The coolest synths, software and gear I saw at NAMM 2026NAMM 2026 didn’t have a showstopping product. There was no behemoth booth like Universal Audio’s LUNA spectacle of 2020, and there were several major music tech brands absent from the show. Meanwhile, the boutique synth crowd has found a new home at the Buchla & Friends event in Los Angeles, which happens during the same weekend as NAMM. That sounds like a problem.
But it created an opportunity for more brands to share the spotlight with some ambitious products. From bizarre sonic sex toys and electromagnetic noise generators to acoustic synthesizers and Gameboy-style samplers, NAMM 2026 was rife with new ideas.
Here’s the gear that caught my attention throughout NAMM week.
Dog Paw
At the front of Rock Paper Scissors’ Innovator Hub (the same place where one could find the Groove Thing), a curious grid instrument was making attendees double-take.
Dog Paw is an MPE controller made by two friends, Bill and Trevor, who first teased the device at NAMM 2025, but is now presenting a more complete version. It’s a 64-pad controller designed to help you play your instruments with “no wrong notes.” You can map out the grid as a guitar fretboard, choose specific scales, and employ community-made layouts. DAW integration is tight, too.
It’s fun to play, although the pads have a different feeling than what you might expect — almost like a typewriter.

The team hit its Kickstarter target in May 2025, raising $45,892, and has since been posting regular updates about the progress of the controller. There’s still no exact word on shipping dates, but pre-orders are open now.
Casio SX-C1 Sampler
Casio SX-C1 Sampler. Image: Sam Willings for MusicTech
Casio’s SX-C1 sampler was being quietly flaunted at NAMM 2026, with two units on show at the side of Casio’s giant keyboard-focused booth. But the Gameboy-style sampler deserves a little bit more fanfare.
The pocket-sized SX-C1 is exactly what you think it is. It can sample sounds as 16-bit/48kHz WAV files, with a built-in mic and analogue audio input. It boasts 64GB internal storage, with a USB-C mode for transferring files between devices. It can be powered by USB-C or by four AAA batteries — although the projected battery life is a dreadful two hours.
You can play one-shots and loops on the SX-C1’s 16 pads, with up to 16 voice polyphony. Two wheels above the pads are used for trimming the start and end points of samples. The SX-C1 also has an effects bank — I was only shown the scratch effect, as it seems more effects will be added closer to release.
Casio says that the SX-C1 is still a work in progress. Many details are left as TBD, including price, so it’s unclear when this will hit the market and how different the final version might be, but we’ll definitely be keeping an eye out.
Casio SX-C1 Sampler — lots still “TBD”. Image: Sam Willings for MusicTech
ASM Leviasynth
ASM Leviasynth Desktop at NAMM 2026. Image: Sam Willings
Arguably, the biggest synth launch at NAMM 2026 was the ASM Leviasynth. A sequel to the coveted Hydrasynth, the Leviasynth is a 16-voice hybrid synthesizer, focused around an algorithmic sound engine with eight oscillators.
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.
A desktop version lets you perform with 16 pads, while the keyboard version has 61 keys featuring polyphonic aftertouch — both support MPE.
It’s bold, it’s brilliant, and I’m looking forward to getting a review unit to tell you more about it. If you’re already sold on the Leviasynth, you can order it now for $1,799 for the desktop version or $2,499 for the keyboard version.
Eternal Research Demon Box
Demon Box at NAMM 2026. Images: Cillian Breathnach for MusicTech
MusicTech reviewed the Demon Box in late 2025, praising the unique, experimental sound but caveating that it’s chaotic and expensive. Those points are all still valid, but I have to admit, the Demon Box is cool as hell — and the Eternal Research booth was all the rage at NAMM 2026.
Complete with a stack of CRT televisions and plenty of boutique hardware synths, the Eternal Research booth was emitting a befittingly gritty vibe. Through its speakers, passers-by were treated to warped, distorted sounds from the several Demon Boxes on show, which use electromagnetic fields to generate 15 semi-random notes per second and which were controlling synths such as Black Corporation’s ISE-NIN.
The Demon Box is not an easy controller to understand. It is, however, exceptionally gnarly, and was enough to pique the interest of all types of music-makers at NAMM.
Akai MPC XL
Akai MPC XL at NAMM 2026. Image: Harry Levin for MusicTech
Frustratingly, I wasn’t able to get any hands-on time with the Akai MPC XL, since the InMusic booth was constantly packed with other attendees keen to play with it.
During the Global Media Preview day, however, we were treated to a performance from J Black, who gave us a strong idea of what the next-gen sampler is capable of.
This is the most powerful MPC ever, according to Akai, with a Gen 2 8-core processor and 16GB RAM. In practice, that means you can run 32 plugins and 16 audio tracks at once, and 256 simultaneous voices. You’ll navigate the MPC XL via a 10.1-inch multi-gesture touchscreen, and play using the expected 4×4 grid of MPCe pads.
The MPC XL’s design isn’t to everyone’s taste, however — online commenters have even said “incredibly ugly”. It’s not as slick as recent MPC models, sporting more knobs and buttons than you’ll probably know what to do with at first — but that didn’t stop NAMM attendees from giving it a go.
Korg Phase8
Korg’s acoustic synthesizer, Phase8, made a strong impression during the Global Media Preview day, with a performance that used rocks and wooden blocks to shape the synth’s sound. The synth was first teased at Superbooth 2024, but this final version seemed to have many NAMM-goers excited.

