Native Instruments GmbH enters preliminary insolvency
As first reported by Create Digital Music (CDM), Native Instruments GmbH has entered into preliminary insolvency proceedings. This news, understandably, sets off alarm bells for producers worldwide who have invested heavily in NI products. As questions continue to mount, the most important ones will likely remain unanswered for a while, as insolvency introduces a period [...]
View post: Native Instruments GmbH enters preliminary insolvency

Applied Acoustics Systems Synchronicity for Strum GS-2With Synchronicity, his fifth Strum sound pack, Brazilian producer and keyboard virtuoso Thiago Pinheiro delivers a captivating blend of expressive tones and atmospheric guitar textures. Perfectly suited for cinematic, ambient, and contemporary styles, Synchronicity blurs the line between traditional guitar playing and modern production, offering a versatile toolkit for evocative soundscapes and layered compositions. Ranging from dreamy and mysterious to expansive and immersive, its eighty-four distinctive presets were carefully crafted to capture the essence of the guitar while introducing fresh, textural possibilities. With 12 styles, 84 guitar presets, and 84 strumming patterns playable with your own chord progressions, Synchronicity is ideal for adding rich layers of mood and movement to your productions. Who's Thiago Pinheiro? Thiago Pinheiro was born and raised among Brazilian musicians of great importance and his talent was revealed at an early age and followed closely. Gifted with perfect pitch, he began composing on the piano at age four, and by the time he was twelve, Thiago had performed alongside major players such as Stevie Wonder, Billy Cobham, Gilberto Gil, and Hermeto Pascoal. Producer and director Thiago Pinheiro is an acclaimed virtuoso and audio technology pioneer, as well as a versatile pianist and keyboard player, whose work ranges all the way from blues and jazz, to house, drum and bass, and other electronic genres. Constantly striking dance floors across Brazil, Europe, Asia, and especially in the United States, Thiago also produces music for Hollywood and the movie industry. Read More

NAMM 2026: SSL Origin Evo The new-and-improved Origin console completes the classic 4000 E experience by integrating an authentic, full recreation of the E Series' dynamics processing on every channel.

Keeril Makan named vice provost for the artsKeeril Makan has been appointed vice provost for the arts at MIT, effective Feb. 1. In this role, Makan, who is the Michael (1949) and Sonja Koerner Music Composition Professor at MIT, will provide leadership and strategic direction for the arts across the Institute.Provost Anantha Chandrakasan announced Makan’s appointment in an email to the MIT community today.“Keeril’s record of accomplishment both as an artist and an administrative leader makes him exceedingly qualified to take on this important role,” Chandrakasan wrote, noting that Makan “has repeatedly taken on new leadership assignments with skill and enthusiasm.”Makan’s appointment follows the publication last September of the final report of the Future of the Arts at MIT Committee. At MIT, the report noted, “the arts thrive as a constellation of recognized disciplines while penetrating and illuminating countless aspects of the Institute’s scientific and technological enterprise.” Makan will build on this foundation as MIT continues to strengthen the role of the arts in research, education, and community life.As vice provost for the arts, Makan will provide Institute-wide leadership and strategic direction for the arts, working in close partnership with academic leaders, arts units, and administrative colleagues across MIT, including the Office of the Arts; the MIT Center for Art, Science and Technology; the MIT Museum; the List Visual Arts Center; and the Council for the Arts at MIT. His role will focus on strengthening connections between artistic practice, research, education, and community life, and on supporting public engagement and interdisciplinary collaboration.“At MIT, the arts are a vital way of thinking, making, and convening,” Makan says. “As vice provost, my priority is to support and strengthen the extraordinary artistic work already happening across the Institute, while listening carefully to faculty, students, and staff as we shape what comes next. I’m excited to build on MIT’s distinctive, only-at-MIT approach to the arts and to help ensure that artistic practice remains central to MIT’s intellectual and community life.”Makan says he will begin his new role with a period of listening and learning across MIT’s arts ecosystem, informed by the Future of the Arts at MIT report. His initial focus will be on understanding how artistic practice intersects with research, education, and community life, and on identifying opportunities to strengthen connections, visibility, and coordination across MIT’s many arts activities.Over time, Makan says he will work with the arts community to advance MIT’s long-standing commitment to artistic excellence and experimentation, while supporting student participation and public engagement in the arts. He said his approach will “emphasize collaboration, clarity, and sustainability, reflecting MIT’s distinctive integration of the arts with science and technology.”Makan came to MIT in 2006 as an assistant professor of music. From 2018 to 2024, he served as head of the Music and Theater Arts (MTA) Section in the School of Humanities, Arts, and Social Sciences (SHASS). In 2023, he was appointed associate dean for strategic initiatives in SHASS, where he helped guide the school’s response to recent fiscal pressures and led Institute-wide strategic initiatives.With colleagues from MTA and the School of Engineering, Makan helped launch a new, multidisciplinary graduate program in music technology and computation. He was intimately involved in the project to develop the new Edward and Joyce Linde Music Building (Building 18), a state-of-the-art facility that opened in 2025. Makan was a member of the Future of the Arts at MIT Committee and chaired a working group on the creation of a center for the humanities, which ultimately became the MIT Human Insight Collaborative (MITHIC), one of the Institute’s strategic initiatives. Since last year, he has served as MITHIC’s faculty lead. Under his leadership, MITHIC has awarded $4.7 million in funding to 56 projects across 28 units at MIT, supporting interdisciplinary, human-centered research and teaching.Trained initially as a violinist, Makan earned undergraduate degrees in music composition and religion from Oberlin and a PhD in music composition from the University of California at Berkeley.A critically-acclaimed composer, Makan is the recipient of a Guggenheim Fellowship and the Luciano Berio Rome Prize from the American Academy in Rome. His music has been recorded by the Kronos Quartet, the Boston Modern Orchestra Project, and the International Contemporary Ensemble, and performed at Carnegie Hall, the Lincoln Center for the Performing Arts, and Tanglewood. His opera, “Persona,” premiered at National Sawdust and was performed at the Isabella Stewart Gardner Museum in Boston and by the Los Angeles Opera. The Los Angeles Times described the music from “Persona” as “brilliant.”Makan succeeds Philip Khoury, the Ford International Professor of History, who served as vice provost for the arts from 2006 before stepping down in 2025. Khoury will return to the MIT faculty following a sabbatical.

