RipX is an AI-powered DAW with augmented reality – and it’s now available on iOSLast year we awarded Hit’n’Mix’s RipX a respectable 9/10, commending both its comprehensive DAW experience and AI-powered stem separation tools. Now, RipX is available on the go, as it arrives on iOS for iPhone and iPad users. There’s also a few new features optimised for its new portable environment.
Most significantly, the iOS version of RipX has an entirely new AR Mode, which scans your environment and places instruments throughout your space, allowing you to walk around and ‘play’ the instruments and hear them through immersive spatial audio.

READ MORE: How Jim-E Stack turns the studio into a sandbox: “I’m not trying to push anyone through a certain mould”

The idea is to give you a sense of how each instrument would sound in your space – meaning if you move closer or further away from a piano, you’ll hear the difference. The same goes with any other parts of a track you might place throughout your space; if you gravitate away from where you place your vocal track and towards your drums, the vocals will lower and the volume of drumming will increase.
AR Mode also allows you to tweak your track with physical movement, thanks to its REACT functionality. This allows you to essentially transform your ‘movement into sound design’, meaning you can tilt or turn your iPhone or iPad to reshape your effects and sounds in real time.
Whether you want to remix a section of add in a few new notes, you can also record your physical AR remixes and performances via the app. This is thanks to a new music video capturing feature, which also allows you to share your videos instantly.

Of course, beyond the AR perks, the IOS version of RipX still offers a a fully-fledged DAW experience. You can comfortably edit, tweak pitch, and add in effects with ease. There’s even Track Starters to kickstart the creative process, providing some loops and foundational ideas to get ideas flowing.
“RipX blurs the line between listening and creating,” Martin Dawe, founder and developer at Hit’n’Mix, explains. “It gives anyone the power to step inside sound – to feel and shape music as naturally as they move.”
RipX is available to download for free via the App Store. There’s an optional Backstage Pass available at an extra cost to unlock full creative features.
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HoRNet HoRNet ZeroEQZeroEQ is an intelligent automatic equalizer featuring dual-engine processing. HarmoniQ engine detects and removes harmonic resonances (up to 30 harmonics) using FFT analysis. BalanceEQ engine analyzes and balances overall frequency spectrum. Includes manual controls for Brightness and V-Shape adjustment, real-time visual feedback, and automatic gain compensation. Designed for corrective EQ and tonal shaping in mixing and mastering workflows. Key Features. Analysis & Detection: • Automatic harmonic resonance detection (HarmoniQ engine). • Automatic spectral balance analysis (BalanceEQ engine). • Real-time FFT analysis (8192 points). • Visual feedback with dual display system. • Problem frequency highlighting. Processing: • Dual-engine EQ processing (corrective + tonal). • Automatic gain compensation option. • Transparent, musical sound quality. • Low CPU usage. • Zero-latency. Controls: • Brightness control. • V-Shape control. • Loudness compensation toggle. • Bypass switch. Interface: • Dual visual displays (HarmoniQ + BalanceEQ). • Real-time frequency spectrum analyzer. • Combined frequency response graph. • Gain reduction metering. • Resizable UI. Workflow: • Automatic analysis on playback. • Real-time processing. • Visual problem identification. • One-click correction capability. • Manual fine-tuning options. Read More

You know how everyone cares when you share your Spotify Wrapped? Well, now you can do it every dayJust can’t wait a couple months for your Spotify Wrapped? You’re in luck. The streaming platform has just launched Listening Stats, a new regular snapshot of your listening habits which you can share far more often than just once a year.
Available to both Free and Premium users, the Listening Stats can be access by clicking your profile picture in the top left corner.
While Wrapped serves as an annual overview of your listening history, Listening Stats provides an ever-evolving map of your music taste, updating every 24 hours to provide you with an accurate reflection of your listening patterns over the past week.

