Kush Audio BlyssBlyss Master Channel EQ Blyss Mastering Channel is a 3-stage processor designed specifically to make busses — both mix and instrument — sound "prettier". It also happens to sound... Read More

Apple and Google ban TikTok app despite Trump Executive OrderApple and Google ban TikTok app despite Trump's executive order giving a 75 day reprieve, and creators are starting to get worried.
The post Apple and Google ban TikTok app despite Trump Executive Order appeared first on Hypebot.

Deezer’s new AI detection tool has already found 10% of all tracks submitted to the platform are AI-generatedAI-generated music is a simple reality in 2025, and presents a competition problem to human producers looking to get their music heard on streaming platforms. Deezer is looking to tackle this problem by integrating AI detection software into its platform, and has already discovered that around 10,000 fully AI-generated songs are being uploaded every day. This amounts to 10% of Deezer’s daily uploads.
In response, Deezer is not removing the content, but is sidelining all AI-generated music from its algorithmic recommendations.

READ MORE: NAMM 2025 Live: Latest rumours, news and products from the biggest music technology show in the world

“As artificial intelligence continues to increasingly disrupt the music ecosystem, with a growing amount of AI content flooding streaming platforms like Deezer, we are proud to have developed a cutting-edge tool that will increase transparency for creators and fans alike,” says Deezer CEO Alexis Lanternier. “Generative AI has the potential to positively impact music creation and consumption, but its use must be guided by responsibility and care in order to safeguard the rights and revenues of artists and songwriters.”
Deezer has been developing this tool for roughly a year to detect AI-generated content from a wide variety of datasets including well-known AI models such as Suno and Udio. With this foundation, it can easily integrate detection tools for other AI models as long as it has examples of data from them.
“We set out to create the best AI detection tool on the market, and we have made incredible progress in just one year,” says Aurélien Hérault, Deezer’s Chief Innovation Officer. “Tools that are on the market today can be highly effective as long as they are trained on data sets from a specific generative AI model, but the detection rate drastically decreases as soon as the tool is subjected to a new model or new data. We have addressed this challenge and created a tool that is significantly more robust and applicable to multiple models.”
This is not the first time Deezer has taken a strong stance against AI. In October 2024, it was the only streaming service to add its name to the global statement on AI training, which reads:
“The unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works, and must not be permitted.”
Learn more via the Deezer Newsroom.
The post Deezer’s new AI detection tool has already found 10% of all tracks submitted to the platform are AI-generated appeared first on MusicTech.

Chartmetric Report reveals an Overcrowded Music IndustryChartmetric’s new report shows an overcrowded music industry with millions of artists competing for listeners. Shockingly, most struggle to get even 10 plays a month a reminder of just how. Continue reading
The post Chartmetric Report reveals an Overcrowded Music Industry appeared first on Hypebot.

GForce launch Novation Bass Station soft-synth GForce’s recreation aims to deliver the same sonic power as the original whilst expanding its capabilities with additions such as 16-voice polyphony.

Snowsky Retro Nano: FiiO’s new Walkman-inspired device is a music player, DAC and headphone amp rolled into oneFiiO’s new Snowsky Retro Nano music player packs big retro vibes into a tiny, modern package.
At just $59.99/£59.99, this budget-friendly music player is designed to make the most of high-res streaming services like Tidal. With support for Bluetooth AptX HD and LDAC, as well as the option to connect via a USB-C cable, it’s the perfect companion for enjoying your favourite tracks on a laptop, tablet, or on the go.

READ MORE: Native Instruments’ new Cremona Quartet Ensemble pack features sounds from four of the most venerated stringed instruments in the world

Wireless solutions aside, the Snowsky Retro Nano also comes with a 3.5mm jack as well as a balanced 4.4mm socket for you to get the best quality music from your wired headphones.
Under its hood, the player features a CS43131*2 DAC (Digital to Analogue Converter) and high power amplification (including a high-gain mode) that can easily drive in-ear or over-ear headphones to levels of performance far beyond smartphones and laptops.
Users can choose to operate the player wirelessly or via a lanyard. The device’s physical controls mimic the vibes of a 90s cassette player, as does its animated screen which starts to move as you play a track.
Image: FiiO
As FiiO describes, “Simply start an album from your smartphone and let the Snowsky Nano do the rest from volume control to track selection.”
The Retro Nano has full app control when using the FiiO Control app on Android or iOS phones. And thanks to a built-in microphone, you can even take calls on the player itself.
The device is powered by a 3.7v 10440 removable, rechargeable battery that can be charged using a USB-C cable. It is also eminently compact and portable, measuring just 55.1 x 37.5 x 13.7mm (way smaller than a credit card) and weighing a mere 28g with the battery.
Learn more at FiiO.
The post Snowsky Retro Nano: FiiO’s new Walkman-inspired device is a music player, DAC and headphone amp rolled into one appeared first on MusicTech.