Visit me in 1974 LAThis week on the New Music Business podcast, Ari hops on for a solo episode to talk about Brassroots District—a decade-long passion project fusing immersive theater, hard-grooving funk, and 1970s world-building.

BPB Deal: Karanyi Sounds Playmod for $15 (offer ends in 72 hours)
Karanyi Sounds is offering BPB readers an exclusive $15 deal on Playmod, a creative multi-effect plugin for macOS and Windows. For a limited time, BPB readers can purchase Playmod for $15 instead of $59 using the exclusive coupon code BPB-PLAYMOD15. The code knocks $44 off the regular price and is valid for 72 hours only. [...]
View post: BPB Deal: Karanyi Sounds Playmod for $15 (offer ends in 72 hours)

What Spotify For Artists is building in 2026 as payouts top $11BSpotify For Artists has kicked off 2026 with a state-of-the-union announcement from Charlie Hellman, the platform’s Head of Music. The update reflects on a record-breaking 2025 while outlining a strategic. Continue reading
The post What Spotify For Artists is building in 2026 as payouts top $11B appeared first on Hypebot.

ATC’s new studio monitors offer shallow cabinet depths and “target surround and immersive audio installations”ATC has launched a new line of passive studio monitors, its SSM (Studio Surface Monitor) series, which offer reinforced cabinets with shallow depth and proprietary mounting hardware for surround and immersive audio setups.
The series consists of two variations of wall-/ceiling-mount passive studio monitors, the SSM12i Pro and SSM25i Pro, and the complementing R4-150 Pro – a new four-channel power amp. All three new additions are available now.

READ MORE: JBL Bandbox: New Bluetooth speakers with AI stem separation – a game-changer for practice sessions?