READ MORE: Why Universal Audio’s CEO wants you to talk to your DAW

While daylists and Discover Weekly playlists are geared towards your music taste, Listening Stats aims to provide an even more personal recommendation system. Listening Stats scratches your freshest musical itches, recommending tracks that appeal to your most recent listening habits.
While your stats update every day, you also get a broader summary every week. When it refreshes, you’ll be able to see your top artists from the past 4 weeks, as well as a weekly Listening Stats-inspired playlist full of artists you might enjoy.
Credit: Spotify
The weekly refresh also puts a spotlight on any new artists you’ve discovered recently that have left their mark, and focuses on any ‘milestone moments’ or significant traits in your listening history that feel truly ‘unique’.
We all know how all of our friends social media stories become all about Spotify Wrapped when it drops every year, but Listening Stats is also shareable, making it easier than ever to compare your stats with friends.
To find out more, head to the Spotify Newsroom.
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Lounge Lizard Expressive Suite from Expressive E The latest arrival to Expressive E's range of expansion packs includes 100 MPE presets for Applied Acoustic Systems’ popular Lounge Lizard EP-5 physically modelled electric piano. 

How To Legally (and Ethically) Distribute Music Made With AI Without It Getting Taken DownThe use of AI in music production has grown massively in recent years, and it shows no signs of slowing down. But this has also changed the game when it comes to music distribution and streaming.

How To Legally (and Ethically) Distribute Music Made With AI Without It Getting Taken DownThe use of AI in music production has grown massively in recent years, and it shows no signs of slowing down. But this has also changed the game when it comes to music distribution and streaming.

DistroKid Launches “Direct,” the Next Step in Expanding Its Artist-Centered Ecosystem Beyond DistributionDistroKid announced the launch of Direct — a new direct-to-fan platform that expands the company’s offerings beyond audio and video distribution.

DistroKid Launches “Direct,” the Next Step in Expanding Its Artist-Centered Ecosystem Beyond DistributionDistroKid announced the launch of Direct — a new direct-to-fan platform that expands the company’s offerings beyond audio and video distribution.

Sonuscore releases The Pulse Elements, FREE Cinematic Ensemble for Kontakt Player
Sonuscore releases The Pulse Elements, a FREE cinematic ensemble instrument for Kontakt Player The Pulse Elements is a free, trimmed-down version of Sonuscore’s premium cinematic Kontakt instrument (The Pulse). Downloading The Pulse Elements is relatively quick and painless, but you’ll have to install Native Access if you don’t already have it and register your serial number [...]
View post: Sonuscore releases The Pulse Elements, FREE Cinematic Ensemble for Kontakt Player

Introducing Dune: a New Music Startup Letting Fans Own Stakes in ArtistsA new UK-based app, Dune, is raising seed funding to build a marketplace where artists and fans can connect with revenue-generating opportunities modelled after stocks.
The post Introducing Dune: a New Music Startup Letting Fans Own Stakes in Artists appeared first on Hypebot.

New Data Shows Japan Leading Growth in Premium Music StreamingPremium listeners on streaming services represent a growing consumer market in Japan, leading APAC, according to data.
The post New Data Shows Japan Leading Growth in Premium Music Streaming appeared first on Hypebot.

Teenage Engineering celebrates dancehall with new EP-40 Riddim sampler and EP-2350 Ting microphoneOver the last few months, Teenage Engineering has been teasing some reggae-inspired gear. Now, it seems the rumours were true; the company has officially unveiled a pair of dance-hall primed products, the EP-40 Riddim sampler and EP-2350 Ting microphone.
The EP-40 Riddim sampler and EP-2350 Ting microphone are the perfect duo to spice up any evening of dancehall festivities. The EP-40 in particular is a variation of Teenage Engineering’s EP-133 K.O. II sampler, with updated software to ensure it packs the power of a “complete rhythm and bass system”.

