“Cars don’t even have f**king CD players in ’em anymore. What are we gonna release a record for?”: Why Hollywood Undead aren’t planning on recording any more albums – for nowAccording to the British Phonographic Industry (BPI), more than four fifths of music consumption is done through streaming. While some bands are trying to turn back the clock, with the likes of A Day To Remember recently releasing their latest record exclusively in physical form a month before putting it online, many have accepted that physical media isn’t the way to go.
Rap rock collective Hollywood Undead are one such band that are trying to change with the times. In a recent interview with Skratch N Sniff, Johnny 3 Tears reveals that the group approach music differently nowadays. “We’ve got new songs coming out real shortly, within the next couple of months,” he says. “As far as a new record-record? I don’t know, I don’t think we’re even planning on it – well, at least as of now. I think those days are numbered.”

READ MORE: Watch full-length pro-shot Ultra Music Festival sets from Martin Garrix, Afrojack, Hardwell and more

Considering how albums are such a staple of the music industry, it’s hard to a imagine a world without full-length album releases. However, could Johnny and the guys in Hollywood Undead be on to something? Streaming has put a huge focus on playlists and TikTok trending sounds – and, with an entire world of choice at everyone’s fingertips, attention spans are dwindling. If an entire 40 minute album bores you, you can always jump ship and listen to something else.
“The streaming era… it’s a bummer,” Johnny admits. “I used to love buying an album, reading the liner notes and the thank yous. It was like an event… [you] didn’t have access to the back catalogue of the world either. So [you] spent 20 bucks, [then thought] ‘I’m gonna go through this and listen to every word.’”
He adds: “Now, you’re lucky if people listen to the first 30 seconds of every song on your album. No one wants the physical product…. And, if you don’t adapt to that, it really is just wasteful.”

“Cars don’t even have CD players in them anymore,” he says. “What are we going to release a record for? No one buys them, except for people who like vinyl.”
To combat dwindling attention spans and the slow decline of physical records, Hollywood Undead are no longer crafting music with the classic “fifteen-song album” in mind. “It’s a different world, dude,” Johnny sighs. “Honestly, it’s hard to adapt to. I can’t stand the whole TikTok, ‘Hey, you’ve gotta have snippets. You need these 15-second videos.’ It’s not my world. I’m just living in it.”
“Now we just write songs, we send them in and [our label will say] ‘Yeah, let’s put it out in a couple weeks, what the hell?’” he explains.

The post “Cars don’t even have f**king CD players in ’em anymore. What are we gonna release a record for?”: Why Hollywood Undead aren’t planning on recording any more albums – for now appeared first on MusicTech.

Krotos launch Krotos Studio Max  Krotos have announced the launch of a new all-in-one subscription tier that combines their award-winning sound-design software with full access to their entire library collection. 

“FL Studio’s duty is to get more people to stick with music-making”: CEO Constantin Koehncke on FL Studio 2025 and beyondHow many DAWs are getting 30,000 downloads a month? Not many, right?
FL Studio is hitting that figure every single day, according to its maker Image-Line. Even CEO Constantin Koehncke admits that number is “pretty staggering” and “definitely insane”.
But it’s not downloads alone that put it among the world’s most popular DAWs. Myriad music fans with even a passing interest in music production have heard about it. That includes the millions of viewers who watch FL Studio users “speedrun” beatmaking on TikTok, plus fans of Grammy-winning producers like Mustard, Kaytranada, Hit-Boy, and the late Avicii, who’ve all expressed their reliance on the software. Known as FruityLoops before 2003, the DAW has long been the gateway to music-making for millions of beatmakers, producers and engineers.
But as Image-Line prepares to unleash the newest version, FL Studio 2025, it’s once again out to prove that FL Studio is more than just a toy for newcomers. Keen FL Studio users may have even noticed a few teasers of fresh innovations appearing on the Image-Line forums.

