern California. He also screened DEVO videos by director Chuck Statler. I met Mark in his office.  I saw DEVO’s debut in Hollywood, as well as numerous shows, including a gig at the Santa Monica Civic Auditorium with Mink Deville.After interviewing Leonard Cohen for Melody Maker in the late seventies, we went to see DEVO at The Starwood. I recall Leonard and I talking about bluegrass music in the dressing room. In the late fifties Leonard was in a band the Buckskin Boys, and in 1968 recorded Songs From A Room in Nashville Tennessee with producer Bob Johnston. The members of DEVO quickly bowed out of any discussion with us on bluegrass and country music. It was obvious that these art heads were not at all interested, let alone wanting to be associated with past musical genres.      In 1978, after earning a fervent cult following that included David Bowie, Iggy Pop and Neil Young, after a show in New York at Max’s Kansas City, Bowie declared DEVO “the band of the future,” DEVO was whisked off to Germany. There, Brian Eno—along with Bowie’s collaboration—produced their debut album Q: Are We Not Men? A: We Are DEVO!. The record caught the attention of both critics and the industry, helping the band build a following. It wasn’t until their third album, Freedom of Choice—produced by Bob Margouleff and featuring the double-platinum single Whip It—that DEVO became a worldwide band.They continued to evolve, releasing influential albums such as New Traditionalists, Oh No! It’s DEVO, and Shout. Their visual and sonic innovations helped define the aesthetic of the early MTV era.In 1990, DEVO went on hiatus to pursue other creative paths and during 1996, DEVO reunited for the first time in six years at the Sundance Film Festival to an exuberant crowd—DEVO was back with the original lineup intact (except for Alan Myers, who was replaced by drummer Josh Freese), the band reignited their live performance legacy. Freese remained with DEVO for nearly two decades.Since then, DEVO has continued to perform at festivals and venues around the globe. Their message feels contemporary, and their influence can be heard in bands ranging from Rage Against the Machine and Nirvana to LCD Soundsystem and Santigold.Kurt Cobain once said, “Of all the bands who came from the underground and made it in the mainstream, DEVO were the most challenging and subversive of all.” (Nirvana covered DEVO’s Turnaround, featured on their 1992 compilation Incesticide.)In 2023, DEVO embarked on their 50th Anniversary Tour, featuring three original members—Mark and Bob Mothersbaugh, and Gerald Casale. Jeff Friedl now holds the drumsticks, and Josh Hager has taken over for the late Bob Casale on rhythm guitar and synths. Their high-energy performances blend punk, rock, and synth-pop in a way that continues to delight a loyal audience.It was in 1990 when DEVO went on hiatus to pursue other creative paths.Mark Mothersbaugh received a call from friend Paul Reubens and went on to compose the theme and music for Pee-wee’s Playhouse. This unexpected opportunity launched him into a prolific career in film and television composition. He founded Mutato Muzika—a full-service music production house and a nod to his DEVO roots ("mutant" + "potato")—and brought in Bob Mothersbaugh and Bob Casale.Based in the Oscar Niemeyer building on Sunset Boulevard, Mutato became one of the most successful music houses in Hollywood. Mark has since become one of the most in-demand and highest-grossing composers in the industry. In addition to hundreds of commercials, games, and television projects, his film scores include The Rugrats Movie, Wes Anderson’s Rushmore and The Royal Tenenbaums, The Lego Movie, Thor: Ragnarok, Cocaine Bear, and most recently, A Minecraft movie.Gerald Casale, director of most of DEVO’s music videos, became a notable figure in the MTV revolution, directing videos for bands like Rush, Foo Fighters, Soundgarden, and Silverchair. He also built a successful commercial career, directing for brands including Miller Lite, Diet Coke, Mrs. Butterworth's and Tang.I’ve always enjoyed Mothersbaugh’s soundtrack score to The Royal Tenenbaums. A film starring Gene Hackman, Anjelica Houston, Ben Stiller, Gwyneth Paltrow, and Luke Wilson. The Royal Tenenbaums is a hilarious, touching, and brilliantly stylized study of melancholy and redemption from Anderson.The Criterion Collection has released a Blu-Ray with a restoredhigh-definition digital transfer, supervised by director Anderson, with 5.1 surround DTS-HD Master Audio soundtrack · Audio commentary by Anderson · With the Filmmaker: Portraits by Albert Maysles, featuring Anderson · Interviews with and behind-the-scenes footage of actors Gene Hackman, Anjelica Huston, Ben Stiller, Gwyneth Paltrow, Luke Wilson, Owen Wilson, Bill Murray, and Danny Glover · Outtakes · The Peter Bradley Show, featuring interviews with additional cast members · Scrapbook featuring young Richie’s murals and paintings, still photographs by set photographer James Hamilton, book and magazine covers, and storyboards · Studio 360 radio segment on painter Miguel Calderón, along with examples of his work · Trailers · Insert with Eric Anderson’s drawings of the Tenenbaum house · PLUS: An essay by film critic Kent JonesDuring July 2025, DEVO made available a restored version of their May 1976 short film, The Truth About De-Evolution. In 1977 the movie won first prize at the Ann Arbor Film Festival. The nine-minute film, directed by Chuck Statler, now incorporates upgraded audio and video by archivist, Peter Conheim, and the Cinema Preservation Alliance. It includes two DEVO renditions of “Secret Agent Man” and “Jocko Homo.” An Instagram post promised, “More restored films and mind-melting content coming soon.”Last century I was at a music business event in West Hollywood. At the food line, Mark Mothersbaugh introduced himself and praised my work with the Doors’ Ray Manzarek. Mark then offered, “Hearing the Doors’ ‘Light My Fire’ and Ray Manzarek’s keyboard was a big influence on a teenage kid in Akron, Ohio.”During 2006 I interviewed Mark Mothersbaugh.Q. How did you begin working with Wes Anderson?A. The Royal Tenenbaums. How it began. Asked to look at a film by someone at Sony that Owen and Wes wrote together Bottle Rocket. Saw a screening and thought it was much more interesting than other movies made about this generation.I’d like to do music for this that had nothing to do with rock ‘n’ roll or current trends or MTV. I was offered the score. I met with Wes and we talked, led to Rushmore and Tenenbaums. Now we have a vocabulary when we work. Since we had done two films, he was calling me when he was writing the script for The Royal Tenenbaums, so we were talking back then, trading music over a year before the movie came out.Q. What about the process of the composer working with the record label for soundtracks?A. Labels don’t really care about composers. That’s the truth. Generally speaking, a label is generally looking for a way to sell, they look at the movie as a poster, a commercial for their talent they’ve signed. And they don’t know what do with, and try and pick up movies that they think they can stick their songs into, and don’t care where, or how, usually.Most movies do not care about the underscore when it comes to a soundtrack album because, from a numbers point of view, it’s a rare soundtrack that sells numbers that are exciting to a record company.With my pieces on Tenenbaums, it’s Wes’ call. He was very adamant about the score being on the soundtrack. That’s the only reason it’s there. The movie is Wes’ vision. He’s an artist.Now movies are made, with a lot of lawyers in the middle and there’s a lot of focus, depending on your focus group, either 16 year old boys in Encino or 12 year old kids in Pasadena. Typically, they tell you how much money they have for a music budget and from the get go Wes knew he wanted some of these songs.Q. You’ve been the artist with DEVO, what’s the best way for the composer to work with a director and music supervisor?A. It took me a while to get there. I always looked at music supervisors as being unnecessary and meddlesome and over credited. And I think you have to try and understand everybody’s motivations and why they are there in the first place.The most important thing for me is helping a director achieve his vision. You’re given the limitations of what the film company thinks your worth, you have that many dollars to use towards that goal and a lot of time directors don’t have a clue about a soundtrack album. In the case of Wes, it was quite different. Every single piece of this movie is important to him. He sat with me while I was writing music for the film and scoring and we talked constantly during the process. Most times directors get nervous, or are too busy to do that, or they’re already on to the next project. He sat in the back room. He’s probably the most hands-on director I’ve ever worked with.In this case I wrote cues while temp music was already in place. It’s very common that the songs are in place before the film gets to a composer. But unlike our previous collaborations, this is the first time he called me to discuss music as he was putting the script together. So, I was writing sketches based on early drafts of the script and then sending them to him. That allowed him to listen to the music as he was filming.   Actually, I was writing music when he gave me the first draft of his script back in November of last year.Q. What drew you to Wes?A. His temp music was one of the reasons I wanted to work with him from the very beginning. Even in Bottle Rocket. Like in that one, he used the Rolling Stones’ ‘2000 Year Old Man’ which I really like. I thought, ‘what an odd choice, but it was a perfect choice.’ How interesting that he would go there instead of doing something from MTV.That’s what made me want to meet him in the first place. ‘This is somebody who needs somebody to protect him and to help him create his vision.’ He has interesting tastes and makes a lot of his choices intellectually, but they always resonate with what he’s doing. He picks things that compliment his picture. It’s like, there are movies I’ve worked on where because before they got to the end of the movie, they made a deal with a company or label, and it’s doesn’t matter who they are to the label, and it’s kind of at a certain point it doesn’t matter to the film makers, they just want an album and hoping and fishing for a hit song. And if it relates to the music, all the better, but if it doesn’t, they quite honestly could care less.By the time we mixed the movie we backed off from some of the score simply because there were so many songs in the audio, you didn’t want to distract anybody. But that’s a balance you find as you are going along and it becomes determined what songs are going and staying.Q. What about scoring for movies and directors who might like your band. Does it help?A. You know what, maybe a little bit, but I wouldn’t over rate that. I don’t think it’s necessarily a plus to come from a band. The reality is that there’s a lot of people who were in bands that tried to get into composing and it didn’t work. It’s a totally different monster. I think the writers that have the most success are ones that are empathetic and are able to. First of all, you have to understand what your job is, and your job is to help the director’s vision come to fruition. And when you’re in a band that’s not really what your job is at all. You have your own vision and your own story to tell, and pitty the person who tries to fuck with that.Q: As a band, DEVO have had songs in films and soundtracks.A: Jerry and I are both kind of active in that, and the other Devo members all work with me at Mutato, so sometimes they’ll be working on a