READ MORE: Roland’s TR-1000 might be the world’s greatest drum machine

Not only that, but the EP-40 Riddim is also pre-loaded with over 300 instruments and loops that are divided into four banks (Drums, Bass, Keys, FX). Some of the pre-loaded samples are even provided by some of reggae’s finest minds, from dub music extraordinaire Mad Professor to the marvellous King Jammy.
There’s also enhanced loop abilities on the EP-40, with a brand new Loop mode joining the EP-133 K.O. II’s pre-existing One Shot, Keyboard and Legato modes. But that’s not the Riddim’s only development on the EP-133 K.O. II sampler.
Teenage Engineering has truly pushed the boat out on this sampler, with the Riddim EP-40 also throwing a brand new synth engine into the EP-133’s design. The Supertone synth engine is relatively basic, boasting nine presets, but it means you can produce your own dub sirens and bass tones.

There’s also brand new modes designed for live performances, with Live-State allowing a user to disable certain buttons to avoid any mishaps when you’re in the zone. The Live-State mode also adds new pitch-shifting abilities to help adjust your track’s tempo.
Visually, the new sampler is also a more vibrant, playful take on the EP-133 K.O. II. Each button is now bursting with life, printed with quirky icons of the corresponding Drums, Bass, Keys and more.
Of course, the Riddim still boasts all the same perks as its predecessor. The 46kHz/16-bit sampler still works with 12 stereo/16 mono voices, as well as having built-in mic and speaker. It also boasts the same library of effects as the EP-133, alongside all its new perks.
But, if you’re keen to amp up your sampling and performances, you can upgrade from the groovebox’s built-in microphone and add the EP-2350 Ting microphone. It comes with a slew of built-in effects, from a dub-style echo, pitch-shifting and reverb, as well as a set of ‘party samples’.
The EP-40 Riddim is available now for £299. For a limited time, the EP-40 comes with the EP–2350 Ting microphone included – but it will be available to purchase on its own down the line.
The post Teenage Engineering celebrates dancehall with new EP-40 Riddim sampler and EP-2350 Ting microphone appeared first on MusicTech.

How the Roland TR-1000 actually soundsRoland’s new digital and analogue TR-1000 might be the best drum machine on the market right now. Some may lament the $2,700 price, but there’s no denying it delivers when it comes to sonic quality and variety. In our review, we conclude that the broad range of sound sources, processors and performance tools combine into what many will see as the ultimate drum machine.

READ MORE: Roland’s TR-1000 might be the world’s greatest drum machine

The most important thing, though, is how it sounds. The TR-1000 covers a lot of ground, with analogue and ACB modelled circuits, alongside samples, FM percussion, a plethora of eclectic effects, and an analogue drive and filter.
If you’re on the fence about parting with your hard-earned cash, then we’re here to help you make a decision, with a range of audio clips that show off the many features of the unit.

Analogue vs ACB circuits
The TR-1000 is the first Roland drum machine to feature analogue 808 and 909 circuits in over 40 years. The kick drums in particular have a wonderful sense of depth and rounded low-mid harmonics.
If you want a slightly different sound though, then the circuit-bent ACB modelled versions are a good alternative. These audio files play the same beat on the analogue circuits, followed by the ACB. They’re not meant to sound exactly the same, but more offer different flavours for each instrument.

909 Kick / 808 Bass
The fact that both the analogue 808 and 909 circuits exist on the same machine is a glorious thing. There’s no other product that lets you combine the punchiness of a real 909 kick with the sub weight of a real 808.
The extended parameters that have been added to these circuits allow for longer tails and tuning, so you can build powerful-sounding basslines with ease. This stripped-back audio example shows a tight 909 kick alongside an 808 bassline, although you could also choose to layer the sounds to make a single mega hit.

Circuit-bent ACB
The ACB circuits can sound more like traditional drum machines, but they can also be twisted into resonant, ringing, sound-designed weirdness.
This track takes various 808 and 909 models and pushes the parameters to the extreme to make a more characterful-sounding beat.