Audio-Technica’s new ATM355VF clip-on microphone is designed for “high-accuracy, balanced capture” of string and woodwind instrumentsNAMM 2025: Audio-Technica has launched the ATM355VF, a compact condenser clip-on microphone designed specifically for “high-accuracy, balanced capture” of string and woodwind instruments like violins, violas and flutes.
The ATM355VF features Audio-Technica’s latest back-electret condenser design, with interchangeable capsules allowing users to choose between cardioid or omnidirectional and hypercardioid elements (sold separately).

READ MORE: NAMM 2025 Live: Latest rumours, news and products from the biggest music technology show in the world

The mic’s standard cardioid capsule boasts excellent frontal sensitivity and isolation, which helps you cut out unwanted ambient noises and feedback in live settings. A locking four-pin connector (with XLRM output) on its AT8543 power module also ensures secure connection, while the switchable 80Hz low-cut filter tackles low-frequency rumble with ease.
Another key feature of the ATM355VF is its lightweight, flexible gooseneck shape – a design that allows for precise microphone positioning while minimising mechanical noise and reducing strain on the 1.8-meter cable. The microphone is also fitted with a windscreen to isolate noise and protect it from accidental damage, ensuring consistent performance during professional live and studio sessions.
Image: Audio-Technica
A variety of dedicated mounts come shipped with the mic as well – violin and flute mounts are included, along with a joint adaptor to attach to the gooseneck for use in a variety of settings.
Audio-Technica says that the included mounts are designed to ensure minimal contact with the instrument to greatly reduce sound attenuation and prevent any loss in resonance. Contact surfaces are also made of a scratch-resistant material that will not damage instrument surfaces.
A wireless compatible version of the microphone, the ATM355VFcH, is also available.
The ATM355VF can be connected to Audio-Technica’s cW-style bodypack wireless transmitters, while the ATM355VFcH is compatible with Audio-Technica wireless products featuring the newer, more compact cH-style transmitters.
The ATM355VF will be available in the UK and Europe from February 2025.
Learn more Audio Technica.
The post Audio-Technica’s new ATM355VF clip-on microphone is designed for “high-accuracy, balanced capture” of string and woodwind instruments appeared first on MusicTech.

Solid State Logic releases rackmount USB audio interface designed to be the “ultimate studio centrepiece”NAMM 2025: Solid State Logic has officially released a brand new rackmount USB audio interface, the SSL 18.
The British brand, who announced the launch during a press conference at NAMM, says the new product is marking “the start of a new era in rackmount production technology” from the company, and that it is designed to be the “ultimate studio centrepiece” by enhancing production workflows.

READ MORE: NAMM 2025 Live: Latest rumours, news and products from the biggest music technology show in the world

The SSL 18 hosts 32-bit/192 kHz converters and has a dynamic range performance of 120 dB across all of its microphone, line-level and instrument inputs. It also has 125 dB dynamic range on the monitor and line outputs, and its integrated high-current amplifier features dual headphone outputs offering 120 dB dynamic range.
Featuring eight mic preamplifiers with switchable Mic/Line configuration, its inputs offer an ultra-low noise floor and allow “every detail of a performance to be captured with stunning accuracy”. Each input can also be switched into Legacy 4K Analogue Enhancement Mode, adding analogue saturation and a high-frequency boost.
Inputs 1 & 2 are located on the front panel and offer instrument/Hi-Z inputs to capture DI’d guitars and vintage synths/drum machines, while 10 balanced line-level outputs are then located on the rear of the unit. Line outputs 1&2 and 3&4 can be configured to +9 or +24 dBu, ensuring compatibility with an array of studio monitors and vintage equipment, while outputs 3 to 10 operate at +24 dBu, so they’re suitable for integrating professional outboard equipment.
All outputs are DC-coupled and capable of sending Control Voltage (CV) to synthesisers and/or modular rigs. Additionally, SSL 18 features configurable analogue insert points for inputs 1 and 2, and there is also a full monitoring control section with talkback input.