project, like Bob has done a couple of movies for MTV where he’s been able to suggest things. There’s some involvement.Regarding music videos, we thought we were doing something different and bigger when we were making our films. We thought we were creating a new art form that was going to eclipse rock and roll, believe it or not. That’s what our intentions were.Unfortunately, MTV came along, we had ideas earlier about music television and sound and vision eclipsing rock and roll and visual audio artists, people who were multi-media artists would become more prominent in pop culture, but I think because it didn’t happen early enough lawyers had already started to figure out a way to turn it into home shopping network. What we were doing was sort of reduced to baby pictures for record companies. Just a 3 and a half- minute commercial. Q. What does music add to movies, since you’re in deep in the game now? How does music support a movie?A. I think composers know better than anybody what their music brings to a movie because when you are in the process of writing things you don’t always write what goes on the screen is probably not always the first thing that you write. In my case, sometimes it’s the third, fourth or fifth thing I’ve written for a scene, instead of the first.Q. There seems to be a trend where directors are really involved in the music in their films and hands on in music and songs on soundtracks, and maybe music informs the script. How do you see the role or roles of the soundtracks as far as the composers in the future and music on the screen?A. I think scores showing up on CD’s only relates to an economic viability to it. If they can figure out a way to do it and just hit the niche market that wants it. I don’t think you’re ever going to talk the general public into thinking that underscores should be listened to without the movie. They’ll be moments when the underscore catches someone’s fancy like a Henry Mancini theme that actually becomes a song that’s part of the movie. And stuff like that does happen. Rock music has been around so long now, it’s like the classical music of our time in a way.    (Harvey Kubernik is the author of 20 books, including 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon, 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972, 2015's Every Body Knows: Leonard Cohen, 2016's Heart of Gold Neil Young and 2017's 1967: A Complete Rock Music History of the Summer of Love. Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. In 2021 the duo wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble.       Otherworld Cottage Industries in 2020 published Harvey’s Docs That Rock, Music That Matters. His Screen Gems: (Pop Music Documentaries and Rock ‘n’ Roll TV Scenes) is scheduled for 2025 publication.         Harvey wrote the liner notes to CD re-releases of Carole King’s Tapestry, The Essential Carole King, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special, The Ramones’ End of the Century and Big Brother & the Holding Company Captured Live at The Monterey International Pop Festival.    In 2006 Kubernik appeared at the special hearings by The Library of Congress in Hollywood, California, discussing archiving practices and audiotape preservation. In 2017 he lectured at the Rock and Roll Hall of Fame in Cleveland, Ohio, in their Distinguished Speakers Series. Amidst 2023, Harvey spoke at The Grammy Museum in Los Angeles discussing director Martin Scorsese's The Last Waltz music documentary.    During 2007 Harvey appeared in the M-G-M/Sony Pictures New Wave Productions Deluxe Edition DVD of Jailhouse Rock starring Elvis Presley. He was interviewed in the video short The Scene That Stole Jailhouse Rock.   In 2014, Kubernik was a consultant and interviewed for an hour-long examination of the musical legacy of Los Angeles for the Australia television series Great Music Cities for Australian subscription television broadcaster XYZnetworks Pty Ltd (www.xyznetworks.com.au). Slash, Brian Wilson, Steve Lukather, Keith Richards and Lonn Friend were also lensed for the project. Senior Producer is Wade Goring for the music channel.     Kubernik was an interview subject for director Matt O’Casey in 2019 on his BBC4-TV digital arts channel Christine McVie, Fleetwood Mac’s Songbird. The cast includes Christine McVie, Stan Webb of Chicken Shack, Mick Fleetwood, Stevie Nicks, John McVie, Christine’s family members, Heart’s Nancy Wilson, Mike Campbell, and Neil Finn. Harvey was lensed for the 2013 BBC-TV documentary on Bobby Womack Across 110th Street, directed by James Meycock. Bobby Womack, Ronnie Wood from the Rolling Stones, Regina Womack, Damon Albarn of Blur/the Gorillaz, and Antonio Vargas are spotlighted.    Kubernik was interviewed for the August 2025 documentary, The Sound of Protest now being broadcast on the TVOD Apple TV broadcasting service. https://tv.apple.com › us › movie › the-sound-of-protest. Director Siobhan Logue’s endeavor features Smokey Robinson, Hozier, Skin (Skunk Anansie), Two-Tone's Jerry Dammers, Angélique Kidjo, Nina Simone, Holly Johnson, David McAlmont, Rhiannon Giddens, and more.    Harvey is also an interview along with Iggy Pop, Bruce Johnston, Johnny Echols, the Bangles' Susanna Hoffs and Victoria Peterson, and the founding members of the Seeds in director Neil Norman’s documentary The Seeds - The Seeds: Pushin' Too Hard. This November 2025, a DVD with bonus footage will be released via the GNP Crescendo Company.    The New York City Department of Education is publishing in 2025 the social studies textbook Hidden Voices: Jewish Americans in United States History. Kubernik’s 1976 interview with music promoter Bill Graham on the Best Classic Bands website Bill Graham Interview on the Rock ’n’ Roll Revolution, 1976, is included). The post CRITICALLY ACCLAIMED DEVO DOCUMENTARY NOW STREAMING ON NETFLIX first appeared on Music Connection Magazine.