FM Percussion Models
Alongside the traditional drum machine sounds, the TR-1000 features seven new FM percussion models that can be pushed to some quite radical sonic territories. They have a brightness and precision that pair well with the rougher analogue sounds.
Here we have a purely FM beat with a mix of tight percussive hits and more tonal rhythms.

Acoustic Drum Samples
The TR-1000 comes with a massive collection of PCM and sampled sounds that can be used alongside the other models. Don’t expect to be making realistic acoustic drum parts, as there’s no deep, round-robin and multiple velocities here. However, the drum and percussion samples themselves are excellent and can be used to make solid and powerful-sounding acoustic-style beats.
This beat uses a bunch of sampled hits to provide a groove that could easily cut through a mix.

Insert FX
One of the things that really helps the TR-1000 stand out is the large number of effects, and the fact that you can apply a different one on each of the 10 tracks.
This simple 606 beat is transformed into something more characterful with different effects types such as saturation, bit-crusher, pitch delay and phaser used on each part.

Send FX
You also get a reverb and a delay as send effects that can help to create depth and to glue your beat together by putting it in a unified space. There are six reverb algorithms and four delay types to choose from.
This audio example features some subtle echo delay and cycles through the different reverb algorithms (Ambience, Room, Hall1, Hall2, Plate and Mod).

Master FX
To top things off, there are 14 Master FX that can either be used to provide more subtle glue or fun and characterful colour and performance effects.
This audio file cycles through a bunch of them on top of the FM beat (Bypass, Crusher, Filter+Drive, Isolator, DJFX Looper, Scatter, Flanger, Phaser, Side Band Filter, SDD-320, and a very slammed Fet Comp 76).

Analogue Drive & Filter
Built into the output is a tasty analogue drive and analogue state-variable filter circuit. Although there are several other drive and saturation options available via the insert effects, this one sounds especially nice if you want to add some extra harmonics and beef up your bass.
This track fades up the drive to show how it can be made to break up when pushed to the extreme, with a 12dB low-pass filter sweep at the end.

Morph Slider
There are plenty of dials to turn and buttons to press when performing live with the TR-1000, but the most fun can be had with the Morph Slider. This is essentially a mega-macro that can control all of the tracks and also the Master FX at once, making for some great edits or transitions. You can also store up to 16 different sweep settings that are switchable via the sequencer buttons.
This beat features a morph sweep that adjusts multiple track parameters whilst also changing the Scatter effect on the master.

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Roland’s TR-1000 might be the world’s greatest drum machine$2,700, roland.com
It was over 40 years ago that Roland released the timeless TR-808 and TR-909 analogue drum machines. We’ve since seen a host of analogue clones from competing brands, while Roland focused on digital reissues — some thought the day would never come, but the TR-1000 is no mirage; it’s really here.

READ MORE: Telepathic Instruments Orchid review: What’s not to love?

Roland’s brand-new analogue-digital drum machine is so feature-packed we wouldn’t be surprised if there was a kitchen sink tucked somewhere round the back. It comes with a hefty price tag to match, but for many, this is the drum machine that dreams are made of.

