Polyend launch Step drum machine Step is said to be the world’s first fully programmable drum machine in a compact guitar pedal format.

UMG’s Frank Briegmann advocates for robust copyright protection on ‘AI and Content Creation’ panel at DavosExec spoke on the 'AI and Content Creation' panel at the World Economic Forum event
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Ethereum whales add $1B in ETH — Is the accumulation trend hinting at a $5K ETH price?Numerous cohorts of Ethereum addresses added over 330,000 ETH in the last two weeks. Is this a sign that a $5,000 ETH price is in the making?

Nearly 10 year later, Tumblr TV launches to all as a TikTok alternativeIn 2015, the blogging site Tumblr launched a GIF discovery feature called Tumblr TV as an experimental product. Now, with the U.S. TikTok ban leaving the fate of the short-form video app uncertain, Tumblr has decided it’s finally time to launch Tumblr TV, which has since evolved to support video, to all its users as […]
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Make Your VR Controllers Handle Like Two-Handed WeaponsWielding things like two-handed swords in VR can be awkward. There’s no sense of grasping a solid object. The controllers (and therefore one’s hands) feel floaty and disconnected from one another, because they are. [Astro VR Gaming] aims to fix this with a DIY attachment they are calling the ARC VR Sword Attachment.
The ARC is a 3D-printed attachment that allows a player to connect two controllers together. They can just as easily be popped apart, which is good because two separate controllers is what one wants most of the time. But for those moments when hefting a spear or swinging a two-handed sword is called for? Stick them together and go wild.
The original design (the first link up above) uses magnets, but an alternate version uses tapered inserts instead, and provides a storage stand. Want to know if the ARC is something you’d like to make for yourself? Watch it in action in the video embedded just under the page break.
VR is an emerging technology with loads of space for experimentation and DIY problem solving. We wish more companies would follow Valve’s example of hacker-friendly hardware design, but even just providing CAD models of your hardware to make attachments easier to design would be a big step forward, and something every hacker would welcome.

FLOSS Weekly Episode 817: Incompatible With RealityThis week, Jonathan Bennett and Dan Lynch chat with Stefano Zacchiroli about Debian and Software Heritage!

https://www.softwareheritage.org/
https://upsilon.cc/~zack/

Did you know you can watch the live recording of the show right on our YouTube Channel? Have someone you’d like us to interview? Let us know, or contact the guest and have them contact us! Take a look at the schedule here.

Direct Download in DRM-free MP3.
If you’d rather read along, here’s the transcript for this week’s episode.
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Theme music: “Newer Wave” Kevin MacLeod (incompetech.com)
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With latest price increase, Netflix’s Standard subscription now costs $72 more per year than Spotify Premium in the USThere once was a time when a Netflix subscription actually cost less than Spotify
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Bogren Digital offers Relab QuantX Essentials 80s-inspired reverb for FREE
Hot on the heels of RdPiano, we’ve got another 80s-inspired freebie as Bogren Digital offers Relab QuantX Essentials 80s-inspired reverb plugin for macOS and Windows for FREE. This time, it’s QuantX Essentials, a Quantec QRS emulation by Relab Development. QuantX Essentials is a streamlined version of Relab Development’s flagship QuantX Natural Resonance Reverb. The Quantec [...]
View post: Bogren Digital offers Relab QuantX Essentials 80s-inspired reverb for FREE