Ether exchange reserves fall to 3-year low as ETFs, corporate treasuries soak up supplyEther supply on centralized exchanges has plunged around 38% since 2022, as billions flow into spot ETFs and corporate treasuries ramp up their ETH holdings.

Scale AI is suing a former employee and rival Mercor, alleging they tried to steal its biggest customers  Scale is clearly concerned enough about the threat of Mercor, and the poaching of one of its employees, to pursue legal action.

JYP Entertainment is hiring for AI and Unreal Engine experts to develop an ‘unprecedented’ virtual K-pop artistJYP is hiring staff with expertise in artificial intelligence, motion graphics and more
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One Camera Mule to Rule Them AllA mule isn’t just a four-legged hybrid created of a union betwixt Donkey and Horse; in our circles, it’s much more likely to mean a testbed device you hang various bits of hardware off in order to evaluate. [Jenny List]’s 7″ touchscreen camera enclosure is just such a mule.
In this case, the hardware to be evaluated is camera modules– she’s starting out with the official RPi HQ camera, but the modular nature of the construction means it’s easy to swap modules for evaluation. The camera modules live on 3D printed front plates held to the similarly-printed body with self-tapping screws.
Any Pi will do, though depending on the camera module you may need one of the newer versions. [Jenny] has got Pi4 inside, which ought to handle anything. For control and preview, [Jenny] is using an old first-gen 7″ touchscreen from the Raspberry Pi foundation. Those were nice little screens back in the day, and they still serve well now.
There’s no provision for a battery because [Jenny] doesn’t need one– this isn’t a working camera, after all, it’s just a test mule for the sensors. Having it tethered to a wall wart or power bank is no problem in this application. All files are on GitHub under a CC4.0 license– not just STLs, either, proper CAD files that you can actually make your own. (SCAD files in this case, but who doesn’t love OpenSCAD?) That means if you love the look of this thing and want to squeeze in a battery or add a tripod mount, you can! It’s no shock that our own [Jenny List] would follow best-practice for open source hardware, but it’s so few people do that it’s worth calling out when we see it.
Thanks to [Jenny] for the tip, and don’t forget that the tip line is open to everyone, and everyone is equally welcome to toot their own horn.