The SSM12i Pro’s shallow speaker cabinet measures 147mm/5 13/16”, while SSM25i Pro’s is slightly deeper at 198mm/7 13/16”, and both can be configured to mount vertically or horizontally. Their mounting system fixes flat to a wall or ceiling and allows the cabinet to pivot away from the mounting surface.
The SSM12i Pro is built around proprietary drive units designed and manufactured by ATC and operating in a sealed cabinet. ATC’s advanced SB45-150CLD 150mm/6” bass/mid driver is employed at low and mid-range frequencies, featuring a unique CLD (Constrained Layer Damping) cone, which minimises cone breakup. For frequencies above the 2.2kHz crossover point, ATC’s SH25-76 25mm/1” dual-suspension tweeter ensures “precise and transparent reproduction” of high-frequency content.
Image: SSM12i Pro. Credit: ATC
SSM25i Pro is more suited to larger spaces, and is described by ATC as an ideal choice for multichannel and immersive audio applications in medium to large control rooms, including those requiring Dolby Atmos or other immersive audio setups. It features three proprietary ATC drive units also housed in a sealed cabinet.
Utilising a short coil/long gap design and paper/carbon fibre cone, ATC’s SB50-164SC 164mm/6.5” bass driver provides an extended and precise low-frequency output, from 47Hz up to 380Hz. Midrange frequencies are handled by ATC’s SM75-150 75mm/3” midrange dome, while high frequencies above 3.5kHz are reproduced by ATC’s advanced ATC SH25-76S ‘S-Spec’ tweeter.
The SSM12i Pro is priced at £2,167.00 per pair, while the SSM25i Pro is available at £4,667.00 per pair (both excluding VAT). The R4-150 Pro is available at £3,667.00 (excluding VAT and cables). Find out more over at ATC.
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Free 24/7 Music Industry Mental Health Hotline LaunchesThe music industry finally has a 24/7 immediate response system for mental health. Today, Backline, in partnership with Spotify, Live Nation, and Noah Kahan have launched B-LINE - a dedicated crisis support line created exclusively for musicians, music professionals and their families.
The post Free 24/7 Music Industry Mental Health Hotline Launches appeared first on Hypebot.

SRM Sounds offers Dark Mode, a FREE version of Max Richter Piano for Kontakt Player
Some of you might think Dark Mode is slightly old news, and that’s probably fair because it was released by SRM Sounds towards the end of 2024. Anyone who isn’t already familiar with this free piano is in for a real treat, and since we didn’t cover it earlier, we thought we’d give it some [...]
View post: SRM Sounds offers Dark Mode, a FREE version of Max Richter Piano for Kontakt Player

NAMM 2026: Warm Audio Retro 64 Warm Audio's take on the Electro-Voice 664 adopts the distinctive design of the original, but features a custom-tuned capsule which the company say has been engineered with modern front-of-house environments in mind. 

