Inside Embassy Studios, where the rooms become part of the signal chainGetting studio space in New York City is expensive. It’s why most NYC-based artists we speak to are making beats out of their bedrooms, or sharing a studio with friends and collaborators. Hip-hop and EDM mogul Frank Babar isn’t exactly trying to create an affordable alternative with Embassy Studios — that’s obvious enough when taking a look inside the space. But he and his team are trying to make Embassy Studios a different kind of workspace for NYC creatives; one that encourages in-person collaboration with other artisarts, producers, engineers, and writers. With a ‘record anywhere’ approach, the facility is primed for capturing spontaneous sparks among peers. It is, of course, also ridiculously kitted out.
From whopping pairs of Augspurger monitors found in most rooms, to the aptly-named ‘Manley Tower of Power’ and beyond, there’s an obscene sense of luxury about the place. As the team tells us though, even the gear within these walls can’t rival a producer’s experience and expertise.
Speaking to us over email, the team at Embassy explain the the studio’s attention to detail, their biggest investment, and why every room can be considered part of the signal chain.
Hey team Embassy! It’s an ambitious project you’ve got going here, from the building itself to the immaculate detail in each room and the extravagant gear. What made you go this big in NYC?
“The vision behind the Embassy was to create a dynamic, world-class creative destination. New York has always been a global centre for music, culture, and storytelling but we saw an opportunity to build something that went beyond the traditional recording studio. We wanted to create an environment that delivers exceptional sound and recording capabilities while also inspiring collaboration, innovation, and community.”
Drum kit in Studio A1 of Embassy Studios. Image: Press
“Our Studio A1 live room, Studio A2 control room and Multimedia room feature dramatic 20-foot windows that flood the space with natural light, an experience rarely found in professional recording studios.  These rooms also offer sweeping views of the Empire State Building and the Manhattan skyline. Every room was thoughtfully designed to be flexible and adaptable, with Dante-enabled infrastructure allowing clients to customise each space to fit their project needs.”
“A great example of that was a recent artist camp that hosted 50 people, that included the artist’s songwriters, producers and A&R team preparing for their next album. Where every studio was in use simultaneously. Beyond our recording rooms, we transformed the live room and our acoustically treated multimedia room into fully functional writing and production spaces, allowing multiple creative teams to work in parallel. That kind of flexibility was built into Embassy from the beginning.”
Vanessa Sanchez, COO at Embassy Studios
Can you walk us through the rooms at Embassy and briefly share what each one is designed for?
Embassy was designed as a complete creative campus rather than a collection of recording studios. Every room has a distinct purpose, but they’re all connected through our Dante-enabled infrastructure, allowing artists and production teams to move seamlessly between spaces and customise their workflow.
Our two flagship Studio A rooms are built for major recording projects. Studio A1 is centred around our SSL Origin console, Augspurger Duo 15, Augspurger Sub 18, ATC SCM20ASL and connects to a stunning live room with soaring 20-foot windows, a private lounge, and views of the Empire State Building, creating an environment that’s as inspiring visually as it is sonically. Studio A2 is centred around our SSL AWS 948 (24 Preamps) and serves as a second premium recording suite, giving artists the flexibility to run simultaneous sessions or expand larger productions across multiple rooms.
Studio A2 of Embassy Studios. Image: Press
“Our two Studio B rooms are designed for songwriting, production, vocal recording, and mixing. Each features its own ISO booth, SSL Matrix2 Delta console and a highly efficient workflow, making them ideal for producers and writers while remaining fully integrated with the rest of the facility.”
“Beyond the recording studios, we have two dedicated production rooms for programming, editing, and writing, a Dolby Atmos mix room for immersive audio, a dedicated podcast room, and an acoustically treated multimedia room equipped for interviews, livestreams, press events, content creation, and live performance, all with incredible views overlooking Manhattan.”
Vanessa Sanchez, COO at Embassy Studios
What’s the latest gear purchase for Embassy and why now?
“The new Manley Dual Band EQs are the latest addition to our ‘Manley Tower of Power.’ While the refreshed design, updated logo, and new colourway are welcome, it’s the sonic performance that truly impresses. They retain the unmistakable weight, depth, and harmonic richness of Manley’s transformer- and tube-based circuitry while offering a level of clarity and top-end extension that feels remarkably modern. Unlike many vintage passive EQ designs, they preserve detail and air without sacrificing the musical character that makes Manley gear so desirable.”
Steven “RAWQWLTY” Tejeda, Resident Engineer at Embassy Studios
What’s been the biggest investment into the studio? Was it worth it?
“The acoustics and the rooms themselves. People often focus on the gear, but the environment you are working in also matters a lot. Having the right acoustics and listening environment gives people confidence to make better creative decisions. In many ways, the room becomes another piece of the signal chain. What I’ve also noticed is the effect the spaces have on artists. When artists walk into a great-sounding room, it changes the energy of the session. They become more engaged, more confident in what they’re hearing, and those moments often lead to better performances and better records.”
Sean Park, Resident Engineer at Embassy Studios
“This may sound a little cheesy, but to me, the biggest investment in the studio has always been the Embassy team itself. From the engineers to the interns to management and beyond, everyone plays a role in creating a symbiotic environment that feels creative, professional, and genuinely enjoyable to work in. There’s a real sense of chemistry here, and having positive energy and the right people around is invaluable and far more important than any one piece of gear.”