Veteran Agent JON PLEETER Announces The Formation of JPAVeteran agent JON PLEETER has announced the formation of his own booking agency, the Los Angeles-based JPA, debuting with such legendary artists as Parliament Funkadelic featuring George Clinton and Thompson Twins’ Tom Bailey (the full roster is below). JPA also created and represents the Totally Tubular Festival, the successful ‘80s New Wave multi-act tour that last year rolled across North America and will return in 2025 (lineup and dates TBA).
"I could not be more excited at this stage of my career to be my own boss, and chart my own path,” says Pleeter. “My decades of experience at the highest levels of the business will benefit all my clients. My hands-on, fearless approach will give the artists a distinctive advantage, enabling them to stand out in the touring industry,” he adds. “JPA is here, and as my website says: “Do Now. Explain Later."
Pleeter started as an agent trainee at Triad Artists Talent Agency upon graduation from University of Colorado in 1990. A year later, he continued his agent training at William Morris Agency and was an assistant to agents responsible for legends such as Barry White, En Vogue, Sheryl Crow, Soundgarden, Red Hot Chili Peppers, Ziggy Marley, Pearl Jam, Lollapalooza Tour, and many more.
Next, Pleeter became an agent at ARTISTdirect and then The Agency Group, followed by CAA, where he spent eight years as a senior level agent booking tours for the agency in arenas and amphitheaters including clients Daft Punk, Paul Oakenfold, Sammy Hagar, and many more. Pleeter then spent 10 years at ICM as a Vice President, working with Alice In Chains, TLC, The Cult, Kings of Chaos, and more, expanding the agency’s footprint in the rock and pop genres. This was followed by a brief stint at Sound Talent Group.
The full artist roster of JPA is: Parliament Funkadelic featuring George Clinton, Thompson Twins’ Tom Bailey, A Symphonic Evening Of Bob Marley, Back To The Block Party Festival, Richie Sambora, Eagle Eye Cherry, Wang Chung, Wheel, Men Without Hats, Thomas Dolby, Jeffrey Osborne, Saving Abel, Bow Wow Wow, Tommy Tutone, Right Said Fred, The Motels, Animotion, Davy Knowles, The Escape Club, Musical Youth, Omar Hakim, and the Totally Tubular Festival.
Pleeter has also launched a film and television production company called Throne Ventures. His email is jon@jpaagency.com
www.jpaagency.com
Photo Credit: Chyna PhotographyThe post Veteran Agent JON PLEETER Announces The Formation of JPA first appeared on Music Connection Magazine.

Why Steinberg Cubase Pro 14 is the most significant update since 1997’s VST launch£481
Upgrades from £83
Crossgrade from qualifying product £298
steinberg.net
All Digital Audio Workstations do essentially the same thing — let you record, create, produce and mix music. And while each has its own particular feature set, most can be categorised into one of two camps. On one side, we have the ‘traditional’ DAWs, conceptually similar to a pre-digital studio in which each stage and component in the recording process is a discrete entity – the synthesizer, the recorder, the mixing desk, and so on.
On the other side, we have the ‘contemporary’ DAWs that blur the lines between these discrete elements with non-linear timelines, complex device chains and other features that make the DAW feel like a performable uber-instrument in its own right.
Some producers have strong preferences one way or the other, but many of us are left straddling both camps, jumping between DAWs as circumstances demand.
With the release of Cubase 14, Steinberg may just have given us the best of both worlds.
Cubase 14 Pattern Editor. Image: Press
Cubase versions and pricing
As always, Cubase 14 comes in various editions aimed at the needs and budgets of different users. The Pro edition, which we are looking at here, is the all-singing-all-dancing version and, on top of the DAW itself, it comes bundled with a large collection of instruments and plugins, and a vast library of samples, patches and presets.
All of this extra content pushes Cubase Pro’s asking price towards the upper end of the market, and while cheaper than the full-fat Ableton Live, it costs considerably more than, for example, Logic Pro and Studio One, which sit at a cool £199.
At £273, Cubase Artist edition is more closely priced to those competitors, and is almost as feature-rich as Cubase Pro. It too includes a generous plugin and content library, just not as generous as Cubase Pro’s.
The most affordable option, other than the AI and LE editions that come bundled with hardware, is Cubase Elements. Whilst lacking Pro’s and Artist’s more advanced features, Elements nonetheless provides an extremely capable recording solution and includes many essential plugins and instruments, as well as a small library of content. It’s lot of power at just £83.
Once on the Cubase platform, updates become much more affordable, and you can easily upgrade to a higher-specced edition if you find yourself hitting your edition’s limits. A full comparison of features can be viewed on Steinberg’s product pages.
Cubase 14 ‘Add Modulator’. Image: Press
What are Cubase 14’s new modulators?
Let’s dive straight in with Cubase 14’s new Modulators. These allow any mix or plugin parameter to be controlled by a repeating signal, bringing vast new creative potential to Cubase. Unlike traditional automation lanes, Modulators are configured in moments, they can be used to control multiple parameters simultaneously, and can be tweaked and modified with ease as creative ideas take shape.
Cubase 14 provides six different types of modulator: LFO, Envelope Follower, Shaper, Macro Knob, Step Modulator and ModScripter. Check out their capabilities in the clip below.

