Jacques Greene and Nosaj Thing on ditching file-sharing for Ableton Link: “We could build songs without speaking”For producer Jacques Greene, electronic music was, at first, a fine excuse to post up in a dark room, away from the outside world, and take complete control of his music-making process.
“I got so excited about electronic music as a way to not be in a band. I played in some rock bands in high school. Now I can make the drum part myself. I don’t have to argue with my drummer about the fill at the end of this bar,” says Jacques Greene, real name Phil Aubin-Dionne.

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

In this spirit of individuality, many collaborations have become as separate as possible (especially during the pandemic). Sending computer files over vast distances with little to no communication about the music in question.
But when Aubin-Dionne and his good friend Nosaj Thing, real name Jason Chung, started their band Verses GT, they sought to celebrate the spirit of individualism that is unique to electronic music while working towards the common goal of creating something gestalt.
At the core of this intention was Ableton Link. With two computers running Live separately, but perfectly in sync, Chung and Aubin-Dionne had total freedom to operate as they would on their own while enhancing and expanding the ideas of one another. In short, they let each other cook.
Nosaj Thing of Verses GT. Image: Press
“There’s a beauty in playing into each other’s strengths and letting the people who are genuinely the best at what they do, [do what they do]. It’s as much a coming together as it is allowing space for expertise,” Aubin-Dionne says.
“It’s a pleasure to work with long-time friends that you fully trust,” Chung continues.
On top of a longstanding friendship and individually impressive solo careers producing moody, alternative dance music, Verses GT is not the first time Aubin-Dionne and Chung have collaborated. They embarked on a co-DJ tour back in 2017, and have shared credits on several production precursors to the band, such as the spacey break tune Too Close (2023) and the dense techno track RB3 (2024).
Both of the aforementioned singles are now credited under Verses GT on Spotify, but making an official project together gradually bubbled to the surface throughout their years of camaraderie.
Image: Press
“We so slowly started working together, but at first, there wasn’t a plan. We didn’t know we were gonna do a band or an album,” Aubin-Dionne admits. “Over that time, we built this tacit understanding of a workflow that really worked for us.”
The first layer of that workflow is simple, yet becoming less and less necessary: working in the room together. Verses GT was produced in London, Los Angeles (Chung’s hometown), Tokyo, Paris, and Montreal (Aubin-Dionne’s hometown). A truly global process, and no matter how much time passed between sessions (sometimes it was months), they made music in person in every place. Working alongside each other defines the core theme of the album:
“This record is about our relationship with the internet and friendship,” Aubin-Dionne says, sharing how rejecting internet communication and leaning into their personal connection sparked many of the ideas that became tracks. “I’m visiting LA, and we’ll drive out to the valley and get some Vietnamese food. Then we’re talking about a movie we just saw or a friend’s photo show that we’re excited about. We felt pretty strongly about making sure we started all these ideas in person.”
The second layer of the workflow is Link, which, as simple an update as it may seem, transformed the ability of these two longtime friends and bedroom producers to collaborate. Rather than a stop-start method of trading the hot seat in front of the computer, they could operate different machines simultaneously to build the songs as a band. Some of their favourites are the Prophet 5, Prophet 6, and the Erica Synths PĒRKONS HD-01.
Image: Press
“We often refer to ourselves as a band, which is maybe an insult to people that are out there playing real instruments, but the songs genuinely came up that way,” Aubin-Dionne says. “Having the two laptops running Live at once, in sync, meant that we could build a whole song without speaking. It allowed a spontaneity and musical conversation that if you stop and pass the baton, you’re always iterating, as opposed to something emerging.”
“Everyone uses Ableton quite differently. So, it’s almost like we both had our own refrigerators with our ingredients,” Chung adds, sparking immense enthusiasm and laughter from Aubin-Dionne, who Chung then describes as an “amazing chef.” It seems like Chung is referring to Aubin-Dionne’s ability to make food, but he could also be lauding his production skills per the aforementioned metaphor.
With such a strong rapport, they mixed their separate ingredients with minimal hassle, never being set into specific roles like drums or melodies, and adding what was best for the song rather than what they each wanted to hear.
“Once a song and the structure come into place, everything has to work together,” says Chung. “I always feel like writing a good song with vocals is like solving a 1,000-piece puzzle.”
Image: Press
“We were almost cautious about always leaving enough room for the other person to respond to something,” Aubin-Dionne explains. “The initial bursts of ideas in Link were more of a controlled chaos than a messy situation.”
One aspect that helped balance the individuality with collaboration was leaning on particular synths to create a cohesive sound. Chung loves the Prophet 5, and Aubin-Dionne loves the Prophet 6, and the emanant noise from the Erica Synths PĒRKONS gain stage became a sonic hallmark of the record.
“It’s this really unruly drum machine that a lot of people use for industrial techno. But if you use two or three of the drum parts, it’s an amazing machine for these strange noise oscillator bass percussion sounds,” Aubin-Dionne says. “It’s quite a noisy machine, and instead of painstakingly trying to EQ all that away, we let a bit of that fuzz take up space.”
By leaning into the commonalities, they were able to eliminate extra steps of getting into the flow state during their sessions.
“Hardware gear allows that, because the well-constructed, simple stuff we can turn on, hit play, and punch in a few sounds,” Aubin-Dionne says. Their flow state started by having something come out of the speakers as soon as possible. As long as something was playing, they could build from there.