Fouk on 25 years of making music, staying inspired, and the techniques behind their soundDaniel Leseman and Hans Peeman started making trance in their attic at age 14 in 1999, but it wasn’t until their early 30s that they found their true creative calling with Fouk and their vinyl-first label, Outplay. The Dutch producers have since become beloved in the underground deep house scene, thanks to a sophisticated, distinct blend of loose and dusty house drums, swirling and spacey synth parts, and downright funky basslines.
Now both 42 years old, the creative relationship the duo has evolved, and they’re optimistic about Fouk’s future. But they admit that their momentum stalled after the pandemic; their focus shifted to their families and other job prospects, and inspiration was tough to find. Fouk were forced to rediscover their groove.
Thanks to their recent EP releases, 2025’s Get It Done and 2024’s Mirage, Daniel and Hans are having just as much fun in the studio as they were almost 30 years ago, with a dynamic that works unusually well.
Get It Done EP by Fouk
“We always say it’s a second marriage,” says Hans.
“Yeah, and we sometimes fight like it’s a second marriage,” adds Daniel, as they both chuckle.
More amusing still is that Fouk are constantly finishing each other’s sentences throughout the interview. As Daniel starts articulating an idea, Hans will jump in and finish the thought when Daniel pauses, and vice versa. It’s incredibly fun to observe.
However, this marriage-like rapport is a boon when they’re in the studio. These two producers bounce off each other in conversation just as they do with creative ideas.
“Sometimes, he’s doing something on the synths,” explains Daniel. “And I’ll say, ‘Okay…What are you doing?’ and he’s like ‘Just wait, just wait. I’m getting it.’”
“I don’t give up easily,” chimes in Hans. “And sometimes, it doesn’t work — but I’ll just chuck something in and see if we can shift or transpose it to see if it’ll fit.”
Their relationship also makes room for honesty. When an idea isn’t working, they can candidly say to one another, “I’m not feeling this — let’s do something else.” The duo aren’t churning out finished tracks every week, and they’ve learned to work more efficiently since the pandemic.
Hans’ home studio. Image: Press
“We couldn’t find any inspiration after COVID; our lives changed,” says Hans — he and Daniel are both parents now. “Our time in the studio is limited, so we had to re-find our groove,” he continues. “And with that came a different way of creating. We have one, sometimes two days a week together.”
Fouk’s new groove involves Hans creating snippets and ideas, which Daniel often jams over the top of with their go-to synths: the Sequential Prophet-6, Moog Sub Phatty, Korg Minilogue and Roland Jupiter-X and JP-8000.
“Once you have a starting point, it’s easy to get enthused”, begins Hans, as Daniel adds, “yeah, we bounce ideas around really quickly.”
“Also,” continues Hans, “a lot of times, just before we have to wrap up in the studio, we start something else since we’re already warmed up. Then, something totally new happens in the last half hour. It’s like, you have to quit, but you still get this really amazing idea — they’re the little seeds that you have to cultivate.”
Studio Utrecht. Image: Press
Watch any of Fouk’s social media videos, and you’ll see how much fun they have jumping around various synths, stitching together layers in a loop. Daniel praises the Prophet-6 for its lack of menu-diving and gorgeous sound, while Hans notes their frequent use of the Minilogue for its versatility across their tracks. Although many of these creative sparks lean on the duo’s arsenal of analogue synths, they admit that much of their signature sound has previously been crafted in the DAW.
“A lot of times people ask us, ‘You use a lot of analogue gear, right?’ But no,” says Hans. “Mostly, it was made in the box. But we have our ways for shaping the sound, using harmonic distortion on things—”
“And, of course, the use of samples, especially in our earlier productions, helps define the ‘analogue’ vibe,” adds Daniel.
Get It Done is largely sample-free, compared to Fouk’s earlier work, aside from a string sample on the track Floating. Fouk’s refined sound relies less on sampling old records and more on meticulous microtiming.
“If we have a drum loop going and we [want to] add a bassline, there have been times that we purposely move the bassline in front of the kick. And it just works,” explains Daniel. “The attack of the bassline is also a percussive element of course—
“It’s also analysing how these old records sound,” continues Hans. “Because it’s with live musicians; you’re not a robot, and that’s what we want to recreate as well. And, of course, classic hip-hop, the sample-based way of making music, that whole shifted feeling with the eighth notes…We don’t quantise anything. It’s mostly by hand, just shifting little bits. There’s a theory to it; it’s not just random.”
Hans’ home studio. Image: Press
For their drum sounds, the duo often sample vinyl breaks, use lo-fi sample packs, and building kicks and snares from scratch on their Behringer RD-9. This hybrid approach lets them combine their own sounds with human grooves. “If you sample a live drummer, you get that groove, that whole swing. And if you programme your drums on top of those transients, you have more organic sounding drums,” explains Hans.
It’s taken decades for Daniel and Hans to discover and perfect these techniques, which you can hear all over the Get It Done record. This EP, released via Freerange Records, also fulfils a 20-year ambition of the Dutch producers.
“We’ve been fans of the label since around 2005,” says Hans. “We were like, ‘We have to get a release on Freerange, if it’s remotely possible.’”
Two decades before releasing on Freerange, they’d travel to Germany to watch label founder Jamie (AKA Jimpster) perform. They befriended him and the Freerange team long before Fouk existed — but Fouk’s sound wasn’t always a fit for their dream label.
“Up until now, the sound and direction that we went was a little different than how Freerange was going,” explains Daniel. “Now, I think it’s all come together.”
Hans’ home studio. Image: Press
Get It Done signals where Fouk are heading next. Daniel and Hans have been building to this moment since a 2012 trip to the Arctic Circle, where they committed to a project rooted in the house music they’d discovered through labels like Freerange.
“It was a really special vacation,” recalls Daniel. “We took a train up north in Sweden, to a place where the sun was up for 24 hours in the summer. And I really remember talking about doing something new—we already had the Outplay label— but creating a new project together with the new sound that we found. Half a year later, we worked on the first tracks: Stuff Your Dad Likes, Cat Lady—”
Hans jumps in: “We would have loved to be in our early 20s and already have that sound…We were 30 years old when we started Fouk.”
A late start hasn’t stopped Fouk from finding their audience. The producers are still riding a high from their remix of Nathan Haines’ 2003 deep cut, Squire For Hire feat. Marlena Shaw, which enjoyed three weeks at number one on Traxsource’s Top 10 chart. Their remix came just a year after Shaw, a revered jazz vocalist, passed away, and four years after Phil Asher, the co-writer of the original track, died from a heart attack. As such, the project carried extra weight for Fouk.
Fortunately, after sending an early version of the remix to the label (Deeply Soulful vs Papa), the suggestion came to bring Haines onto the remix.
“We finished the version without the original saxophone parts because we didn’t have them,” says Hans. “We had the vocals, but we sampled a bit of the entire track just for texture. We sent it to the label, and they got the idea of asking Nathan to record new parts. We were like, ‘Yes, this is becoming more than just a remix!’”
Studio Utrecht. Image: Press
Since the Haines collaboration, Hans and Daniel have branched out into songwriting territory, which they see as part of Fouk’s future.
“We’ve made a release for Kraak and Smaak, the Dutch producers, on their label, Boogie Angst,” says Daniel. “We’ve worked together with some great, great bands, artists, and that was more songwriting—”
“Yeah, we basically wrote three songs for other artists,” adds Hans.
“We did an instrumental version and the [collaborators] wrote the vocals,” continues Daniel. “It was a really cool collaboration; it was definitely more songwriting based instead of house and club tracks.”
“It’s definitely a direction that we want to do more — write for other people, or produce for other people,” finishes Hans.
After more than 25 years, it might be surprising that Hans and Daniel remain so in sync. But they’re still finishing each other’s sentences and each other’s tracks. The second marriage, it seems, is going strong.
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I’m deeply impressed by the AKG C114 — you can’t buy a better mic at this price€239 / £209 / $229, akg.com
AKG is a long-established manufacturer of reference-quality microphones, with its classic C414 mics being among the best ever created. Indeed, I’ve always maintained that if I had to record absolutely everything with one model of microphone, it would be a C414.