READ MORE: Best MIDI controllers to buy in 2025: 8 best FL Studio controllers to buy

“We have a pretty close engagement with the community,” says Koehncke in our video call. “Typically, in the teaser thread on our forum, we’ll say, ‘Hey, we’re building this; here’s an idea of what the UI could look like’. It gives us some feedback in the development process, which is helpful, and it’s a part of the DNA of the company to build FL Studio in this way.”
Image-Line CEO, Constantin Koehncke. Image: Image-Line
Koehncke joined as Image-Line’s CEO in October 2022. Over those 30 months, he’s overseen some pivotal launches in FL Studio: FL Cloud, the integration of software developer UVI, and the rollout of innovative AI features such as in-DAW stem separation and chord progression assistance.
The German-born CEO is used to such grandiose releases by now. Before his role at Image-Line, he was CEO at Native Instruments, having climbed the ranks from 2010 as a marketing manager. During that time, Native dropped products such as Maschine+ and hundreds of bleeding-edge plugins. And before he was coordinating major product releases, he wrote about them as a music tech journalist and publicist for a German magazine.
“50% of FL Studio trial users are under the age of 20, and many of them don’t end up choosing another DAW or music-making tool; they just stop making music altogether.”
Koehncke used to produce and DJ himself, but today, he doesn’t find the time to do so actively. “The next best thing to making music yourself is making it easier for many other people to do so”, he says. Having lived and worked in major music hubs — Los Angeles, London and Berlin — he’s found inspiration from various genres, cultures and artists around the world. That’s one reason he feels so well placed as CEO of Image-Line.
“Continuously speaking to producers around the world – big and small – is helping me to think about where we go next, and what some of the bigger problems are that we can solve for users.”
Image-Line CEO, Constantin Koehncke. Image: Image-Line
Of the 30,000 daily downloads of FL Studio (it even reached 71,000 daily downloads in 2018), Koehncke says that most are newcomers not just to Image-Line’s DAW, but to music production altogether. One problem that the team are trying to solve is how to keep people inspired to continue creating music — and ultimately staying on FL Studio.
“50% of FL Studio trial users are under the age of 20, and many of them don’t end up choosing another DAW or music-making tool; they just stop making music altogether,” continues Koehncke. He’s reluctant to directly agree with his competitor Niklas Agevik at Reason Studios, who told us that the DAW’s main competition is “Netflix and Steam.” Koehncke does say, however, that in music production, there is “an attention capital that we’re competing for, at this point.”
“Being the first touch point for many global music makers, it’s our duty as a company to try to get more people to stick with music-making,” he adds.
Image: Image-Line
In an era where all recorded music is instantly accessible, FL Studio’s goal seems to be ensuring that all music-making tools are as accessible, too. Koehncke’s tenure at Native was during a time where Berlin established itself as the ultimate hub for music production. Within walking distance from Koehncke’s office were his colleagues and competitors at Ableton, Beatport, LANDR, SoundCloud, Skoove and Orchestral Tools.
“These were companies that could essentially [let you] start making music, define your sound, and get yourself published and distributed,” Koehncke explains.
Can one company really provide for producers in a way that would once require multiple companies? Image-Line isn’t far off.
“We can all maybe relate to how painful multiple installers and multiple subscriptions can be at times. Our mission is to provide users with the fastest way from their brain to their speakers, so providing them with everything they need right at their fingertips is key to that.”
Since Koehncke joined, Image-Line has brought some impressive power to producers — it’s had to, given the competitive DAW market right now. FL Studio has introduced new AI-driven features like Stem Sepatator and the Chord Progression Tool for chord creation. FL Cloud, meanwhile, is a platform that gives producers millions of accessible samples and presets, AI mastering, a marketplace of plugins from different developers, and music distribution via DistroKid. And the company is still committed to its Lifetime Free Updates pledge.
In 2025, FL Studio is expanding this offering, collaborating with more music tech companies, and starting to consider how, and where, producers really want to make music.
“We’re going to continuously expand our offering in FL Cloud,” says Koehncke. “For example, we’ve tripled the size of our sound catalogue since we launched. The goal is to have access to the right set of tools, some free, some paid, but most importantly, all integrated directly with FL Studio to make it easy and fast for users to get creative.”