When they were making the haunting breakbeat Unknown, they had the pocketed drumbeat playing in a loop as they swapped out different melodies. But there are also ambient tracks on the album, such as the album’s closer, Vision + Television, that were, by nature, built without a defined foundation.
Chung was noodling around, building a patch on the Sequential Prophet T8. Then Aubin-Dionne silently recorded it into the session and began building more elements on top. But after sitting on that initial raw recording for months in between their in-person sessions, Aubin-Dionne came to a conclusion: They only need the chords.
“They’re so nice and pleasant, and it comes after the back half of the record that’s really drum-heavy and intense. Let’s just have a soft landing,” Aubin-Dionne says. “A lot of my music starts as ambient songs, then I add the drums later.”
“Me too. 80% of the time, I start my songs with chords,” Chung says, chiming in.

“That’s our Venn diagram of where we meet on our separate projects. Mood and texture are very important,” Aubin-Dionne adds.
Mood and texture are the most nebulous elements of any piece of music, but no matter how undefined they may be, with a uniting process, any two producers can come together like Jacques Greene and Nosaj Thing.
The post Jacques Greene and Nosaj Thing on ditching file-sharing for Ableton Link: “We could build songs without speaking” appeared first on MusicTech.

How A&R at Publishing Companies WorkThis week, Ari is joined by Ralph Torrefranca of Angry Mob Music to discuss A&R, publishing, and the fight for songwriter equity.

Classical Highlights for October 2025A handful of noteworthy classical albums to sample: Alexander Gergelyfi plays a clavichord owned by Mozart himself in a recording that also features baritone Georg Nigl; Vox Clamantis once again sings music by Arvo Pärt (both pictured), this time to mark the composer's 90th birthday.

People Inc forges AI licensing deal with Microsoft as Google traffic dropsPeople Inc. signs an AI licensing deal with Microsoft, which will use its media content in Copilot.