Ableton update the Move Hot on the heels of the latest version of Live, ...

Is iZotope Ozone 12 just a routine update, or something more exciting?Believe it or not, iZotope’s Ozone is now 24 years old and, in that time, has revolutionised the process of mastering, making pro-level tools available to anyone with a couple of hundred dollars. The company has just released version 12, and has given MusicTech an early copy to dig into Ozone 12’s new capabilities, from enhanced AI tools to Stem EQ.
We’ll be publishing a full review soon, but here’s everything you need to know right now about the new suite. We’re checking out Ozone 12 Advanced, which is the fully-featured package and costs $499, but the Standard version ($219) also gets most of the new features, while Elements ($55) gets the new Master Assistant, which is the big news here.
Ozone’s Master Assistant
Master Assistant is greatly expanded from Ozone 11; it can still listen to your track and use AI to suggest a sympathetic mastering treatment, but now there’s a whole new set of options too.
Switch to the Master Assistant’s Custom mode, and you can get much more granular instead of letting the software make all your choices. For a start, there’s a new list of genre-specific target styles, including several sub-genres of EDM (where there used to be fewer), to tailor the processing to your track. Then there’s the option to enable or disable the different processing modules – love the imaging but not the EQ? It’s easy to just use some modules in this mode now. Then there’s an Intensity slider so you can apply variable amounts of the mastering processing.
Custom mode is a new addition that’s ideal for producers who don’t like the idea of trusting a whole master treatment to the software but who also want some guidance and to save some time. It’s a halfway house and a useful option to have alongside fully automated or fully manual setups. It’s worth repeating that even the most affordable version has this new feature if you’re on a budget.
Ozone 12 Stem EQ vocals. Image: Press
Three new modules
Stem EQ, found in the Advanced version, builds on the Stem Focus mode and uses AI to separate four stems: vocals, drums, bass and instruments, something we are seeing across many pro audio packages these days.
Here, you can apply EQ separately to any of these stems even when working with a mixed-down stereo file. The idea is that you don’t need to go back and do tedious mix edits and re-exports to achieve this. In some cases, you might not even have that option, so it’s super handy to be able to just go in and tame the bass a bit, for example, or pull up some mids to brighten the vocals, without having to unpick everything first.
The second new module is Bass Control (Standard and Advanced), which uses machine learning to “streamline” bass frequencies, iZotope says. It provides you with a dedicated waveform view of your low end, with light/heavy balance and punch controls, as well as a Sustain Power control. In short, the feature helps to make your bass hit harder without becoming overwhelming. It’s neither EQ nor compression, so it is capable of tightening up the bottom end in a way that’s not possible with more conventional tools.
Thirdly, and included with the Advanced version, there’s the Unlimiter, another machine learning-powered module that iZotope claims is the only tool of its kind on the market. We’re all familiar with the over-limiting that characterised the loudness wars, sucking life and dynamic range out of masters. This tool analyses your over-limited track and has a simple Amount knob you can use to “reverse” the effects of limiting, opening up dynamic range and bringing a more natural character back to the track.
This module is sort of magic, and while I doubt we’ll be told exactly how it does what it does, it’s remarkably effective. It will become an invaluable tool for re-mastering older material where stems aren’t available, correcting mistakes, and even just sweetening up tracks you’ve taken a bit too far.
Finally, the Maximizer section gets a new IRC 5 limiting algorithm, which iZotope says delivers clarity and loudness without the usual associated pumping or distortion. Digging around in this section of the software is perhaps a pursuit of more experienced users, but when doing an A/B comparison of the new algorithm, it is noticeably clearer and cleaner in the results it produces.
Ozone 12 Bass Control. Image: Press
Ozone 12 — promising update or AI slop?
While Ozone was already pretty much the most fully-featured software mastering suite on the market, the features that iZotope has added in version 12 makes it a significant update for producers of all skill levels.
The new features span a range of use cases from audio repair and AI-powered assistance to more forensic control of frequencies in a way that isn’t possible with standard EQ, compression and similar tools. This all elevates mastering into a more technically advanced process – note the prevalence of machine learning — but the software remains accessible and doesn’t blind you with science.
The Standard version is the one most people will opt for, and if you’re already a customer, discounted upgrade pricing is available via your account. You’ll only get the full tool set with the Advanced version, which is the most expensive, but there’s also a 10-day free trial, so you can try it out for yourself.
For new customers, MSRP prices are as follows:

Ozone 12 Elements: $55 USD
Ozone 12 Standard: $219 USD
Ozone 12 Advanced: $499 USD
Music Production Suite: $799 USD

Ozone 12 Unlimiter. Image: Press
Learn more at izotope.com.
The post Is iZotope Ozone 12 just a routine update, or something more exciting? appeared first on MusicTech.