From a business perspective, it’s a no-brainer — but Koehncke jokes that “we can all maybe relate to how painful multiple installers and multiple subscriptions can be at times. Our mission is to provide users with the fastest way from their brain to their speakers, so providing them with everything they need right at their fingertips is key to that.”
FL Studio 2024. Image: Image-Line
Image-Line has recently partnered with Minimal Audio, Baby Audio, with Antares on AutoTune, and with Koehncke’s previous company, Native Instruments, among others. He promises that “There’s still more to come on a regular basis…My view is, if the customer and the user are getting something really valuable to them, then it’s a worthwhile partnership.”
Of course, Koehncke’s keeping the major unveilings a secret — despite our poking questions. But he does stress that switching FL Studio’s updating convention from version numbers to year of release (FL Studio 22 to FL Studio 2024 and this year FL Studio 2025) doesn’t change how the team improves the DAW. Image-Line still relies on collecting user feedback, improving on its backlog of ideas, and coming up with new ideas. If anything, the change in process relieves pressure for both Image-Line and its users.
“We’re a small team — Image-Line as a whole, but FL Studio in particular,” says Koehncke. “[The new update convention] just helps us focus on delivering the features and updates that people want, and doing that in regular, continuous fashion, rather than saying, ‘Here’s the big bang, and now we’re going to hide away for another two years and come up with something that might disappoint people, because times might might have changed.’”
FL Cloud. Image: Image-Line
FL Studio has kept pace with modern advancements. Its AI integration is commendable, for example, but how can it compete with the likes of generative AI platforms like Suno and Udio?
“These platforms are becoming an entry point for some users, says Koehncke. “Maybe they give you the [music-making] bug, then you can come and use FL Studio — or any other product — where you can shape your own sound and develop as a producer.”
“Why should music making, as a whole, be different from graphic design or word processing or gaming, where you pick up from where you left off on different devices?”
“Our users are really in it for the joy of making music and the creative process. We want to be a helping hand in that process, not take control of the wheel. We look at AI tools as an unlocker of creativity and as a way to make the hard tasks in music-making easier.”
Still, Koehncke adds, the topic of AI often leads to “ferocious” discussions at Image-Line HQ. The company, like many other audio brands, is still trying to solidify its role in the development of AI in music, and what it means to introduce such tech to music makers. The main topic, as always, is finding ways to lower the barriers for newcomers while empowering the most skilled producers in its userbase.
For Image Line, the goal is to lower the barriers for newcomers while empowering their most skilled producers, and ensuring that technology serves creativity, not the other way around.
Beyond AI, Image-Line is considering the ways that you take the music-making process with you. Most people are making music on laptops and mobile phones — but there’s still an element of friction between the two. Starting an idea on a mobile and switching to a desktop can be fiddly. What if DAWs performed like cloud platforms?
FL Cloud. Image: Image-Line
“Why should music making, as a whole, be different from graphic design or word processing or gaming, where you pick up from where you left off on different devices?” asks Koehncke. Although there are logistical barriers, such as file formats, third-party plugins and saving metadata, Koehncke believes the technology is there. “We should try to solve problems for the customer, and that would be a real benefit to any DAW user.”
Video games are also in Koehncke’s peripheral. FL Studio Mobile has seen notable success, he says. Perhaps that’s an indication that there is a market for more non-desktop DAWs?
“We think a lot about the commonalities between gaming and music making in terms of experience and the joyfulness of learning while you’re playing,” Koehncke continues. You get this dopamine rush when you complete something, and there are a lot of analogies in our community — words like “cheat code” are used a lot in relation to FL Studio. We see a lot of overlap and commonalities in how people interact with music-making software and specifically FL Studio.”
Does that mean that by FL Studio 2026, you could be making music on an FL Studio app on Xbox and PlayStation?
“We just want to be wherever somebody’s thinking about creating music; it’s about being wherever your users might be.”
The post “FL Studio’s duty is to get more people to stick with music-making”: CEO Constantin Koehncke on FL Studio 2025 and beyond appeared first on MusicTech.