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At Korg’s NAMM booth, each station with the Phase8 had a series of small objects that everyone was encouraged to use with the synth. These included stones, wooden sticks, small metallic bits, and even magnets, which added modulation beyond the different quality of sound. An AIR slider can adjust the acoustic response of the resonators.
“[Korg] wanted to do something that had never been done before,” says Rachel Aiello from KORG Berlin. “It would have been easy for them to continue making analogue synths, but they wanted to do something different.”
Fender Studio
Yes, Fender Studio Pro is PreSonus Studio One with a rebrand — and, yes, many current users are upset by the name change. But I think Fender Studio’s DAW and accompanying product line have strong potential to find new customers this year.
Fender Studio Pro, Motion controllers, and Quantum audio interfaces at NAMM 2026. Image: Sam Willings for MusicTech
There was no Fender guitar booth at NAMM 2026; only the Fender Studio booth. Here, I was given a demo of Fender Studio and a first look at the new Motion controllers (which are essentially the new version of PreSonus’ Atom controllers), and the new Fender Studio Quantum interfaces.
The Motion controllers are intuitive and pack in a bunch of useful features — the brand’s representative focused on the expansive Chord mode during my demo — and are relatively affordable. Ranging from $300 to $400, both will work with any DAW, but also give you a full perpetual license of Fender Studio Pro.
As for the Fender Studio Pro DAW, I’m already impressed with the layout, featureset and general workflow. It takes many cues from other major DAWs — Ableton Live, Pro Tools, etc — but also packs a ton of Fender hardware emulations.
Changing DAWs can be challenging, but as someone who primarily uses Ableton Live, I find myself quite tempted by Fender’s offering.
Stuff we can’t tell you about…
I know — this is cruel. But, at the show, a handful of brands brought us to their secret booths around the Anaheim Convention Center to share sneak previews of their big 2026 products.
I’m sworn to secrecy, so all I can say is that there are some crazy modern iterations of classic gear, and fascinating applications of AI in upcoming music products this year. There’s really no way to be specific without breaking some NDAs, but I’d advise approaching 2026 with a curious eye.
Read more NAMM 2026 news. 
The post The coolest synths, software and gear I saw at NAMM 2026 appeared first on MusicTech.

The Super Bowl on ShuffleWith Green Day and Bad Bunny primed to elicit controversy and conversation, we look back at some of the best (and strangest) performances throughout the history of the Super Bowl. Who should bring home the trophy and who should be sidelined for the rest of the season?

Some international attendees are skipping 2026 GDC due to safety fears and growing ICE presenceMany members of the international games industry are skipping the 2026 Game Developers Conference because of the growing ICE presence and other concerns.

Bitmine’s staked Ether holdings point to $164M in annual staking revenueThe publicly traded Ether treasury has more than 2 million ETH staked, with total holdings of more than 4.2 million, or 3.5% of the outstanding supply.