“We’ve listened to our community and improved every part of the experience”: Drumsheds announces sweeping venue improvements for 2025/26 seasonAhead of its 2025/26 season, Drumsheds – the 15,000-capacity venue housed within a repurposed IKEA building in Tottenham, north London – has announced a sweeping set of improvements and updates, with an emphasis on improved movement around the venue, and a complete redesign of one of its rooms.
Drumsheds came under fire in December last year following UKF15 – an event featuring Pendulum, Nero, Knife Party, Modestep, Flux Pavilion and other dance music titans – following widespread concerns over safety, poor crowd management, two-hour entry queues and some people even being denied entry to the main room.

READ MORE: Drumsheds to enforce new safety measures following review

The backlash was significant enough for some attendees to create a petition, with nearly 2,500 people signing to demand refunds after “unsafe event conditions”.
Now, organisers have taken the feedback onboard, and are promising a very different experience for those attending its upcoming events in 2025 and 2026.
“Guest feedback has helped shape a series of sound, space, and service refinements designed to reaffirm the venue’s ongoing commitment to those who make it what it is – the people on the dancefloor,” the venue says.
First up, there will now be “improved movement around the venue”, with new spaces and routes unlocked, including a 360-degree channel around the venue, a lobby, and new ways to enter and exit. Search lanes have also been doubled, improving entry and exit channels.
In another safety and quality-of-life improvement, the venue will now offer free Wi-Fi for all attendees across the entire venue, powered by tech brand Nothing.
“Losing yourself on the dancefloor is what it’s all about at Drumsheds, not losing your crew,” organisers say.
In further venue improvements include enhanced acoustic treatment in the main room, Room X, revealing the “full clarity and punch of the d&b audiotechnik sound system”, as well as extra bass and Infrabass speakers halfway down the room for extra low-end in the back half of the dancefloor. “Consistent sound, delivering an incredible experience wherever you’re dancing,” Drumsheds says.
There’s also a new layout for Room Y – which we’re not told too much about in detail – but organisers say it’s a “complete redesign” aiming to offer an “elevated dancefloor experience”.
And finally, there’s a brand-new Backstage Bar space, offering all attendees the chance to access a “unique vintage point” behind the stage, “offering a new perspective and a space to relax”.
Drumsheds says its 25/26 season will be its “biggest season yet”, with artists confirmed including Adam Beyer, Peggy Gou, Flava D, DJ Snake and many, many more.
“Drumsheds was built to be a home for bold ideas and a platform to push boundaries in music and culture, with people at the heart of the experience,” says Luke Huxham, MD of Broadwick Live, owner and promoter of Drumsheds.
“This season we’ve listened to our community and improved every part of the Drumsheds experience, while curating a line-up that reflects the scale and diversity of music culture in London today. AW25/26 is about putting the focus back onto the dancefloor and creating world-class experiences that people will remember.”
As a beacon of London’s nighttime economy, the prospect of Drumsheds losing its licence following UKF would have dealt a heavy blow to dance music culture in the UK, especially during a time when we’re seeing more and more venues close under increasing financial pressure and reduced demand.
The team here at MusicTech commends Drumsheds’ changes in response to attendee feedback, and we very much look forward to experiencing the new and improved Drumsheds in the 25/26 season.
Check out the full AW25/26 schedule at the official Drumsheds website.
The post “We’ve listened to our community and improved every part of the experience”: Drumsheds announces sweeping venue improvements for 2025/26 season appeared first on MusicTech.

Eva Instruments HARMO guitar harmonics library for Kontakt is FREE for a limited time
Typically, when we say something is free for a limited time, you have a week or more to take advantage of the offer. At the time of writing, you have around a day and a half to download HARMO for free before it returns to its regular price of $25 (the offer ends on September [...]
View post: Eva Instruments HARMO guitar harmonics library for Kontakt is FREE for a limited time

iZotope Ozone 12 has arrived Ozone 12 includes a trio of new additions: Stem EQ, Bass Control and Unlimiter, a configurable Master Assistant feature and a new transparent limiting algorithm for its much-loved Maximizer module. 

iZotope’s Ozone 12 is here, with a whole load of AI-powered upgrades that “guide, not decide”iZotope has released Ozone 12, the latest evolution of its popular mastering suite. This new iteration introduces three new modules, an update to its AI-powered assistant, and more.
The previous version of Ozone landed in 2023, and scored a 9/10 in our review. Though a near perfect score, we did note that the AI assistant needed some tweaks. As usual, Ozone 12 comes in three editions: Elements, Standard, and Advanced, with Advanced including 21 individual plugins.