“I’d also say the level of detail that went into the rooms themselves was a huge investment. I’ve worked in a lot of studios around New York and New Jersey, and Embassy’s rooms are by far some of the best-sounding rooms I’ve ever been in. The acousticians were incredibly intentional with every measurement, material and decision that shaped the sound of the room. On top of that, having Dave from Augspurger come in to tune the speakers after major sessions helps make sure the next artist walks into a room that’s accurate and readily translatable. That level of care is a big part of what separates Embassy from other studios.”
B-Hall, Resident Engineer at Embassy Studios
Studio A1 of Embassy Studios. Image: Press
To flip that, what’s a budget piece of audio gear that’s surprisingly essential to Embassy?
““If we are talking budget-friendly gear, it would have to be the Apollo Twin. The Apollo Twin offers everything from recording to mixing and mastering with its plug-ins all in one package. We do have some people who prefer working on an interface like the Twin because it’s fast and efficient, and there’s nothing wrong with that. At the end of the day, whatever gets you closest to the artist vision will always matter more than how expensive your gear is.”
Sean Park, Resident Engineer at Embassy Studios
“A budget piece of gear that has been essential for us at Embassy is our TRS-to-TT cables, nothing flashy, but necessary in today’s world. Most artists and producers are used to working from home with their own laptop and interface setup, so being able to give them a true plug-and-play option is huge. Instead of relying on an aux cable, we can connect them directly into almost any section of our patchbay, whether that’s through our preamps or compressors, into the SSL board directly, or straight to the monitors. It’s a cleaner, higher-fidelity way to bridge their personal workflow with the studio’s infrastructure. That kind of flexibility is essential because it allows artists and producers to bring the comfort and familiarity of their own setup into Embassy, while still having access to state-of-the-art gear, accurately treated rooms, and a fully professional studio environment.”
B-Hall, Resident Engineer at Embassy Studios
Studio B2 of Embassy Studios. Image: Press
Embassy runs on a “record anywhere” setup. We’ve seen this in a few studios lately — can you talk us through how that flexibility changes the way a session, or a whole project, actually runs? And why is it becoming so commonplace in studio complexes now?
“Every artist who comes through the door has a different workflow. Some like to be in a big live room to track live instruments, some prefer recording in a vocal booth, and some might even want to record in the lounge sitting on a sofa. Having all of our rooms connected through both analogue and digital infrastructure gives us the flexibility to cater to however people like to work, rather than forcing them into one way of recording. The flexibility also allows us to use each room as its own isolated recording space. If there’s a band that wants to track individually, the lounge or any of the rooms can be turned into its own booth, and everyone can still interact with each other through the cameras we have in each room.”
Sean Park, Resident Engineer at Embassy Studios
Do you have a dream piece of gear for the studio?
“There’s so many to choose from but the one I’ve been eyeing is the Hazelrigg VNE Tube compressor. I’ve only had experience with the plug-in version, but even within the emulation, it compresses without degrading the source. It adds a sense of lushness that’s consistent no matter what you run through it. I like to have gear that I constantly want to reach for, and the VNE would definitely be one of those pieces.”
Sean Park, Resident Engineer at Embassy Studios
“My dream piece of gear for the studio would have to be an AKG C12 microphone, specifically the green body with the gold capsule. When I first graduated from audio school, the C12 was one of the first high-end microphones I ever worked with. Going from using that mic in a small production-style studio in New Jersey to cutting vocals with it at Embassy, which I consider one of the true meccas of recording studios, would feel like a real full-circle moment for me. Beyond the personal connection, it’s just an incredible-sounding microphone. It has a way of bringing out the detail in a vocal while still holding onto the warmth, character, and emotion of the performance. It also sounds amazing on R&B vocals, which is my favourite genre to work on.”
B-Hall, Resident Engineer at Embassy Studios
Production Room 1 of Embassy Studios. Image: Press
What’s a music production myth you think needs debunking?
“That gear is what makes artists sound great. Gear can absolutely help you get to the sound you are after, but it’s really the collaboration between the artist, producer, and engineer that shapes the record. The artist brings the performance, the producer shapes the creative vision, and the engineer delivers that vision sonically. No piece of gear is going to replace the years of knowledge and experience that everyone brings into the room. Those are the things that make a record special. The gear is just there to help you capture and enhance what’s already there.”
Sean Park, Resident Engineer at Embassy Studios
Who gave you the biggest lesson in your career? Can you tell us about how it impacted you?
“Believe it or not, one of the biggest lessons I ever learned actually came from an old AAU basketball coach. After kicking someone off the team for being late, he said, ‘If you’re early, you’re on time. If you’re on time, you’re late. And if you’re late, you’re fired!’”
“That quote stuck with me, and I’ve carried that mindset into almost every area of my life, especially engineering. I’m the engineer who shows up way earlier than necessary, but that extra time allows me to settle in, prepare, and make sure the room is ready before the artist walks in. In my experience, being over-prepared creates space for the session to flow naturally, and the less an artist has to think about the technical side, the more they can stay focused on creating.”
“Another lesson I had to learn was how to remove my ego from the mixing process. We all think that to impress the artist, we need to add all the bells and whistles — the big reverbs, spacey delay throws, drops, stutters, effects. But most of the time, the artist isn’t asking for a completely new version of the song. They’re trusting you to bring out the best version of the idea they already believe in. That doesn’t mean you shouldn’t be creative or push boundaries, but it does mean you have to understand your role. Engineering is creative, but it’s also a service. Sometimes the most valuable thing you can do is not show off what you can add, but understand what the song actually needs.”
B-Hall, Resident Engineer at Embassy Studios
Learn more at Embassy Studios.
The post Inside Embassy Studios, where the rooms become part of the signal chain appeared first on MusicTech.