Electronik Sound Lab Abyss FXWHAT IS ABYSS FX? AbyssFX is a creative reverb and spatial destruction plugin designed for producers, sound designers, and audio engineers who demand more than just ambience. While traditional reverbs aim for transparency and realism, AbyssFX embraces character, movement, and transformation. Featuring three distinct morphing modes that fundamentally alter the reverb's behavior, advanced pitch shifting, and creative destruction tools, AbyssFX delivers everything from organic cinematic textures to aggressive glitch effects. Whether you need textured vintage warmth, deep evolving spaces, or complete sonic annihilation, AbyssFX provides the tools for creative exploration. Built on a custom Dattorro FDN architecture with Hermite interpolation and professional DSP enhancements, this plugin combines studio-grade algorithms with a bold, character-driven approach. Perfect for when you want your reverb to be heard, not hidden. LAUNCH SPECIAL - 50% OFF: €29.99 (ex VAT) - Regular price €59.99 - Offer ends: February 8, 2026 at 23:59 CET https://electroniksoundlab.com/abyss-fx/ KEY Features THREE MORPHING REVERB MODES Transform your sound with three distinct reverb personalities: RUST MODE - Vintage Saturation Engine. Textured, modulated spaces with progressive saturation and organic breathing. Creates vintage tape machine warmth, lo-fi cassette character, and warm analog textures. Perfect for retro electronic music, textured pads, and progressive saturation builds: ABYSS MODE - Deep Space Engine. The deepest and cleanest mode. Creates vast, underwater-like spaces with slow organic movement. Features the deepest modulation (up to 125 samples) without added drive saturation. Perfect for cinematic soundscapes, dark ambient, and film scoring: MAGMA MODE - Destruction Engine. Pure sonic aggression with the fastest LFO speed (2×), increased diffusion, and extreme drive behavior. Intentionally creates artifacts and distortion for creative destruction. Perfect for glitch effects, breakdowns, and experimental electronic music. PRESSURE MACRO CONTROL AbyssFX's secret weapon - a single control that morphs multiple parameters simultaneously: Size breathing and space expansion. Modulation depth increases. Progressive drive saturation (mode-dependent). Wet mix boost for instant impact. Dual functionality: use with reverb OR as standalone drive control. Each morph mode responds differently to Pressure, creating instant sonic transformations from subtle enhancement to complete chaos. HYBRID PITCH FX SYSTEM Two distinct pitch modes optimized for different applications: SUB-ABYSS MODE - Pitch Down Specialist. Serial mixing architecture optimized for sub-bass generation and octave-down effects. Perfect for adding weight and depth to drums and bass: GLITCH MODE - Shimmer. Parallel mixing architecture for ethereal shimmer effects. Creates angelic, crystalline textures perfect for ambient and post-rock styles. Both modes feature adjustable pitch shift from -12 to +12 semitones with independent amount control. CREATIVE DRIVE SYSTEM Five distinct saturation modes for character or devastation: ANALOG - Vintage tube-style saturation for subtle warmth. TAPE - Tape saturation emulation with smooth harmonic compression. BIT - Bit-reduction distortion for lo-fi aesthetics and digital crunch. FOLD - Wave-folding algorithm for complex harmonic content. GRANULAR - Sample rate reduction with glitchy, stuttering textures. Parallel processing with independent Amount, Mix, and Tone controls. PROFESSIONAL FILTERING State Variable TPT filters with advanced control: High-pass filter (20 Hz - 2 kHz). Low-pass filter (2 kHz - 20 kHz). Independent Q control (0.1 - 10.0) for each filter. Selectable slopes: 12 dB/oct or 24 dB/oct. Surgical tonal shaping from mud removal to telephone effects. ADVANCED MODULATION Create movement and organic evolution: LFO Rate: 0.05 - 10 Hz with mode-dependent speed multiplication. LFO Depth: 0-100% modulation intensity. Orbit: Circular stereo panning for swirling spatial effects. Mode-specific behavior: Abyss (0.5× slow), Magma (2× fast). FREEZE FUNCTION Infinite sustain for pad creation and sound design: Capture and hold current reverb tail. Transform transients into evolving textures. Perfect for live performance transitions. Combine with Pitch FX for instant synth pads. PROFESSIONAL OUTPUT PROTECTION Studio-grade signal processing: Soft clipping for musical saturation. Brick-wall limiter prevents intersample peaks. Denormal protection for consistent CPU performance. Zero latency for real-time performance. Extended tail times up to 60 seconds. COMPREHENSIVE PRESET SYSTEM Get started instantly or build your library: 60+ factory presets covering diverse use cases. Save unlimited custom presets. Automatic dirty state detection. Preset browser with dropdown selection. Easy sharing via .afx files. TECHNICAL SPECIFICATIONS Audio PROCESSING: Sample rate support: 44.1 kHz - 192 kHz. Bit depth: 32-bit floating point internal processing. Latency: Zero latency (no look-ahead processing). Tail time: Up to 60 seconds. Channel configuration: Stereo in / Stereo out. Dynamic range: >120 dB. DSP ARCHITECTURE: 4-line FDN architecture with Hadamard mixing matrix. Hermite interpolation for artifact-free modulation. Advanced input diffusion network (8 all-pass stages). DC blocking filters for bass preservation. Denormal protection for CPU efficiency. Adaptive delay line sizing with breathing room. OPTIMIZATION: Efficient memory management. SIMD-optimized math operations. Lock-free parameter updates. Conditional processing (bypasses inactive sections). Smoothed parameter changes for click-free automation. COMPATIBILITY: Format: VST3. Platform: Windows 64-bit. Minimum: Windows 10. Tested DAWs: FL Studio, Ableton Live, Reaper, Studio One, Cubase. SYSTEM REQUIREMENTS MINIMUM REQUIREMENTS: Windows 10 (64-bit) or later. Dual-core processor (2.0 GHz or faster). 4 GB RAM. VST3-compatible DAW. 50 MB free disk space. OpenGL 2.0 compatible graphics. RECOMMENDED REQUIREMENTS: Windows 10/11 (64-bit). Quad-core processor (2.5 GHz or faster). 8 GB RAM or more. VST3-compatible DAW. 100 MB free disk space. Dedicated graphics card. https://www.youtube.com/watch?v=kwgHDNNUK1Y Read More