“FL Studio’s duty is to get more people to stick with music-making”: CEO Constantin Koehncke on FL Studio 2025 and beyondHow many DAWs are getting 30,000 downloads a month? Not many, right?
FL Studio is hitting that figure every single day, according to its maker Image-Line. Even CEO Constantin Koehncke admits that number is “pretty staggering” and “definitely insane”.
But it’s not downloads alone that put it among the world’s most popular DAWs. Myriad music fans with even a passing interest in music production have heard about it. That includes the millions of viewers who watch FL Studio users “speedrun” beatmaking on TikTok, plus fans of Grammy-winning producers like Mustard, Kaytranada, Hit-Boy, and the late Avicii, who’ve all expressed their reliance on the software. Known as FruityLoops before 2003, the DAW has long been the gateway to music-making for millions of beatmakers, producers and engineers.
But as Image-Line prepares to unleash the newest version, FL Studio 2025, it’s once again out to prove that FL Studio is more than just a toy for newcomers. Keen FL Studio users may have even noticed a few teasers of fresh innovations appearing on the Image-Line forums.

READ MORE: Best MIDI controllers to buy in 2025: 8 best FL Studio controllers to buy

“We have a pretty close engagement with the community,” says Koehncke in our video call. “Typically, in the teaser thread on our forum, we’ll say, ‘Hey, we’re building this; here’s an idea of what the UI could look like’. It gives us some feedback in the development process, which is helpful, and it’s a part of the DNA of the company to build FL Studio in this way.”
Image-Line CEO, Constantin Koehncke. Image: Image-Line
Koehncke joined as Image-Line’s CEO in October 2022. Over those 30 months, he’s overseen some groundbreaking launches in FL Studio: FL Cloud, the integration of software developer UVI, and the rollout of innovative AI features such as in-DAW stem separation and chord progression assistance.
The German-born CEO is used to such grandiose releases by now. Before his role at Image-Line, he was CEO at Native Instruments, having climbed the ranks from 2010 as a marketing manager. During that time, Native dropped products such as Maschine+ and hundreds of bleeding-edge plugins. And before he was coordinating major product releases, he wrote about them as a music tech journalist and publicist for a German magazine.
“50% of FL Studio trial users are under the age of 20, and many of them don’t end up choosing another DAW or music-making tool; they just stop making music altogether.”
Koehncke used to produce and DJ himself, but today, he doesn’t find the time to do so actively. “The next best thing to making music yourself is making it easier for many other people to do so”, he says. Having lived and worked in major music hubs — Los Angeles, London and Berlin — he’s found inspiration from various genres, cultures and artists around the world. That’s one reason he feels so well placed as CEO of Image-Line.
“Continuously speaking to producers around the world – big and small – is helping me to think about where we go next, and what some of the bigger problems are that we can solve for users.”
Image-Line CEO, Constantin Koehncke. Image: Image-Line
Of the 30,000 daily downloads of FL Studio (it even reached 71,000 daily downloads in 2018) Koehncke says that most are newcomers not just to Image-Line’s DAW, but to music production altogether. One problem that the team are trying to solve is how to keep people inspired to continue creating music — and ultimately staying on FL Studio.
“50% of FL Studio trial users are under the age of 20, and many of them don’t end up choosing another DAW or music-making tool; they just stop making music altogether,” continues Koehncke. He’s reluctant to directly agree with his competitor Niklas Agevik at Reason Studios, who told us that the DAW’s main competition is “Netflix and Steam.” Koehncke does say, however, that in music production, there is “an attention capital that we’re competing for, at this point.”
“It’s our duty as a company to try to get more people to stick with music-making,” he adds. “Being the first touch point for many global music makers, it’s our duty as a company to try to get more people to stick with music-making.”
Image: Image-Line
In an era where all recorded music is instantly accessible, FL Studio’s goal seems to be ensuring that all music-making tools are as accessible, too. Koehncke’s tenure at Native was during a time where Berlin established itself as the ultimate hub for music production. Within walking distance from Koehncke’s office were his colleagues and competitors at Ableton, Beatport, LANDR, SoundCloud, Skoove and Orchestral Tools.
“These were companies that could essentially [let you] start making music, define your sound, and get yourself published and distributed,” Koehncke explains.
“We can all maybe relate to how painful multiple installers and multiple subscriptions can be at times. Our mission is to provide users with the fastest way from their brain to their speakers, so providing them with everything they need right at their fingertips is key to that.”
Can one company really provide for producers in a way that would once require multiple companies? Image-Line isn’t far off.
Since Koehncke joined, Image-Line has brought some serious power to producers — it’s had to, given the competitive DAW market right now. FL Studio has introduced new AI-driven features like Stem Sepatator and the Chord Progression Tool for chord creation. FL Cloud, meanwhile, is a platform that gives producers millions of accessible samples and presets, AI mastering, a marketplace of plugins from different developers, and music distribution via DistroKid. And the company is still committed to its Lifetime Free Updates pledge.