ModScripter allows custom modulators to be programmed via a scripting interface. You don’t need to be a programmer to use this, as a collection of scripts is included, but those familiar with ECMAScript or JavaScript will likely find it more useful. Much can be gleaned from studying the included scripts, and from the notes included in the ModScripter’s default script, but it’s surprising that Steinberg appears to not yet have published any scripting or API documentation.
Modulators are quick to configure and can be mapped to multiple destination parameters with ease whilst providing per-destination control over the impact of the Modulator. LFO, Shaper and Step Modulator can run freely, be synced to the project start, or be triggered and retriggered via MIDI.
Envelope Follower and ModScripter support external sidechaining. A great use of the former is, for example, creating rhythmic effects based on a kick or other percussive part. In the case of ModScripter, the sidechain input simply provides another source that your scripts can respond to – how you use this is down to your imagination (and coding skill!).
Although there aren’t yet any global Modulator hosting slots to reach into multiple tracks simultaneously, any combination of up to eight Modulators can be attached to any compatible track type, these being Audio, Instrument, Sampler, Effect and Group tracks… oh, and the all-new Drum Tracks, of course.
Cubase 14 Drum Machine. Image: Press
Dancing to the rhythm of a different drum (track)
Drum Tracks embed a drum machine directly into the timeline. Each of a Drum Track’s 128 pads can consist of up to four sound layers, with each layer being powered by a classic drum synth – multiple types are included – or by a sample player. Each pad also has its own effects chain, along with a pair of sends that feed the machine’s global reverb and delay processors.
Over 30 drum kits are included, and creating and/or modifying kits is a breeze. The various synth models provide a wide range of classic drum machine sounds, whilst tight integration with the Media Bay and its new previewing tools makes for easy auditioning and replacement of samples.

Of course, no drum machine would be complete without a pattern sequencer, and in Cubase 14’s case this is laid on by the Pattern Editor and Pattern Events. These can also be used with Instrument, Sample and MIDI tracks, but the editor’s single lane per trigger note layout is best suited to working with Drum tracks, where it automatically synchronises its lanes with the active pads of the associated Drum track.
When used on other track types, only six lanes are created automatically, and you have to add and configure additional lanes one at a time, which rapidly gets tedious. What’s more, the editor’s Parameter Lane area, shown below the main pattern grid, controls per-step velocity, gate and other parameters for the currently selected lane. This makes perfect sense when programming beats, but becomes more clumsy when working with pitched patterns.

The Pattern Editor itself has loads of flexibility, with both global and per-lane step length, resolution, direction and swing, plus timing offset per lane. There are also various randomising elements for injecting variation, perfect for creating generative music and to inspire new ideas.
Any number of patterns can be defined within the editor and, unlike when working with MIDI parts, there’s no need to create events on the timeline in which to store each pattern. When ready to create an arrangement, patterns are dragged from the Pattern Editor to the timeline where they appear as Pattern Events that can be worked with in much the same way as any other event type.

Cubase’s new-found pattern tools are exceptionally good at combining a modern approach to pattern sequencing with a traditional linear timeline. However, there are a couple of issues. First and foremost, patterns are only stored at the project level, so there’s no way to load and save them independently. Secondly, changes made in the Pattern Editor are not included in the undo buffer, so you can’t quickly reverse experimental or accidental modifications. These two issues can be lived with and worked around, but I hope they’re high on Steinberg’s to-do list.
What workflow improvements have been made in Cubase 14?
The Pattern Editor’s ability to give each trigger a probability and velocity variance is great for creating interesting and natural-sounding parts. I’m therefore thrilled to find that both the Key Editor and Drum Editor have been given this ability too, adding a contemporary twist to two of Cubase’s classic tools.

Over in the main project timeline, audio event blocks can now have volume curves applied directly to them, in effect automating the event volume parameter. This is for dealing with unwanted volume fluctuations within an audio recording, ducking and boosting segments as needed so that a more consistent signal is then passed into the mixing channel.
All of the usual automation curve tools are available, and the impact of the curve is reflected in the audio waveform too, all of which makes light work of this sort of gain staging. Also, unlike channel pre-gain or volume automation, the event volume curves are locked to the event itself, which makes for far fewer headaches when moving, copying or editing events.