New York town weighs crypto mining and AI data center banOne of the first towns in the US to ban Bitcoin mining for 18 months is considering another temporary moratorium extending to data centers and other crypto mining operations.

Hackers are stealing Claude tokens from subscribersLast month, a Claude user noticed his account was consuming tokens even though he wasn't working. Anthropic has since warned users about hackers.

Suno admits it obtained YouTube audio to train its AI – but challenges UMG and Sony’s standing to bring ‘stream ripping’ claimAI music company has filed its answer to the first amended complaint from UMG and Sony Music Entertainment.
Source

Pine DSP Blox ExciterBlox Exciter is a three-mode saturator for adding energy to signals. Ember, Reel and Glass Three saturation modes are provided in Blox Exciter, with each offering a different way to distort the signal. Ember provides a warm overdrive; Reel introduces a nostalgic, magnetic tape distortion; Glass gives a sharp, edgy tone. Controls All modes features Air, Drive and Tilt controls. Air adds high energy that's still related to the input signal through odd harmonics. Drive pushes the signal into the saturation stage. Tilt changes the balance pre-distortion between low and high frequencies. In Reel mode, two more controls are available: Hysteresis affects softness and the amount of transient blur; and Bias adjusts asymmetry in the simulated reel. Output and Mix controls are available, and the plugin can be bypassed. Read More