In 2025, FL Studio is expanding this offering, collaborating with more music tech companies, and starting to consider how, and where, producers really want to make music.
“We’re going to continuously expand our offering in FL Cloud,” says Koehncke. “For example, we’ve tripled the size of our sound catalogue since we launched. The goal is to have access to the right set of tools, some free, some paid, but most importantly, all integrated directly with FL Studio to make it easy and fast for users to get creative.” From a business perspective, it’s a no-brainer — but Koehncke jokes that “we can all maybe relate to how painful multiple installers and multiple subscriptions can be at times. Our mission is to provide users with the fastest way from their brain to their speakers, so providing them with everything they need right at their fingertips is key to that.”
FL Studio 2024. Image: Image-Line
Image-Line has recently partnered with Minimal Audio, Baby Audio, with Antares on AutoTune, and with Koehncke’s previous company, Native Instruments, among others. He promises that “There’s still more to come on a regular basis.”
“My view is, if the customer and the user are getting something really valuable to them, then it’s a worthwhile partnership.”
Of course, Koehncke’s keeping the major unveilings a secret — despite our nudging. But he does stress that switching FL Studio’s updating convention from version numbers to year of release (FL Studio 22 to FL Studio 2024 and this year FL Studio 2025) doesn’t change how the team improves the DAW. Image-Line still relies on collecting user feedback, improving on its backlog of ideas, and coming up with new ideas. If anything, the change in process relieves pressure for both Image-Line and its users.
“We’re a small team — Image-Line as a whole, but FL Studio in particular,” says Koehncke. “[The new update convention] just helps us focus on delivering the features and updates that people want, and doing that in regular, continuous fashion, rather than saying, ‘Here’s the big bang, and now we’re going to hide away for another two years and come up with something that might disappoint people, because times might might have changed.’”
FL Cloud. Image: Image-Line
FL Studio has kept apace with modern advancements. Its AI integration is commendable, for example, but how can it compete with the likes of generative AI platforms like Suno and Udio?
“These platforms are becoming an entry point for some users, says Koehncke. “Maybe they give you the [music-making] bug, then you can come and use FL Studio — or any other product — where you can shape your own sound and develop as a producer.”
“Why should music making, as a whole, be different from graphic design or word processing or gaming, where you pick up from where you left off on different devices?”
“Our users are really in it for the joy of making music and the creative process. We want to be a helping hand in that process, not take control of the wheel. We look at AI tools as an unlocker of creativity and as a way to make the hard tasks in music-making easier.”
Still, Koehncke adds, the topic of AI often leads to “ferocious” discussions at Image-Line HQ. The company, like many other audio brands, is still trying to solidify its role in the development of AI in music, and what it means to introduce such tech to music makers. The main topic, as always, is finding ways to lower the barriers for newcomers while empowering the most skilled producers in its userbase.
For Image Line, the goal is to lower the barriers for newcomers while empowering their most skilled producers, and ensuring that technology serves creativity, not the other way around.
Beyond AI, Image-Line is considering the ways that you take the music-making process with you. Most people are making music on laptops and mobile phones — but there’s still an element of friction between the two. Starting an idea on a mobile and switching to a desktop can be fiddly. What if DAWs performed like cloud platforms?
FL Cloud. Image: Image-Line
“Why should music making, as a whole, be different from graphic design or word processing or gaming, where you pick up from where you left off on different devices?” asks Koehncke. Although there are logistical barriers, such as file formats, third-party plugins and saving metadata, Koehncke believes the technology is there. “We should try to solve problems for the customer, and that would be a real benefit to any DAW user.”
Video games are also in Koehncke’s peripheral. FL Studio Mobile has seen notable success, he says. Perhaps that’s an indication that there is a market for more non-desktop DAWs?
“We think a lot about the commonalities between gaming and music making in terms of experience and the joyfulness of learning while you’re playing,” Koehncke continues. You get this dopamine rush when you complete something, and there are a lot of analogies in our community — words like “cheat code” are used a lot in relation to FL Studio. We see a lot of overlap and commonalities in how people interact with music-making software and specifically FL Studio.”
Does that mean that by FL Studio 2026, you could be making music on an FL Studio app on Xbox and PlayStation?
“We just want to be wherever somebody’s thinking about creating music; it’s about being wherever your users might be.”
The post “FL Studio’s duty is to get more people to stick with music-making”: CEO Constantin Koehncke on FL Studio 2025 and beyond appeared first on MusicTech.