Many editing tasks have been streamlined thanks to tweaks made to how the Range tool operates. Although these changes may only save a few mouse clicks, many operations feel much less clumsy for it.
For example, nudging or muting sections within an event no longer requires the section in question to be separated into its own event. Just drag out a selection and use the nudge or mute keyboard shortcuts, and Cubase automatically separates the event before applying the operation. Also, after performing a range-based edit, the selection now remains in place so that you can carry on working with it.
There are of course many other workflow improvements, such as sharing of audio in/outs ports for external instruments and effects, the ability to offset the start point of Ruler tracks, and support for the DAWProject file format that’s set to supersede AAF and OMF for exchanging projects between different DAWs. The entire list can be perused on Steinberg’s website, including which of the new features are available in Cubase’s Artist and Elements editions.
Cubase 14 Shimmer plugin. Image: Press
What new plugins are included?
Cubase’s bundled plugin collection has also received a welcome boost.
Underwater is by far the simplest of the bunch, being a straight-forward, one-knob implementation of the ‘party next door’ low-pass filtering effect in which the top- and mid-range frequencies are cut away, making it sound like the music is coming through a wall or ceiling.
Throw it onto a submix group that contains everything but the vocals, automate or modulate the knob, and enjoy!
Auto Filter combines a multi-mode resonant filter featuring low-, band- and high-pass options, with an envelope follower controlling the filter cutoff frequency. The filter has a pleasingly edgy character that ensures it stands out, and allows the envelope to be bypassed so that the cutoff can be controlled manually, by automation, or via Modulators.

Things get a bit more advanced with StudioDelay and Shimmer. StudioDelay makes light work of creating rhythmic and syncopated delay lines, whilst Shimmer is a particularly flexible incarnation of the quintessential modulated and pitch-shifted shimmer reverb effect.

One DAW to rule them all?
The changes Steinberg has made to its longest-serving product focus far more on establishing new features and workflows than on tweaking existing ones.
Although nothing fundamental or impossible to live with, there are some loose ends that still need tidying up such as the absence of global Modulator hosting slots, awkwardness configuring Pattern Events for pitched instruments, and edits to Pattern Events being omitted from the undo buffer.
Nevertheless, the results of Steinberg’s work are hugely significant, smoothly integrating modern production techniques and tools into Cubase in a way that complements, and does not interfere with, the venerable DAW’s long-established workflows and capabilities.
If Modulators and Drum Tracks and pattern sequencing are not your thing then no problem; you can safely ignore these features and still enjoy the other improvements. But if you’re one of the many producers sick of jumping between, and paying for, multiple DAWs just to ensure you have the right tools for any job, then you really have to check out what Steinberg has done. It’s knocked it out of the park!

What the internet is saying
Cubase is a mainstay among many professional composers — a group that includes popular YouTuber Guy Mitchelmore. “The whole thing seems a bit more frisky and sprightly”, he says in his Cubase 14 First Look video. And on the subject of Cubase’s new Modulators, he takes the view they are “Super powerful. Super useful. There are so many things you’re going to be able to do with [them]”.
Guy goes on to say that, unlike programs such as Apple Logic Pro 11 and Native Instruments Kontakt 8, which he feels have tried too hard to make themselves easy for non-musicians to use, “Steinberg has gone in the opposite direction”. Following this with a heartfelt “THANK YOU!” makes it clear that Guy is pleased with this turn of events.
Coming at things from a contemporary producer’s point of view, Chris Selim – Mixdown Online says “This is probably one of the best – if not THE best – Cubase version ever”, and that “This upgrade is huge!”. Also, as is proving a common sentiment across many users and reviewers, Chris is particularly impressed by the new Modulators feature because it “opens the door to so much creativity. ”
Not everyone is so pleased with the modulators, although it seems the main objection is that it’s not an original Steinberg innovation. For example, in his overview video on YouTube, Weaver Beats suggests that they are “nearly copyright infringement of Bitwig”. We disagree — clearly, Steinberg has taken inspiration from other DAWs, but there are only so many ways to skin the proverbial cat, and it makes sense to add capabilities that have already proved themselves to be popular elsewhere. One commenter on Weaver Beats’ video also jokingly remarks: “As a Bitwig user, 6 modulators is cute” — Bitwig has 43 different types of Modulators, and the number of Modulators you can use per device is unlimited.