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iZotope says that this assistant has “intelligent tech that guides, not decides”, and reiterates that the implementation of AI within its products is intended to simply help and inspire – the tech certainly comes into play a lot within Ozone 12.
Diving further into its features, Ozone 12 includes a Stem EQ, which lets users apply EQ to vocals, drums, bass, and instruments separately within a stereo audio file, and a Bass Control described by iZotope as a “machine-learing powered module that refines low-end frequencies, ensuring masters hit hard in any listening environment”.
Ozone 12 Unlimiter. Image: Press
There’s also an Unlimiter on board that can revive overly compressed audio, also powered by machine-learning, and, going back to the AI-powered Master Assistant, it now offers a ‘custom flow’ that allows for specific module choices, LUFS targets, and genre modifiers to create a unique mastering chain.
Furthermore, the well-loved Maximizer now includes an IRC 5 limiting algorithm, which “delivers outstanding loudness and clarity without the usual tradeoffs like pumping or distortion”, according to iZotope.

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iZotope’s comprehensive Music Production Suite 8 has also now been updated to include both Ozone 12 Advanced and all five of its Catalyst Series products: FXEQ, Velvet, Cascadia, Aurora, and Plasma.
Existing iZotope customers may be eligible for special loyalty offers. For new customers, Ozone 12 Elements is priced at $55, the Standard version is $219, and Advanced comes in at $499. Find out more via iZotope.
The post iZotope’s Ozone 12 is here, with a whole load of AI-powered upgrades that “guide, not decide” appeared first on MusicTech.

Melbourne Instruments Roto-ControlRoto-Control is a motorized MIDI controller. This unique controller utilizes the same motorized knob technology found in their Nina and Delia synths, providing real-time visual feedback for parameter changes in your DAW or hardware devices. Roto-Control features eight touch-sensitive, self-rotating knobs, eight keyboard-style buttons, and a row of high-resolution displays for clear visual feedback and versatile control. The integrated Motion Recorder allows for automation and looping of MIDI parameters on both hardware and software. Features The Roto-Control has three modes: MIX Mode: Plug & play with Ableton Live. PLUGIN Mode: Control plugins in Ableton Live. MIDI Mode: Control any MIDI device. The Motion Recorder allows for recording and looping of MIDI parameters. Additional Features: 8 touch-sensitive motorized knobs with haptic feedback. 9 high-resolution LCDs. 16 backlit RGB LED buttons. 2 USB-C ports. MIDI in/out/thru. The Roto-Setup App provides configuration and customization of knobs and buttons. YouTube/8qyduUwtNlc Read More

From inspiration to expression: The next chapter of Splice tools
We're excited to share two new Beta releases that mark the next step in Splice' journey.

Heads up: You can save 40% on Cubase 14 for a limited time – here’s howWhen we reviewed Cubase 14 earlier this year, we gave Steinberg’s flagship digital audio workstation a solid 8/10, commending its beatmaking and drum programming flexibility, and extensive, intuitive MIDI functionality, among a host of other strong traits.
So what if we told you you can save a massive 40% on Cubase 14 for the entirety of September?
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This promotion – hosted by our good friends at Steinberg – applies on all three tiers of Cubase 14: Pro, Artist and Elements.

READ MORE: Why Steinberg Cubase Pro 14 is the most significant update since 1997’s VST launch