Senior Product Manager, Andy Jackson, comments, “Our engineering team applied their analogue and digital design expertise to exceed expectations. With the powerful SSL 360 software, SSL 18 delivers a world-class studio experience to any setup. We’re eager for everyone to experience its sound and workflow.”
Find SSL in Booth 18301 at The NAMM Show, or find out more via the Solid State Logic website.
The post Solid State Logic releases rackmount USB audio interface designed to be the “ultimate studio centrepiece” appeared first on MusicTech.

The new 32Classic Mix Strip combines Harrison Audio’s iconic sound with fresh features tailored for the modern hybrid studioNAMM 2025: Harrison Audio has launched the 32Classic Mix Strip (MS), a fully featured 19″, 1U channel strip based on the brand’s flagship 32Classic recording console.
Available for purchase at authorised retailers by the end of this month, 32Classic Mix Strip combines the warm, rich tones of Harrison’s iconic gear with innovative features tailored for the modern hybrid studio.

READ MORE: Behringer BX1 synth is inspired by the classic Yamaha CS-80 and DX1, with more teases at NAMM 2025

A defining feature of classic Harrison recordings is the high-performance transformer-coupled microphone preamp. The 32Classic MS mic preamp offers up to 70 dB of gain, providing “a full low-end, open mid-range, and super-smooth natural highs”, thanks to the Jensen JT-MB-CPCA transformer used.
The transformer’s gentle roll-off at each end of the frequency spectrum and delicate phase shift results in a remarkably sweet and musical sound, making it ideal for virtually any source material.
The 32Classic MS also brings the iconic 4-band parametric EQ from the original console to a 19” rack format for the first time. This is accompanied by High- and Low Pass filters that offer a musical 12 dB/octave slope. The High Pass Filter, ranging from 25 Hz to 3.1 kHz, includes a 3 dB resonant peak, while the Low Pass Filter spans 160 Hz to 20 kHz—ideal for eliminating rumble or smoothing high frequencies.
Connectivity wise, you’ve got dedicated Mic and Line XLR inputs on the rear panel and a front-panel input with selectable Instrument/Hi-Z and Mic options. The mic input features utilities such as 48V phantom power, a -20 dB pad, phase flip, and a tri-color LED meter. There are also independent gain controls on both the Mic and Line inputs for precise adjustments.
Output signals can be balanced using the Fader control and Pan controls, or you can engage the 0 dB Fader Bypass and record at unity gain.
Finally, the 32Classic MS is equipped with an integrated mix bus, allowing you to chain multiple units together. You can build your very own modular Harrison stereo summing mixer, ideal as a studio centerpiece or for enhancing any mixing and/or tracking workflow as a “sidecar” to any existing setup.
32Classic Mix Strip is priced at $1999/£1499.00+VAT/€1700.
Learn more at Harrison Audio.
The post The new 32Classic Mix Strip combines Harrison Audio’s iconic sound with fresh features tailored for the modern hybrid studio appeared first on MusicTech.

Plugin Alliance unveil SPL Machine Head Plugin This release marks the first and only fully accurate emulation of the original device, designed with the original chip-set and source code.

Ninajirachi’s free sample pack features 20 drum and synth loops and 100 one-shotsAd feature with BandLab Sounds
As a producer, you can never have too many fresh sounds in your sample collection. With that in mind, rising electronic music star Ninajirachi has teamed up with BandLab Sounds and MusicTech to create a sample pack featuring 120 free samples.
The pack, called Girl EDM Particles, includes 10 drum loops, 10 synth loops, and 100 one-shot sounds – all in the future-dance style the Aussie producer has become known for. With loops in a variety of tempos and a ton of creative one-shots to experiment with, this pack might just be what you need to get those creative juices flowing.
Ninajirachi’s love affair with sampling has been going on for years. Eight years ago at 17 years old, she took to Reddit to introduce her Ninajirachi project.