TR-1000 overview
The TR-1000 is stacked: 16 faithfully recreated analogue circuits alongside digital ACB (Analog Circuit Behaviour) drums, FM percussion, virtual-analogue waveforms, and PCM sounds. It also includes a stereo sampler with resampling, time-stretching and slice editing, plus 64GB of internal memory, an analogue drive, a multimode filter, and a wealth of digital effects and sound-shaping tools.
To top it off, there are extensive inputs/outputs, with outputs for each track, USB-C connectivity, a computer editor, an advanced sequencer, and tactile performance controls that even include a morphing crossfader. In a world of budget synths and design compromises, it’s refreshing to see Roland striving to make the most complete, professional instrument possible, even if that means attaching a less appealing, $2,700 price tag.
Image: Press
TR-1000’s circuits and sound sources
You get 10 analogue instruments from the TR-808 and six from the TR-909, with the remaining sounds covered by the PCM and sample sections. To bring the sound slightly more up to date, Roland has extended the dynamic range and added extra parameters on some instruments. Most notably, you can now tune both kicks and extend the tail on the 909 kick. This means you can finally create authentic, analogue-pitched 808 basslines, which previously required samples or plugins.
I compare the analogue circuits with the ACB versions and my go-to 808 and 909 samples. The differences aren’t dramatic, but they’re definitely noticeable. The analogue versions have an added sense of dynamic depth and subtle variation, and the weight and punch of the kick circuits is a joy. That’s not to say the ACB doesn’t have its place, though. The TR-1000 differentiates itself from the cheaper TR-8S by including new, ‘circuit-bent’ versions of the ACB models. You get new parameters to tweak, which helps set them apart from the analogue versions and broadens the sound palette.
You also get the sounds of the 707, 727, 606 and CR-78, plus seven FM percussion models that can be pushed into more extreme sonic territories.
Rounding out the synth section are six analogue waveforms (including noise and a supersaw). You’re not going to be crafting complex synth patches here, but they’re a nice addition for adding extra tonal interest to your beats.
Image: Press
PCM and sampling
The other side of the TR-1000 is its large collection of PCM sounds, alongside a hugely capable sampler. The included samples are excellent, covering both electronic and organic drums and percussion, plus SFX, found sounds, instrument stabs and loops.
You can resample internally, or from an external source such as the stereo input or USB, then edit the speed and direction, sync to BPM, and even time-stretch using three different algorithms. These processes are decent enough for smaller adjustments, but as expected, artefacts appear when pushed to the extreme—although this can, of course, become a creative effect. You also get coarse and fine tuning, but only up and down one octave, which feels limiting.
When working with loops, the Slicing option is especially useful, letting you divide samples into equal sections or chop by transient detection. The screen is particularly handy here ,displaying the waveform for precise editing. That said, the overall design and fidelity of the graphics are fairly underwhelming for a unit made in 2025. Perhaps we’ve been spoiled by flashy displays from companies like Teenage Engineering and Polyend. Ultimately, it’s functional and does the job, but it’s just not that exciting.
You can also connect via USB-C to Roland’s free companion app, which makes it easy to view multiple parameters at once, organise your library, and import samples.
With a machine this deep, it’s no surprise the learning curve is steep. The manual lacks detail in places, but Roland’s excellent 3.5-hour video overview fills in the gaps. I find that after a few sessions, navigating the front panel becomes far easier, and the app proves to be a great tool for setting up projects before unplugging and jamming.
TR-1000 with companion app. Image: Press
Sound design and effects
The sounds themselves are solid, but what really sets this drum machine apart is how much you can shape them.
Each track has its own filter or EQ, compressor, amplitude envelope, LFO (with three destinations), and insert effect. The effects include distortion and saturation, plus more creative options like ring mod, frequency shift and pitch delay. A second LFO per track would’ve been nice, but even with one, there’s plenty of scope for movement and interest.
Four of the ten available tracks are dual-layered, opening the door to creative layering. You can, for instance, use an analogue 808 kick for low-end weight while layering a 909 kick for punch, then EQ and compress each separately and nudge the phase for a perfect fit. This is a great way to break out of the 808/909 clichés, combining analogue warmth with a sampled transient for character. As a nice touch, any one of the channels can also trigger sidechain to any track or to the stereo input — easy for some kick drum pumping over your track.