Cubase Pro 14 is the complete and most fully-loaded version of the DAW, with the entire suite of Cubase tools at your disposal including professional composition, recording, mixing and editing workflows, Dolby Atmos support, advanced MIDI editing, a powerful modulation system and a professional-grade selection of pre-loaded plugins.
Cubase Pro 14 is trusted by many top producers and even Hollywood blockbuster composers worldwide, so its normal £481 price tag is justified. But until 1 October, you can get Cubase Pro 14 for just £288.60. That’s a huge £192.40 off.
Of course, if you don’t need the comprehensive Cubase 14 suite, you can go for either Cubase Artist 14 or Cubase Elements 14 – both with slightly reduced feature sets that might just be everything you’re looking for to make your best music ever.
Cubase Artist 14 is now priced at £163.80 – down from £273 – and still comes with an advanced set of features including, alongside all your basic DAW functions and features, VariAudio pitch correction, Multitrack AudioWarp and Audio Quantize, advanced comping workflows and an intuitive pattern sequencer and drum track.
Meanwhile, the most basic of the three tiers is Cubase Elements 14, which you can now get for just £49.80 instead of the usual £83. Yep, for under 50 quid you can get over 20GB of sounds and loops, as well as a host of inspiring songwriting tools including Scale Assistant, Retrospective Record and so much more.
And if you still need a bit of time to decide if Cubase 14 is right for you before making the purchase – even with the hefty discount – Steinberg has you covered, with a 14-day free trial so you can familiarise yourself with the DAW’s comprehensive feature set and inevitably fall in love with it.
So what are you waiting for? Head to Steinberg now to get your new favourite DAW at a massive discount.
The post Heads up: You can save 40% on Cubase 14 for a limited time – here’s how appeared first on MusicTech.

“Being a musician is sometimes more like being a top athlete”: Stimming on artists who only want to show off their skillsWhile Martin Stimming is constantly striving to innovate his organic sound, twisting natural field recordings with quirky, esoteric hardware, the German producer has spoken out against musicians who treat music like a competitive sport.
On the latest episode of MusicTech’s My Forever Studio, Stimming notes that his production work is always to aid the sound of a track – he doesn’t concern himself with ‘one-upping’ and proving himself to other musicians. “Being a musician is sometimes more like being a top athlete,” he reflects. “[For some artists] it’s not even about the music any more, to be honest.”

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As Stimming puts it, competitive musicians can often feel like “musician police” rather than supportive peers. These musicians tend to release music just to show off their skills, releasing pretentious cuts that “nobody wants to listen to” bar “the other 5,000 people on Earth that can also play very good and are astonished by how fast you can play.”
“They’re not really ‘enjoying’ [the music],” he explains. “They’re enjoying the ‘athletics’, but not the feelings, the emotions – which is the core of what music actually is.”

While Stimming notes that he was never professionally trained, instrumentally or in terms of production, he believes this has benefitted him. “I would say that’s a big win because I’m not in that trap of knowing too much,” he says. “I had a little bit of education, but luckily not too much that I kind of lost my inner child.”
This ‘inner child’ approach is evident in the producer’s dream Forever Studio set-up, too. The German famously controls his computer with a Wacom pen, something he explains feels “more natural”. The approach allows for a more child-like and free flowing creative process, like plotting his daydreams out on a “sheet of paper”.
Of course, it’s also easier on the wrist. “Those who work with the mouse for hours a day know how bad your wrist feels,” he frowns.
He also notes that pretentious artists tend to make a big fuss of their set-ups. For Stimming, things are more simple and low-key, letting the music speak for itself. “I need big speakers – the biggest speakers possible – but I like my screens small,” he says. “The screen and the visual shouldn’t be the main part of making music… we’re making music, not visuals!!”
“If it gets too complicated, too architectural… then it’s not music,” he emphasises.

His dream studio would also be isolated in a wooden cabin in the Alps – just like how he recorded 2016’s Alpe Lusia. Inside, he’d be working away on an Asus Republic of Gamers Flow Z13 laptop (“I would buy a Mac computer because it’s simply the better computer – it’s more efficient, it’s more clean – but the touchscreen pen is more compatible with PC.”)
When getting down to the nitty-gritty, Stimming explains how Merging Technologies’s HAPI as his audio interface of choice. He’s also keen to have Bricasti M7 reverb due to its “beautiful texture” that allows for “roominess” while still feeling “very natural and organic sounding”.
He also namedrops a few budget options – because, again, making good music doesn’t have to be inaccessible. He picks out Twisted Electronics’ MegaFM Synthesizer and Behringer’s semi-modular percussion synth, Edge. “The Edge is inspired by a Moog DFAM,” he explains. “Well, it’s not inspired, it’s [essentially] cloned. Yeah, it’s like brutally cold heartedly cloned…. And it’s only €200.”
Subscribe to My Forever Studio on Apple Podcasts and Spotify, and check out all episodes so far via MusicTech.

The post “Being a musician is sometimes more like being a top athlete”: Stimming on artists who only want to show off their skills appeared first on MusicTech.