Create a Tiny Telephone Exchange with an Analog Telephone AdapterAn analog telephone adapter (ATA), or FXS gateway, is a device that allows traditional analog phones to be connected to a digital voice-over-IP (VoIP) network. In addition to this, you can even create a local phone exchange using just analog phones without connecting to a network as [Playful Technology] demonstrates in a recent video.
The ATA used in the video is the Grandstream HT802, which features one 10/100 Mbps Ethernet port and two RJ11 FXS ports for two POTS phones, allowing for two phones to be directly connected and configured using their own profiles.
By using a multi-FXS port ATA in this manner, you essentially can set up your own mini telephone exchange, with a long run of Cat-3 possible between an individual phone and the ATA. Use of the Ethernet port is necessary just once to configure the ATA, as demonstrated in the video. The IP address of the ATA is amusingly obtained by dialing *** on a connected phone and picking 02 as menu option after which a synthetic voice reads out the number. This IP address gets you into the administration interface.

To configure the ATA as an exchange, the local loopback address is used, along with a dial alias configured in the ‘Dial Plan’ section. This way dialing e.g. 102 gets internally converted to dial the other FXS port. By setting up a similar plan on the other FXS port both phones can call each other, but it’s also possible to auto-dial when you lift the handset off the hook.
The rather hacky configuration ought to make clear that the ATA was not designed to be used in this manner, but if your use case involves this kind of scenario, it’s probably one of the cheaper ways to set up a basic, small phone exchange. There are even ATA models that have more than two ports, opening up more possibilities. Just keep in mind that not every ATA may support this kind of tweaking.

NMPA promotes Danielle Aguirre to Chief Legal Officer & Chief Operating Officer; Charlotte Sellmyer upped to EVPThe pair's new titles reflect how their roles have expanded within the organization.
Source

Get a free playable sample preset for Splice INSTRUMENT
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The Music Connection February 2026 Playlist is Live!Listen along with MC!

Our monthly issue playlists allow you to hear the featured artists as you read about them, and the February, 2026 playlist is live now!

Check out cover star PinkPantheress, the DIY Spotlighted Leilani Kilgore, and all of the artists included in our Signing Stories, Album Reviews, New Music Critiques, and Live Reviews (as long as they are on Spotify).