Additional depth comes from the classy-sounding reverb and delay sends, offering six reverb algorithms and four types of delay. The Master Effects section adds further distortion and modulation effects, two compressor models, and fun chop and glitch tools such as Scatter and DJFX Looper.
Finally, a delicious analogue multimode filter and drive circuit can really beef up the output.
Overall, this is a powerful, flexible effects section that instantly delivers production-ready sounds.
Image: Press
Sequencing and performing with the TR-1000
For programming, you can use the classic TR step sequencer or record live, but even this has seen major upgrades. Holding a Trig brings up options for velocity, probability, timing offsets, and step cycle position. Motion Recording captures knob movements for any of the main parameters, with the ability to apply them per step. The only caveats are that you need to assign the knobs in advance, and you’re limited to the parameters chosen. Four tracks have up to six dials, and six tracks only have three, but each dial can control up to four destinations. It’s more limited than the edit-anything trig conditions of Elektron’s sequencers, but still offers plenty of creative control and is a big step up from Roland’s previous offerings.
A Snapshot system lets you store dial states per track on one of the 16 sequence buttons. One negative is the lack of a quick way to play sounds chromatically, though snapshots can be used as a workaround by tuning semitones across keys. It’s a shame there’s no snapshot option to change all tracks at once. Thankfully, though, there’s the incredibly fun Morph slider. It can adjust all the dials on all tracks, including the sends and master effects, and morph from one state to another, enabling fluid transitions and live edits with a single gesture.
Image: Press
Drawbacks
There are just too many features on the TR-1000 to cover absolutely everything in this review. There’s a lot to love, but there are also a few negatives. Some users have reported sync problems when connecting to DAWs or external clocks, and we notice similar results. Latency is quite high (more so in Logic Pro than Live), and there are reports of mild timing jitter. This can make syncing beats tricky and may require some manual editing to align recordings perfectly. The internal clock is pretty tight, though, and I have no problems when syncing with other hardware.
There’s also a small audio dropout when switching patterns that load different kits. Roland has reduced this via an update, but it’s still noticeable. It’s unlikely to be a problem in the studio, or if you’re performing live with the TR-1000 as part of a larger setup, but if you’re a stickler for silky smooth transitions, then it might be something to consider. Roland says it’s planning updates accordingly to address the above issues, so I’m hoping they will be resolved soon.
Image: Press
Roland TR-1000: The verdict
My initial excitement at getting my hands on a dream Roland drum machine gradually gave way to doubts about a few perceived limitations, but each time I thought it couldn’t do something, I discovered it actually could. Roland really has thought of almost everything here. And it’s possible that features could be added or refined in the future via firmware updates.
So, who is it for? Anyone who has been wanting a legit analogue 808 or 909 will instantly love this machine. It takes the spirit of the originals and places them in a far more flexible and modern package. If you’re content with samples and ACB modelling, the cheaper TR-8S is probably a better option.
At 5.5 kg, it’s not especially portable, but its excellent performance controls make it an ideal centrepiece for studio and stage. You could assemble a similar rig using Behringer clones and an Elektron Digitakt MkII, but there’s something appealing about having everything in one well-built box.
I’m a big fan of (and own) the Elektron RYTM, which is perhaps the closest contender to the TR-1000. Both have their strengths, but the TR-1000’s per-track processing and stereo samples give it the edge in inherent sound quality, not to mention the 64GB hard drive versus the RYTM’s 1GB.
When you consider the range of sound sources, processors and performance tools it offers, the TR-1000 is arguably not as expensive as it first seems. For many, this will be the ultimate drum machine.

Key features

16 analogue 808 and 909 circuits
21 new ‘circuit bent’ 808/909 ACB models
Additional sounds from the 707, 727, 606 & CR78
FM percussion models and VA waveforms
340 PCM tones and 2,121 samples
4 layer tracks / 6 single tracks
Sequencer with probability, parameter motion recording and Song mode
Morph macro slider and per-track snapshot feature
Stereo sampler with slice, stretch & resample
14 master effects plus analogue filter and drive
USB-C for audio, MIDI, backup, file transfer and companion app
Mix Out, Analog FX Out, Individual Out, External In, Trigger/CV, Pedal Control, MIDI in/out/sync

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The Making Of ABBA by Joe Matera Writing by Joe Matera with a foreword by Carl Magnus Palm, The Making Of ABBA is a new book details the creation of Swedish pop group ABBA’s third, self-titled album.