Are Desktop PC-ABS Prints Outperformed by Industrial FDM? Not Really[Igor] of [My Tech Fun] set out to discover what differences, if any, can be found between parts printed in PC-ABS filament on an industrial 3D printer, and those from prosumer-grade machines and filament. His video is full of his usual attention to detail as he compares a test suite of parts printed at home in Polymaker PC-ABS with those from a Stratasys Fortus 450mc using proprietary PC-ABS filament.
PC-ABS is a filament that strives to deliver the benefits of both polycarbonate and ABS. It’s durable and has fantastic impact resistance, but it costs a bit more than either PC or ABS and requires a heated chamber.
In the end, PC-ABS from a home printer compares favorably to an industrial system, at a fraction of the price.
[Igor] has previously compared industrial ABS with comsumer ABS, but what made him curious about PC-ABS in particular was the large difference in print temperatures between Polymaker PC-ABS, and Stratasys’s own proprietary PC-ABS.
[Igor] prints Polymaker filament at 280º C in a 60-65º C  chamber, whereas the Stratasys filament prints at 325º C with a chamber temperature of 95º C. That’s quite a difference. The industrial printer has over double the print time, to boot. Would test objects printed from the industrial filament, on an industrial machine, be noticeably different from those printed at home?
To find out, [Igor] orders a test suite of parts from a company with a Stratasys Fortus 450mc (who was also kind enough to take a short video of the machine in action) and prints his own on both a Prusa Core One L, and a Bambu Labs H2D. He then proceeds to compare them in a variety of ways while testing them to destruction.
What’s the bottom line? The industrial prints have better dimensional accuracy, but the home prints have the edge in appearance. When it comes to performance the differences are mostly minor, and not always in the industrial system’s favor. Broadly speaking, PC-ABS from the home workshop compares very favorably from an expensive industrial system and proprietary filament, at a fraction of the price. See it for yourself in the video, embedded just below.

Northeastern U.S. Mainstay Mix-O-Lydian Studios Celebrates 50 Years of Continuous Recording and MixingAccording to a company statement, Don Sternecker started Mix-O-Lydian Studios in 1975 in Madison, NJ in a space he rented above his father's Italian hat importing business.

"During a time when there were no dedicated audio technology tracks within U.S. universities, industry magazines from which to learn about industry equipment and trends, Sternecker became passionate about equipment and audio innovation on his own terms, reading manuals and experimenting with gear he was able to purchase or borrow," they said. "Before long, Mix-O-Lydian had a loyal clientele including Leslie West, The Feelies, Luna, The Bongos, and many others — including Railroad Earth, for whom he just finished mixing a new album.

"Mix-O-Lydian is now situated on the third floor of The Castle Inn, the last remaining grand resort hotel in Delaware Water Gap — a Poconos retreat where travellers from big cities like New York City and Philadelphia would retreat to escape the summer heat. The Inn has turned into something of an artist collective, serving as a creative hub not only for Mix-O-Lydian, but other musicians and engineers."

"Tim Carbone from Railroad Earth had been renting a few rooms here and told me to check it out. At the time, I had to move from my previous studio, which was situated on an eight acre farm. When I first came here, I didn’t know if I could make it work - but then within a day or two I secured the rooms," Sternecker says. "I had to wire every room, compromise and improvise to make it all work."

The statement continues: "During his 50-plus years of being a studio owner, Sternecker has witnesses many changes in the industry — including the changing of music industry business models and innovation milestones in recording technology. Despite these changes, Sternecker's approach has never changed.

"Of course you always need a good mic, preamp and compressor. But the most important thing is that you have to use your ears, particularly in this age of AI. It is so important to trust your ears and make your own decisions."

Sternecker's Mix-O-Lydian Studios has bore witness to to an entire evolution of tape machines, they say, "starting in 1975 with a 4-track, 1/4" Tascam machine, then moving to a 1/2” 8 track Otari, then to a 16 track 2” Ampex MM 1000, and then to a Studer A80 24 track. Sternecker still owns an Otari 1/2" 2-track, which he says is very difficult to get serviced properly in this day and age. Currently, he runs Pro Tools along with an Avid S1 control surface."

Sternecker remains busy: "I just mixed the new Railroad Earth record which was just released marking the band's 25th anniversary. "It was recorded pretty much live with a few overdubs, and then they decided to add guest artists to about 5 or 6 songs." He's also recently wrapped up recording several tracks and mixing a new album for longtime Patti Smith collaborator and multiple Grammy Award nominated artist Lenny Kaye. "One of the reasons Lenny loves coming here, besides working with me, is because he says it’s eight minutes from his house - he likes the commute!"