READ MORE: AKG’s C104 review: “For the price, I can think of no other microphone that performs this well”

Now, the company is offering three new mics in its C-Series, which promise a large slice of classic AKG sound for a fraction of the price of its flagship products.
The C114 is the most versatile of the new series as it’s the only one to feature multi-pattern operation, offering omnidirectional and figure-8 polar patterns alongside the standard cardioid response. A switch on the front allows selection of each of the polar patterns, that’s all the user-adjustable parameters on offer; there are no pad or high-pass filter controls as you find on AKG’s more expensive mics.
As a large-diaphragm, multi-pattern condenser microphone, the C114 features a 26 mm dual diaphragm, true condenser pressure gradient capsule. It’s an edge-terminated design, which is an AKG invention from the historic C12 mic that predates the C414. Like many classic capsules, it’s gold-sputtered, yet unlike vintage mics built with noisy (characterful, some might say) transformers, the C114’s circuit is a modern low-noise, transformerless FET design.
Image: Press
Along with its low self-noise, the mic also offers high headroom with minimum distortion. This means it can handle sound pressure levels (SPLs) up to 145 dB without introducing distortion, so reasonably loud guitar and bass amps can be recorded as well as close-mic’d drums and brass instruments.
A handy inclusion with the C114 is the shock mount, which helps minimise unwanted vibrations while recording.
As an unapologetic AKG C414 aficionado, it’s with some trepidation that I test this mic that has so much in common with its legendary stablemate. I needn’t have worried; the performance of the C114 is nothing short of superb. I’ve reviewed mics that cost three times the price of this that have left me unimpressed.
In terms of clarity, detail and transparency, I don’t believe you can buy a better mic for the money. I recently reviewed the Warm Audio WA-87jr SE, which is a fabulous competitor, but it’s a cardioid-only mic; you have to spend $70 more than the C114 to get the WA-87jr multi-patterned version.
Image: Press
Much of the wonderful AKG sound I have always adored is present and correct in the C114. The broad midrange is wonderfully faithful, neutral and correct with no spikes or dips in the response, and the low end is firm and richly textured.
However, it’s the treble quality that impresses me the most. It’s beautifully smooth with crystal-clear accuracy and no harshness at all. Voices are captured with a palpable honesty that is usually the preserve of far more expensive microphones. And like the gold-standard C414, it’s a brilliant all-rounder, bringing out the best in anything you put in front of it.
I am deeply impressed with the C114. The C-Series as a whole is very impressive, but the C114 is so impressive that I can see it being used in professional recording studios as well as home set-ups.
There will always be a place in the market for premium, expensive microphones that represent a manufacturer’s ‘statement’ product. Here, though, AKG is making a statement of its own; you can now buy a professional, studio-quality microphone that won’t break the bank.
Image: Press
Key features