Watch full-length pro-shot Ultra Music Festival sets from Martin Garrix, Afrojack, Hardwell and moreLast weekend marked a huge milestone for Miami’s Ultra Music Festival. The electro music haven celebrated its 25th anniversary – that’s a quarter of a century hosting the very best DJs, platforming upcoming talents and giving punters a non-stop weekend of partying.
Thankfully, the party still isn’t over; a slew of artists have released full-length recordings of their Ultra Music Festival sets. Martin Garrix, Alesso and Hardwell have shared videos of their full sets, so fans can indulge in some Ultra Music Festival magic from the comfort of their own home.

READ MORE: The best free and paid-for plugins you need to know about this week

From Carl Cox, to Tiësto, to Zedd, countless top-tier DJs made appearances for the festival’s 25th birthday. There were even some world exclusives – one of which being Afrojack, David Guetta and Sia performing Titanium together for the first time ever. Thankfully, Afrojack has shared a full-length recording of his set, so fans can live back the historic moment.

Many sets were livestreamed, so plenty of high quality full-length sets could be shared down the line. We’re hoping Skrillex in particular shares his set soon. The weekend saw the iconic DJ making his grand return to the festival after 10 years. He received a true hero’s welcome, knocking through the classics like a pro. One fan has already uploaded a low-quality recording of the festival livestream.

The festival also saw a deadmau5 B2B Pendulum set, which saw the famed Canadian disk jockey indulging in some nasty drum and bass. Deadmau5 also hosted a Restro5pective set, unloading a dazzling, career-spanning set on the closing night. Again, a low-quality fan recording is available. We’re sure a high quality option will be sorted soon.

Despite the flash floods that attempted to rain on Ultra Music Festival’s parade, the weekend was a dazzling success. The weekend was so successful that the festival has already locked in for next year, with celebrations set to take place between the 27th and 29th of March 2026.
Tickets for Ultra Music Festival 2026 are on sale now. It will take place at Bayfront Park in Miami.

The post Watch full-length pro-shot Ultra Music Festival sets from Martin Garrix, Afrojack, Hardwell and more appeared first on MusicTech.

Classical Highlights for March 2025A few of the notable releases we reviewed this past month seemed to have a theme: lesser-known music. The complete nocturnes of John Field, newly recorded by Alice Sara Ott (pictured), seem to only appear on albums once a decade or so. Explore this and other unearthed and rediscovered gems in our classical highlights for March.

“This isn’t ‘The Matrix'”Last weekend, Jeffrey Goldberg, editor-in-chief of The Atlantic, found himself at the center of a digital fiasco when he was unexpectedly added to a Signal group chat with 17 U.S. government officials who were discussing imminent airstrikes in Yemen. For some, the incident has raised questions about how phone numbers end up in contact lists […]

ALBUM REVIEW OF "ALMOST HOME" BY GHOST HOUNDS (8/10)Gibson RecordsProducer: Chris Lord-Alge For this Nashville septet, it’s all about tradition, vivid imagery, and storytelling. Guitarist Thomas Tull’s words and lead vocalist SAVNT’s diverse and expressive delivery ignite all 11 songs with zeal. Their modern roots rock sound is mixed with country and blues. Highlights include the Stones-ish “She Runs Hot,” SAVNT and Patty Griffin’s duet on “Long Ride Home,” the emotionally riveting “You’ll Never Find Me,” and the familial and familiar “House A Home.” Their musical wheelhouse is boundless. The post ALBUM REVIEW OF "ALMOST HOME" BY GHOST HOUNDS (8/10) first appeared on Music Connection Magazine.

Help Propel The Original ARM OS Into The FutureWe use ARM devices in everything from our microcontroller projects to our laptops, and many of us are aware of the architecture’s humble beginnings in a 1980s Acorn Archimedes computer. ARM processors are not the only survivor from the Archimedes though, its operating system has made it through the decades as well.
RISC OS is a general purpose desktop operating system for ARM platforms that remains useful in 2025, as well as extremely accessible due to a Raspberry Pi port. No software can stand still though, and if RISC OS is to remain relevant it must move with the times. Thus RISC OS Open, the company behind its development, have launched what they call a Moonshots Initiative, moving the OS away from incremental development towards much bolder steps. This is necessary in order for it to support the next generation of ARM architectures.
We like RISC OS here at Hackaday and have kept up to date with its recent developments, but even we as fans can see that it is in part a little dated. From the point of view of RISC OS Open though, they identify support for 64-bit platforms as their highest priority, and to that end they’re looking for developers, funding partners, and community advocates. If that’s you, get in touch with them!

AngelicVibes BassheadBasshead delivers 128 hard-hitting 808s and deep, textured basses, pre-processed with high-end software and analog hardware to ensure unmatched depth, power, and clarity. Designed for trap, dance,... Read More

Sonora Cinematic release Panorama Acoustic Contrasting the post-rock and shoegaze soundscapes of its predecessor, Panorama Acoustic is said to explore a world of resonances and quiet reflections, and offer an inspiring palette of evocative tones.