Hear the playlist here

While you're there, please "Like" the playlist and "Follow" Music Connection's profile so you'll never miss the chance to listen along with MC!

Previous playlists:

Hear our January playlist here!

Hear the December playlist here!The post The Music Connection February 2026 Playlist is Live! first appeared on Music Connection Magazine.

W.A. Production releases Delay Rings 8-Bit (Japan) with a limited-time 70% discount
Delay Rings 8-Bit (Japan) is a brand-new version of the developer’s flagship dynamic delay engine, and you can grab it for just $12 while the intro offer lasts. That’s a massive 70% discount! The introductory sale will last for another 17 days (as of the time of writing – 26 January 2026). Once the sale ends, [...]
View post: W.A. Production releases Delay Rings 8-Bit (Japan) with a limited-time 70% discount

Ablaze Audio releases Ablaze Toolkit bundle with five FREE plugins
Ablaze Audio has released Ablaze Toolkit, a bundle of five free plugins for Windows, macOS, and Linux, designed to simplify common mixing and sound design tasks in modern metal production. Oh, and there’s a fun easter egg for BPB readers. Ablaze Audio is run by the same developer who created our BPB Dirty Filter plugin. [...]
View post: Ablaze Audio releases Ablaze Toolkit bundle with five FREE plugins

New TikTok Music Terms, Feeds & Outages: All You Need To KnowUS TikTok creators and users are experiencing outages and irrelevant content in feeds as new owners take control. But new TikTok Music Terms Of Service may pose the biggest threat to musicians and labels who rely on the platform.
The post New TikTok Music Terms, Feeds & Outages: All You Need To Know appeared first on Hypebot.

Musicians ‘Stealing Isn’t Innovation’ Campaign LaunchesThe battle lines between the creative community and unregulated AI development are being drawn more clearly than ever. The Human Artistry Campaign (HAC), a global coalition of 180 organizations, doubled down on its mission with the launch of the Musicians Stealing Isn’t Innovation campaign. This initiative was signed by a long list of major musicians, creators, and actors.
The post Musicians ‘Stealing Isn’t Innovation’ Campaign Launches appeared first on Hypebot.

Will.i.am: “I can’t be that critical of AI – because I have a career sampling music”The debate surrounding AI in music is complex and highly nuanced. Many are critical of fully fledged AI music generators – saying their content is flooding streaming services and diluting the creativity of real human artists – while others hail the potential of artificial intelligence to expedite the creative process.
Black Eyed Peas superstar Will.i.am is one of many industry veterans urging people to be more open to the adoption of AI in the creative process. Back in 2023, he spoke on how AI was still in its infancy, saying: “It’s Super Mario Bros. right now – we ain’t even got to Call of Duty yet.”

READ MORE: This comprehensive Softube plugin bundle was over £1,000, but you can get it right now for just £129

And speaking to CNBC in Davos, Switzerland last week, the singer once again revealed his thoughts on AI, saying it’s not dissimilar to the rise of sampling decades ago.
“Imagine it’s 1970, we’re talking about jazz here, right?” he says. “A jazz musician would say, ‘What do you think about these samplers that are coming? People just sampling our stuff that we did back in the past. You think that’s music?’
“Turns out that that’s the form of hip-hop sampling and using technology to reimagine and chop up and reconfigure… So I can’t be that critical [of] AI, because I have a career sampling music…”
He also suggests that developers who write the code for AI music generators should also be given some credit in the creative process.
“At the core of AI music is some developer, and though that’s their art, you can’t discredit their art for creating that algorithm to create,” he says.
“Yes, they did borrow from music. They did train on, you know, the entire library that humans have made and that people should be paid for…
“We’re going to get to a point 20 years from now where it would have evolved, and it’s not about training on yesterday’s music. We have to prepare ourselves for that, too. Because the AI that we’re concerned about is not here yet, and that is the AI that’s creating just on it’s own.”

The post Will.i.am: “I can’t be that critical of AI – because I have a career sampling music” appeared first on MusicTech.

NAMM 2026: Korg microAUDIO 22 & 722 Korg have announced the microAUDIO series, two compact USB-C audio interfaces designed for desktop, mobile, and streaming-based workflows.