Large diaphragm condenser microphone
Cardioid, figure-8 and omnidirectional polar patterns
26 mm edge-terminated capsule
Weight: 415 g
Comes with a shock mount

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Ashun Sound Machines’ Leviasynth is an immense 16-voice algorithmic synthesizerAshun Sound Machines dropped a new synth monster at NAMM 2026 with the Leviasynth. This epic instrument is packed with technological capability: a 16-voice digital/analogue hybrid synthesis engine with serious sonic prowess.
ASM’s Leviasynth is centred around its algorithmic sound engine, which features eight oscillators per voice across seven synthesis types and over 140 configurable algorithms. Two independent layers can be stacked or split, with voices pairing into true binaural stereo sets for wide, independently modulated soundscapes.
The Leviasynth’s signal path blends two filters: a Q-compensated 4-pole low-pass analogue filter with pre-drive saturation for extra grit, and a digital filter boasting 18 models with morphing and drive. The engine supports phase modulation, linear frequency modulation, pulse width modulation, HTE sync, and three types of phase distortion. There’s also 13 envelopes, five LFOs, a modulation matrix, per-voice modulation offsets, and a macro control — you can keep an eye on this all via the full-colour touchscreen display.
ASM Leviasynth Keyboard version at NAMM 2026. Image: Sam Willings
The arpeggiator has eight different modes, such as ratchet, chance, and entropy, with individual controls for mode, octave, and gate to create highly precise runs of notes. Its sequencer allows for a huge 128 steps per track with drift options to imbue that imperfect human feel.
To help cut down on the inevitable choice paralysis that comes with such a dense piece of gear, the Leviasynth offers over 140 presets along with the ability to build and save original presets.
MusicTech’s commissioning editor, Sam Willings, got hands-on with the Leviasynth at NAMM 2026, and says: “The Leviasynth dragged me into its vast sound palette at NAMM for a lot longer than I planned. Its massive bank of inspiring presets, intuitive interface, and three-track sequencer had me hooked for about 30 minutes straight, building pads, sequences and squelching basslines.”
The keyboard version has 61 Polytouch keys for expressive tactility when using the 16 voices, but both models sport the touch screen. Its price tag is $1,799 for the desktop version and $2,499 for the keyboard version.
Check out more gear drops from NAMM 2026.
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Casio’s SX-C1 is a handheld sampler with a focus on funCasio is adding a new handheld sampler to its repertoire. At The NAMM Show 2026, the company had a prototype of the SX-C1 on show for attendees to play with. There is no release date or price point yet, but the sampler is already making a buzz in the music production world.
Members of the Casio team emphasised the word “fun” when discussing the product, which aligns with its design — it does look very much like a classic Game Boy. The SX-C1, crucially, is also a work-in-progress. Many details are not final and were labelled as “TBD” at NAMM 2026.
Alongside a 1.3-inch OLED display is a directional pad for moving across its built-in step sequencer, among other functions, and buttons labelled with letters for performing specific tasks. Further down, there are 16 LED-backed buttons with an 8-bit-esque font to add to the fun feel of the device. Jog wheels and sliders can adjust the built-in effects array and trim uploaded pieces of audio.

In terms of its technical capability, the SX-C1 can sample sounds at 16-bit/48kHz. It has a built-in microphone and an analogue audio input, and has 64GB internal storage with 10 banks of 16 samples. Its USB-C input can be used to transfer files between devices and stream audio to capture samples in real time. The USB-C can also power the device, and for full mobile functionality, AAA batteries are an option as well; however, currently, the battery life is advertised as two hours, which is far below the expected capacity. Even this is labelled as TBD, though.
We caught the SX-C1 at The NAMM Show 2026, where Casio was displaying two units and some basic info. You can check that out below.
Casio SX-C1 Sampler — lots still “TBD”. Image: Sam Willings for MusicTech
The last compact Casio sampler was the SK-1 keyboard, released over 40 years ago, in 1985. Among the users of the SK-1 were notable artists such as IDM originator Autechre and drum & bass legend DJ Hype. Who knows where the SX-C1 will end up if it makes it to retail?
Check out more gear drops from NAMM 2026.
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