Product Profile: Universal Audio Apollo x8 Gen 2 Audio Interface The Universal Audio Apollo x8 Gen 2 Audio Interface (Ax8G2) stands out as a flagship choice for professional music producers, engineers, and recording artists seeking a high-end audio interface with cutting-edge features. Designed for professional studio setups, the Ax8G2 offers class leading AD/DA conversion, real-time UAD processing, and an abundance of connectivity options. The Ax8G2 is housed in a road-worthy 1U rack-mountable chassis. The Ax8G2’s elegant metal finish and sturdy construction reflect Universal Audio’s commitment to premium build quality. The Ax8G2 features four Unison-enabled preamps which allow users to emulate the exact impedance, gain staging, and behavior of classic preamps from Neve, API, Manley, and other legendary brands. The front panel includes essential controls such as a high-resolution metering display, preamp gain knobs, headphone outputs, and input selection buttons. The LED meters provide real-time feedback on input, output, and overall level, ensuring precise monitoring during your tracking and mixing sessions.All of the converters on the Ax8G2 have been upgraded to Universal Audio’s elite-class 24-bit/192kHz converters that offer superior dynamic range and ultra-low distortion. These converters offer the sharpest stereo image and most detailed playback of any Apollo interface to date. The Ax8G2’s converters provide an impressive 130 dB dynamic range on the DA side and 123 dB on the AD side, ensuring pristine sound reproduction. The upgraded Ax8G2 monitor and headphone outputs now have significant improvements in dynamic range and total harmonic distortion.The Ax8G2 features Hexa Core DSP processing powered by six SHARC processors dedicated to running Universal Audio’s extensive library of UAD plug-ins. This provides plenty of real-time processing capability to allow you to confidently track and mix high track count sessions with Universal Audio’s analog-modeled plugins, such as classic compressors, EQs, reverbs, and tape machines, without taxing your computer’s CPU and with zero latency.The Ax8G2 is built for home and commercial studio environments and includes 4 Unison-enabled mic/line preamps, eight line inputs and eight line outputs (both with balanced TRS) two Hi-Z instrument inputs (which are located on the front panel), dedicated monitor outputs (stereo TRS), two independent headphone outputs, optical ADAT and S/PDIF I/O Word Clock I/O (BNC), and Thunderbolt 3 connectivity.The inclusion of Thunderbolt 3 ensures ultra-low latency operation and high-bandwidth communication between the interface and your Mac or PC. This makes the Ax8G2 an excellent choice for large-scale recording sessions and high-track-count projects.Like the Apollo x8 Gen 1, the Ax8G2 can support up to 7.1 surround sound monitoring. This is particularly beneficial for producers working in film, TV, and game audio production. The Ax8G2 dedicated monitor control functionality allows users to seamlessly switch between different speaker configurations, control volume levels, and manage multiple monitoring setups.All Apollo interfaces from the Twin x to x16 come with full monitor controller functionality. Let’s say you started your journey with Universal Audio’s interfaces with a desktop version of Apollo—like the Twin x or x4—that unlocks the ability to use the Universal Audio’s DSP plugins and allows you to experience real-time workflows like I mentioned earlier. The Twin x or x4 interfaces also have a built-in talkback mic, and you can talk directly to an artist or collaborator just like you would in a pro studio. If you add an Apollo rack interface into your studio rig (like Apollo x6, x8, or x8P), that Apollo Twin x or x4 will now become your remote monitor controller which you can use to switch between your loudspeakers connected to the rack unit, sum to mono, dim and talk back to speak with someone you’re helping to record. In an expanded system where you’re integrating your Ax8G2 and Apollo Twin in the same setup, you will be able to leave your Ax8G2 in the studio, pick up your Twin X or X4 desktop unit, and head out to your remote session. Apollo Monitor Correction, which was introduced in X8 Gen 1, now incorporates Sonarworks Sound ID Reference room correction software, which integrates directly with the Ax8G2. Sound ID Reference helps you hear your music more accurately by checking how different speakers sound in a room and fixes any problems such as room modes and standing waves which can cause peaks and dips in the frequency response of your listening environment. This enables you to create, mix, and master all of your music with the same confidence and accuracy that you might have if you had rented a pro studio for your project.There’s also a useful new bass management tool in the Ax8G2. This isn’t a part of the Sonarworks software but it’s especially helpful if you are looking to manage complex speaker setups. The bass management tool allows you to configure the correct crossover, slope, and trim without having to awkwardly fiddle with the controls from behind the unit. The bass management is available for Apollo x Gen 1 and Gen 2 interfaces and does not require any further purchase or third-party software. Assistive Auto Gain is a brand new feature that’s exclusive to Ax8G2 interfaces and it takes the guesswork out of gain staging. Assistive Auto Gain, accessible through UAD console, will automatically set all your levels—even across classic recording console unison emulations such as API, Neve, and SSL20—all of which makes setting for high channel count tracking sessions (like recording drums) a breeze.Today, many popular UAD plug-ins are available natively and work even when you’re not plugged into your Apollo. This means you now have even more flexibility in how you mix and master; it also means you’re no longer required to use UAD-2 versions when tracking and mixing. If you want to collaborate with other musicians who don’t own Apollo’s or mix when you’re away from your Apollo, you have the flexibility of using native plugins, which sound just as good as the UAD-2 versions. One of the biggest changes with the Ax8G2 is the added-value software packages that are included with your purchase. Apollo x8 Gen 2 comes with the Essentials + version. You get auto-tune real-time access, plus over 25 more plugins like the LA-2A, Pultec, UA-610B, and much more. Apollo Twin x, x4, x6, x8, and x8P Gen 2s come with the option for the Studio Plus version and includes the flagship Auto-Tune Real-Time X. Plus, you get 50 more plugins including the legendary Avalon VT-737, 1176s, Fairchild 660 and 670, Lexicon 224, Studer A800 tape machine, and so much more. There is a ton of value in this bundle, and it includes Unison UAD-2 and native plugins. The Ax8G2 is a versatile and powerful professional tool for recording, mixing, and monitoring professional level projects. The Unison preamps and new elite-class 24-bit/192kHz converters provide exceptional tonal flexibility, allowing users to shape their sound with precision. The Hexa Core DSP ensures that even large sessions with multiple plugins run smoothly, freeing up your computer resources for other tasks. The Ax8G2 is a solid choice for professional home and commercial recording studios. If you’re in the market for a new recording interface or are looking for an upgrade, the Ax8G2 is well worth checking out. Highly recommended!The Universal Audio x8 Gen 2 Audio Interface is available now starting at $2,899. Find out more at uaudio.com.The post Product Profile: Universal Audio Apollo x8 Gen 2 Audio Interface  first appeared on Music Connection Magazine.