"I've been very fortunate over the past 50 years to work with so many diverse and talented musicians and producers at my studio," he told MC. "While maintaining a thriving studio has not always been easy, the hard work has always paid off and given me incredible satisfaction."

For more information, please visit mix-o-lydian.com

The post Northeastern U.S. Mainstay Mix-O-Lydian Studios Celebrates 50 Years of Continuous Recording and Mixing first appeared on Music Connection Magazine.

XILS Lab introduce MemoryTone XILS Lab have just launched a software instrument that draws its inspiration from Moog’s iconic Memorymoog, but with some enhancements that kit it out for contemporary music production and performance. 

Septabee: A FREE, unique, and sometimes bewildering DAW for Windows and Linux
Unlike anything you’ve seen before, Septabee is a free DAW for Windows and Linux. Even though well-established software like Tracktion’s Waveform Free often dominates the free DAW conversation, more options keep popping up constantly. Check out our top free DAWs; there’s something to suit everyone, whether you’re a complete beginner or looking for a professional [...]
View post: Septabee: A FREE, unique, and sometimes bewildering DAW for Windows and Linux

You next over-ear headphones? Sony launches a trio of models aimed at premium, mid-range and entry-level budgetsIt’s the return of the king. That’s right, Sony has just announced a trio of premium, mid-range and entry-level new additions to its wireless headphone catalogue – including an upgraded resurrection of the brand’s market-dominating WH-1000XM4 wireless headphones.
The selection of new WH-CH530, WH-CH730N and WH-1000XM4C models span a range of price points to suit everyone. But perhaps the most exciting new model comes in the form of Sony’s WH-1000XM4C. Back in 2021, we branded the original WH-1000XM4 model as the “reigning king of the headphone market”, with “masterful noise cancellation, street-ready design and extraordinary levels of intelligent fine-tuning”. Now, they’re back, promising even richer sound.

READ MORE: The Sony headphones we rated 10/10 are now $78 off

The only downside might be the dip in battery life; with the older model’s battery no longer complying with EU battery regulations, WH-1000XM4C headphones will last you 27 hours rather than 30. However, everything else is the same, or an upgrade. With the same 40mm driver, 10-band equaliser, updated sound tuning and Sony’s tried-and-trusted noise cancellation, you can’t really go wrong.
Credit: Sony
The WH-1000XM4C headphones also come in a nice selection of colours. Sony has a knack for balancing a more neutral palette with the odd sprinkle of colour, so you can either go for a professional Black or Platinum Silver, or you can show some personality with a pop of Lavender. This premium model will set you back by £219.
If you’re more keen to grab some headphones with crazy battery life, however, Sony’s mid-range option may be a better fit for you. The WH-CH730N promises up to 75 hours of battery life, dropping to a still pretty respectable 50 if you’re taking advantage of the model’s noise cancellation. They also boast Sony’s top-quality sound, as well as a lightweight, foldable design.
Credit: Sony
The WH-CH730N’s also come with ambient sound abilities (which Sony dubs as its ‘transparency mode’), making it a great option for commuters or people who want great sound quality without blocking out their surroundings. Similar to the WH-1000XM4C, there’s also some level of sound customisation, like a 10-band equaliser and presets geared towards gaming, as well as microphone improvements for calls.
In terms of price, The WH-CH730N costs £100. And you’ve got a range of colourways to choose from, from classic Black, White and Beige, to brighter Pink or Blue.
Credit: Sony
As for the entry-level WH-CH530, these £50 headphones pack plenty of punch into their lower price point. Serving as an evolution of the WH-CH520, these headphones are sure to be a hit; the original model has been praised across the board, even ranking in The Telegraph’s 2025 rundown of top budget headphones, so tweaking a few details to make them even better is great news for those who want Sony sound quality at an affordable price point.
Improvements include 55 hour of battery life, better call quality and customisable sound. However, Sony hasn’t introduced noise cancellation – so, if that’s a deal-breaker, definitely think about works best for you. Other than that, you’re good to go, and you can choose from a selection of classic and playful colours, including Cobalt, Coral and Mint.
For more information, head to Sony.
The post You next over-ear headphones? Sony launches a trio of models aimed at premium, mid-range and entry-level budgets appeared first on MusicTech.