“I really love recording sounds from around my house and seeing what I can do with them,” she wrote at the time. “It’s fun to show someone a demo and then tell them that the snare came from a toaster.”
In a recent interview with MusicTech, she told us how she’s always on the lookout for interesting sounds from everyday life to use in her music. “I’m voice memo-ing all the time,” she said. “I like to be surprised by stuff that I hear just going about my day. It’s so much fun.”
The Ninajirachi sample pack is available on the BandLab Sounds platform or via the free BandLab Assistant App, where you can drag-and-drop samples straight into your DAW. With BandLab Sounds, you can audition individual samples before downloading them, edit their tempo and key, adjust parameters for attack, release and tone, reverse them and more. Additionally, the samples are organised by key, tempo, character, length and instrument, so you don’t need to spend ages finding the perfect sounds for your project.
Ninajirachi also told MusicTech she sometimes likes to resample her own material in order to give it new life.
“Sampling is so fun, because samples are so frequency rich,” she says. “You kind of put a whole song in one little bit of audio. And by doing that from my own discography, I also avoid any copyright problems.”
To download Girl EDM Particles, head to BandLab Sounds.
The post Ninajirachi’s free sample pack features 20 drum and synth loops and 100 one-shots appeared first on MusicTech.

Producer Crosstalk: Charlie PeacockGrammy-winning writer, musician and producer Charlie Peacock is the child of a musician and music educator. As a lifelong fan of literature, his love of music and words blended early to create a passion for songwriting. He struck upon his talent for production in 1979 when he was invited to produce a single for a friend’s punk band. A decade later he relocated from California to Nashville. Over the years, he’s aided artists including The Civil Wars, Switchfoot and Amy Grant. He’s also composed for a number of films and TV shows. In February, his memoir Roots & Rhythm: A Life in Music will be published.His latest record Every Kind Of Uh-Oh dropped on August 30 by way of his label Re:Think, which is distributed by Universal. As a seasoned producer and music pro, he found that the biggest challenge was the idea that artists create their best work between the ages of twenty and thirty. “To be fifty years into my career and say ‘I’m going to do something that’s unique and different,’ it’s easy to look around and think that my moment has passed,” Peacock admits. “But I’m still an artist; I dream like an artist; I wake up each morning as an artist. Ultimately there was still a reason to do this. It was worthwhile, viable and beautiful.“My son [Sam Ashworth] writes for Universal but the person who made the [distribution] deal for me there was once a jazz bass student who’d write to me for advice,” he continues. “He went on to become the president of a record label. There’s a real serendipity and connectedness to a life in music. It’s one of the reasons that you begin healthy relationships and build as many bridges as you can. You never know when someone you met 20 years ago will play a huge role in your life.”Peacock has created a wealth of music for film and TV. One of the key lessons he’s learned is that fewer lyrics are often more effective. “Most of the songs that succeed in film and TV are generally the ones that are evocative of a particular feeling,” he observes. “Lyrics-wise, the songs that do well are the ones that have some space in them. A Paul Simon song might be amazing but it may not work well for a sync placement because there’s no room for the film or dialog to come through, so leave space for it. Sometimes great songs aren’t used in film or TV because they’ve got too much going on.”The biggest challenge that the producer has faced over the span of his career is the occasional loneliness of self-reliance. “I talk about this in the first chapter of my book,” Peacock says. “[When you’re producing] There’s no one to complain to, there are no excuses to make. You’re either going to rise to the occasion or you’re not. There was a time when it rested on me to finish The Civil Wars’ last album [2013] when the duo had just broken up after a huge deal with Columbia Records had been signed. There was a lot on the line. The record was only half finished and it was up to me to complete it. Ironically, it went to number one. I’ve never not finished a record.”When Music Connection spoke with him, Peacock was in promotion mode for his book and latest record. He has some jazz projects that he’ll complete in the New Year including one with John Patitucci and Eric Harland. He’s built several sonic spaces over the years including The Arthouse. Now, though, he works largely out of his home studio. Visit charliepeacock.comThe post Producer Crosstalk: Charlie Peacock first appeared on Music Connection Magazine.

Elizabeth Warren proposes Elon Musk pay more taxes for gov’t efficiencySenator Elizabeth Warren urged DOGE Chair Elon Musk to cut wasteful spending, proposing full IRS funding and closing the carried interest loophole.

JetBrains launches Junie, a new AI coding agent for its IDEsJetBrains, the company behind coding tools like the IntelliJ IDE for Java and Kotlin (and, indeed, the Kotlin language itself), on Thursday launched Junie, a new AI coding agent. This agent, the company says, will be able to handle routine development tasks for when you want to create new applications — and understand the context […]
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James H Ball sosciSosci is a super-realistic software oscilloscope that simulates the look and feel of a real analogue oscilloscope from the 20th century. Based on the amazing XXY Oscilloscope by Neil... Read More