Key features

For Windows 10 and above / macOS 13 (Ventura) and above
Native support for both Apple Silicon and Intel Macs
Unlimited audio, MIDI and Instrument tracks
92 professional plugin effects
4 instruments and library of over 3000 presets, sounds and loops
64-bit audio engine
192 kHz maximum operating sample rate

The post Why Steinberg Cubase Pro 14 is the most significant update since 1997’s VST launch appeared first on MusicTech.

Ear Trumpet Labs introduce Wanda microphone Combining design inspired by 1940s and 1950s aesthetics with modern audio performance, Wanda is said to be suited to both live and studio applications.

Shure makes its landing at NAMM 2025 with a range of new microphonesNAMM 2025: Shure has landed at NAMM, launching a range of new microphones. After almost a century of innovation in the field – Shure celebrates 100 years in business this April – the company continues to polish its reputation with exciting new products. Check out the fresh additions to its catalogue below:

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

Nexadyne Instrument Microphones
Credit: Shure
Shure is adding three new dynamic instrument microphones to its Nexadyne product line: the Nexadyne 2 Kick Drum Microphone, Nexadyne 5 Guitar Amp Microphone, and Nexadyne 6 Tom/Snare Microphone.
The defining factor of the Nexadyne mics is the patented Revonic Dual-Engine Transducer Technology. These mics feature two transducers instead of one like most instrument mics, allowing for greater clarity and less noise.
Nexadyne instrument mics start at £215/€255/$219.
SM39 Vocal performance Headset Microphone
Credit: Shure
This new headset mic is ideal for performers who want top-notch sound quality while being able to move around. It has a lightweight frame and padded hooks that go around the ears making it comfortable to wear. Plus, it is compatible with all Shure Wireless Systems, maintaining the consistent sound that Shure is known for.
The SM39 starts at £379/€439/$399 USD.
Wired KSM11 Cardioid Condenser Vocal Microphone
Credit: Shure
The KSM11 is a widely celebrated vocal mic, and now those who want the same quality but with the reliability of a wired connection can try the Wired KSM11. This is perfect for broadcast and other live-streamed applications for some extra peace of mind on signal flow, and the KSM11 naturally uses less processing power to produce its expected high level of sound quality.
The KSM11 Wired Microphone is now available at £749 RRP inc VAT/€919/$799 USD.
For more info, head to Shure.
The post Shure makes its landing at NAMM 2025 with a range of new microphones appeared first on MusicTech.

Splice unveils the genre trends that will shape the sounds of 2025
In a new report, MIDiA Research explores how the Splice trends of 2024 will help define the musical landscape of the year ahead.

FSK Audio makes its NAMM debut with its first product: ModPlayNAMM 2025: Every year at NAMM new players in music production come to the table, and one of those new players this year is FSK Audio. Founded in 2023, the Northern California-based company is down in Anaheim to premiere its first product: ModPlay.

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

ModPlay is a plugin designed to simplify MIDI modulation through a variety of different factors. Offering interactive LFO waveshapes for easy shifts regardless of the user’s skill level. It also allows MIDI keyboard users to switch between as many as 12 settings instantly with a push of a button – perfect for studio jams and live performances. Also, there is a randomisation tool for endless sonic exploration, and ModPlay is compatible with major formats such as AAX, VST3, and AU.
“We’re a small team of engineers who are also musicians with decades of experience creating intuitive tools for creatives,” said Kosta Cross, CEO of FSK Audio, in a statement. “We’re on a mission to inspire creativity by helping producers, musicians, and engineers save time, reduce complexity, and explore new creative possibilities.”
“Workarounds shouldn’t dictate your workflow,” adds Chief Product Officer Dice Naito. “FSK Audio’s tools simplify production, enabling users to explore new creative frontiers.”
Anyone attending NAMM can check out ModPlay by visiting FSK Audio at Booth #14116.
For more info, head to FSK Audio.
The post FSK Audio makes its NAMM debut with its first product: ModPlay appeared first on MusicTech.

Moises maker Music AI adds $40M from CAA, Steve Aoki, moreThe makers of Moises, Music AI adds $40 million in a funding from Connect Ventures, a partnership of Creative Artists Agency (CAA) and investment firm NEA, and Brazil's monashees. DJ and producer Steve Aoki and his Aoki Labs are also among the new investors.
The post Moises maker Music AI adds $40M from CAA, Steve Aoki, more appeared first on Hypebot.