Sam Altman firing drama detailed in new book excerptAn excerpt from the upcoming book “The Optimist: Sam Altman, OpenAI, and the Race to Invent the Future” offers new details about why OpenAI’s board briefly fired CEO Sam Altman back in 2023. Written by Wall Street Journal reporter Keach Hagey, the book claims the nonprofit’s board members became increasingly concerned after learning about issues […]

AMSAT-OSCAR 7: the Ham Satellite That Refused to DieWhen the AMSAT-OSCAR 7 (AO-7) amateur radio satellite was launched in 1974, its expected lifespan was about five years. The plucky little satellite made it to 1981 when a battery failure caused it to be written off as dead. Then, in 2002 it came back to life. The prevailing theory being that one of the cells in the satellites NiCd battery pack, in an extremely rare event, shorted open — thus allowing the satellite to run (intermittently) off its solar panels.
In a recent video by [Ben] on the AE4JC Amateur Radio YouTube channel goes over the construction of AO-7, its operation, death and subsequent revival are covered, as well as a recent QSO (direct contact).
The battery is made up of multiple individual cells.
The solar panels covering this satellite provided a grand total of 14 watts at maximum illumination, which later dropped to 10 watts, making for a pretty small power budget. The entire satellite was assembled in a ‘clean room’ consisting of a sectioned off part of a basement, with components produced by enthusiasts associated with AMSAT around the world. Onboard are two radio transponders: Mode A at 2 meters and Mode B at 10 meters, as well as four beacons, three of which are active due to an international treaty affecting the 13 cm beacon.
Positioned in a geocentric LEO (1,447 – 1,465 km) orbit, it’s quite amazing that after 50 years it’s still mostly operational. Most of this is due to how the satellite smartly uses the Earth’s magnetic field for alignment with magnets as well as the impact of photons to maintain its spin. This passive control combined with the relatively high altitude should allow AO-7 to function pretty much indefinitely while the PV panels keep producing enough power. All because a NiCd battery failed in a very unusual way.

Forever 89 releases FREE Topos Play tone shaping toolbox
Topos: Play is the little brother of the currently discounted Topos plugin. It is a saturation plugin based on emulations of classic gear and physical modeling. While Topos: Play has more limited functionality than the paid version, this freebie is definitely worth checking out if you want a fast and flexible tool to shape individual [...]
View post: Forever 89 releases FREE Topos Play tone shaping toolbox