GIVEAWAYL: Win BS-203 MacroAcidizer, a 3-in-1 acid synth with generative sequencer
Developer Born Second has released BS-203 MacroAcidizer, a component-level analog-modeled acid synthesizer plugin for macOS and Windows. The plugin combines three switchable acid machines with a scale-aware pattern generator, and we are giving away one free copy to a lucky BPB reader. You will find the entry question at the end of this article. BS-203 [...]
View post: GIVEAWAYL: Win BS-203 MacroAcidizer, a 3-in-1 acid synth with generative sequencer

Warm Audio unveil the Jude preamps Warm Audio’s latest release delivers a meticulous recreation of the preamp circuitry employed by the Sound Techniques A-Range, a British-made console that helped to shape the sound of countless classic records.

Harmony Lab Audio releases Harmony Pro, a FREE harmony assistant
Harmony Lab Audio has released Harmony Pro, a free harmony assistant designed for musicians who want to explore chord progressions and alternative harmonic directions. First, let’s get the GUI out of the way. It looks very vibe-coded, and since we obviously won’t be living in a world without vibe-coded plugins anytime soon, I hope at [...]
View post: Harmony Lab Audio releases Harmony Pro, a FREE harmony assistant

Tracktion Waveform 14 Pro, as reviewed by an Ableton Live user
The older producers among us may faintly remember Waveform. Younger producers may not have heard of it at all. In either case, it’s a name rarely mentioned in the same breath as today’s most popular DAWs – the likes of Ableton Live, Logic Pro, or FL Studio.

READ MORE: Logic Pro 12.3, as reviewed by a Cubase version 1 user

Originally launched as Tracktion in 2002, Julian Storer’s DAW stood out for its streamlined single-window workspace, an approach that feels more like the default among today’s workstations.
Nonetheless, it endures as a mature and feature-rich ecosystem in both free and paid forms – so, more than two decades on, is Waveform 14 Pro a credible alternative to the heavyweights? And if so, who’s it actually for?
Getting started with Waveform Pro 14
Waveform makes an eccentric first impression. I’m reminded of old open-source software – it feels like a less considered experience than Live’s German utilitarianism or Logic’s skeuomorphic approach.
The default font is a little toylike, though I discover I can replace it with almost anything. Comic Sans in a DAW? Apparently so. It’s a small detail, but one that hints at just how much of Waveform can be bent to your will.
Central to that intent is the newly updated Actions panel, which has absorbed the functionality of Properties from Version 13 and earlier. It exposes relevant commands based on what’s currently selected, though it’s unusual to see this much text in a DAW. I’m sure its immediacy suits experienced users, but as a newcomer, I find it overwhelming.
Actions panel. Image: Press
Otherwise, Waveform feels mostly familiar, with the usual left-to-right timeline, a mixer, a browser, and transport controls – all of which can be individually hidden.
As a Live loyalist, I instinctively hit the tab key and Waveform’s Clip Launcher appears. It looks nearly identical to my home DAW’s Session View, where I usually begin composing.
Making music with Waveform Pro 14
As I navigate my session, Waveform feels reassuringly snappy and responsive, though actually building up an arrangement presents more friction than expected – even beyond the usual learning curve of new software.
Basic operations don’t always feel intuitive, and I find myself regularly digging for routine functions until I realise how integral the Actions panel is. Fifteen years of Ableton Live inevitably skews my expectations, but I don’t remember encountering this much resistance when learning other DAWs.
Stability also proves mixed. At one point a Soundtoys plugin crashes and, because plugin sandboxing is disabled by default, takes the entire application with it. Thankfully, Waveform’s recovery system appears dependable, returning me precisely where I left off.
I encounter a few bugs. Most are minor, but one is more concerning: MIDI notes sporadically fail to trigger during clip looping. Based on forum threads, this is a longstanding problem, and it’s enough to make me wary of relying on Waveform for live performance.
Nonetheless, there are some genuinely slick ideas here. In-line MIDI editing is a feature I wish Live would incorporate. Every plugin is visible from the arrangement view and can be accessed with a single click for quick changes. Automation is unusually precise too, with each node’s value and curvature editable directly via Actions, plus multiple ways to transform each curve. When Waveform’s depth is this immediate, it feels completely justified.
In-line MIDI, automation, and plugins. Image: Press
Elsewhere, Waveform’s Racks—modular patching environments for custom plugin chains—feel more flexible than Live’s Racks. The latter still wins when it comes to warping pitch and time, as Waveform takes some time to enact such changes.
Using Assistant in Waveform 14 Pro
The most significant addition to Version 14 is Waveform’s LLM-driven Assistant. I tell it I’m coming from Ableton Live, and it helps me orientate myself, explaining equivalent functions and philosophical differences between the DAWs.
Assistant also plugs into Waveform’s API, which means it can carry out tasks on your behalf – such as channel and plugin routing, changing settings, or even generating MIDI. I ask it to help build an acid-inspired track; it loads Waveform’s drum sampler but fails to select the TR-808 preset it promised. However, my request for rolling hi-hats, trilled accents, syncopated kicks, and a snare backbeat fares better, delivering a surprisingly to-the-brief drum pattern:

I ask for a bassline, and the limits are exposed more clearly. Assistant spits out some vague chromatic wandering, and it takes several back-and-forth refinements to get something passable, let alone acidic. Assistant also fails to configure Tracktion’s own BassOsc plugin into a 303-style patch because it can’t interpret the plugin’s parameter names. Frustrated, I settle for a preset.
AI MIDI generation. Image: Press
Assistant requires an Anthropic or OpenAI API key to function, so it’s effectively pay-as-you-go. My acid experiment costs around half a dollar in usage, which feels expensive given I’ve spent more time correcting than creating. Responses can also be slow or fail entirely without explanation.
Still, it’s an ambitious implementation. Like other LLM-based tools, its capabilities will rapidly improve as time goes on. And even if the execution is not yet convincing, the level to which it can interact with your project is already impressive.
Using macros in Waveform 14 Pro
One area Assistant proves particularly useful is creating macros – custom commands that carry out repetitive jobs with a single key press. Previously, users had to write these manually using JavaScript, but you can now transform a single-sentence prompt into an advanced workflow tool.
I ask for two macros: one that duplicates a selected MIDI clip and transposes the copy up an octave, and one that applies swing to every clip in the session. Assistant produces working code for both in around half a minute.
Macro page. Image: Press
I’m not sure I personally need that level of control, but for editing-heavy workflows where the same sequence of actions is repeated dozens of times, the appeal is obvious. It also makes some of Waveform’s earlier complexity easier to understand.
By partnering Assistant with its macro system, Tracktion has significantly lowered the barrier to in-depth DAW customisation, and it’s one of Waveform 14 Pro’s most compelling ideas.
Should I buy Waveform 14 Pro?
No doubt, Waveform 14 Pro is immensely capable. Tracktion continues to enhance the wider ecosystem, and the DAW now comes with a substantial collection of instruments, effects, and content – but so does the competition, making $249 a more difficult proposition.
Waveform’s strongest argument is customisation, while Actions, Racks, and Assistant-powered macros will particularly appeal to power users with idiosyncratic workflows. However, this niche is already well served by the cheaper yet endlessly tweakable REAPER, which also benefits from a far larger community of users, scripts, and accumulated knowledge.
As for bedroom producers and beatmakers, Waveform’s flexibility is more likely to create friction than remove it, which makes cheaper alternatives like Logic Pro and FL Studio more sensible options.
One huge caveat here is Waveform Free, which flips the whole argument on its head. Despite no upfront cost, it retains a strong core feature set that can be expanded à la carte if you don’t need a full Pro licence.
When I jumped from Ableton Live 9 to 12, the numerous additions were already beginning to dilute the distilled experience I originally fell for. For me, the ideal DAW knows what to keep out of my way. And while Waveform 14 Pro is definitely a credible workstation, it tries too hard to prove it.
Key Features

Clip Launcher with launch modes
Precision timeline and clip-level automation curves with touch and latch modes
Advanced MIDI editor with randomisation and probability features
Modular plugin racks
In-depth macro system and API
Plugin sandboxing
Multichannel audio support from Version 14
15 refreshed audio effects
Native stem splitting
Responsive user interface with customisable colour schemes

The post Tracktion Waveform 14 Pro, as reviewed by an Ableton Live user appeared first on MusicTech.

Prince Used a Secret Fake Name to Write This Nearly #1 '80s Billboard HitPrince wrote “Manic Monday” for The Bangles under the mysterious name Christopher. Discover how the song became a defining 1980s pop-rock hit.