BLUE ÉLAN RECORDS SIGNS MAN BOY BROWNBlue Élan Records announced on Tuesday the signing of Man Boy Brown, "the new solo project from Raul Pacheco, vocalist, guitarist, songwriter, and co-founding member of the three-time GRAMMY® Award-winning band Ozomatli. Pacheco introduces his alter ego with the debut single, 'Moving On, out today on all streaming platforms.""The track marks a powerful new chapter for Pacheco, blending his warm, soulful baritone with lyrics that question nostalgia while embracing change: 'Are you ready to move on / From glory days and same old songs.' The song reflects his desire to explore a fresh artistic identity while continuing to perform with his longtime Ozomatli bandmates.""Under the moniker Man Boy Brown, Pacheco channels the spirit of eternal youth and creative freedom—what he calls his 'forever in his crown' outlook," a statement reads. "His forthcoming album, set for release in 2026, offers a playful yet reflective journey through the sounds that shaped him—from romantic Latin ballads and Mexican corridos to the grooves of ‘70s R&B and rock. The project brings together a global cast of collaborators, underscoring the cross-cultural storytelling that has always defined Pacheco’s music."“This is me reconnecting with my roots while also allowing myself to try new things,” says Pacheco. “I’m still part of Ozomatli, but Man Boy Brown is about giving myself space to grow and to see where that creativity leads.”"With 'Moving On,' Pacheco reaffirms his place as one of Los Angeles’ most distinctive musical voices—honoring the past while boldly stepping into the next phase of his career." The post BLUE ÉLAN RECORDS SIGNS MAN BOY BROWN first appeared on Music Connection Magazine.

Jody Gerson vows to ‘protect human songwriters’ in the age of AI, as UMPG boss accepts International Executive of the Year honor at MBW’s Music Business UK AwardsMBW's Music Business UK Awards took place in Covent Garden this evening (November 4), celebrating the very best that the UK music biz has to offer
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Print in Place Pump Pushes Limits of Printing3D printing has taken off into the hands of almost anyone with a knack for wanting something quick and easy. No more messing around with machining or complex assembly. However, with the general hands-off nature of most 3D prints, what could be possible with a little more intervention during the printing process? [Ben] from Designed to Make represents this perfectly with an entire centrifugal pump printed as one.
This project may not entirely fit into the most strict sense of “print in place”; however, the entire pump is printed as one print file. The catch is the steps taken during printing, where a bearing is placed and a couple of filament changes are made to allow dissolvable supports to be printed. Once these supports are dissolved away, the body is coated with epoxy to prevent any leakage.
Testing done by [Ben] showed more than impressive numbers from the experimental device. Compared to previous designs made to test impeller features, the all in one pump could stand its own against in most categories.
If you want to check out the project yourself, check out the Hackaday project here. One of the greatest parts of the open source 3D printing world is the absolute freedom and ingenuity that comes out of it, and this project is no exception. For more innovations, check out this DIY full color 3D printing!

Antares unveil Metamorph AI vocal transformer Metamorph provides access to 12 ethically-trained voice models, and carries out all of its processing locally with no reliance on cloud-based services. 

Arturia introduce the KeyStep Mk2 Arturia’s new KeyStep Mk2 controller retains the core design of its predecessor, but introduces some new generative tools, an upgraded display, a redesigned sequencer and arpeggiator section and more. 

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Arturia KeyStep MK2The Arturia KeyStep mk2 is engineered to be the ultimate compact controller and sequencer for modern music production, excelling in both DAWless workflows and hybrid setups. This device is designed as a catalyst for creative ideas, unifying intuitive control, generative tools, and performance-ready sequencing within a modern design. Keeping the core essence of the original KeyStep—powerful, playful, and connectivity-first—the mk2 evolves these features in ways that matter most to musicians. Serving as a powerful bridge, the KeyStep mk2 enhances your entire setup, making it tighter, more connected, and highly creative. It allows for its full creative potential to be unlocked without the need for a computer or software. The device is particularly well-suited for two main user groups: Synth & Modular Musicians who need keys and extensive connectivity in a compact controller, and Bedroom Producers seeking creative, powerful functionality that fits easily into their workspace. New generative tools like Mutate, a clearer OLED interface, extended connectivity, and a more powerful sequencer and arpeggiator all build upon the original KeyStep's success. The KeyStep mk2 is a one-of-a-kind ideas machine, bringing a wide range of inspiring, real-time control and sequencing features to your hands. It introduces the Mutate function for instant phrase mutation and generation, offering melodic and rhythmic variation with a single touch to reshape sequences or arpeggios for fresh, unpredictable ideas. The arpeggiator is significantly expanded, now featuring 16 modes, 9 pattern variations, octave control, Arp Length Reset, and time division for deeper rhythmic and melodic capabilities. Sequencer workflow is also enhanced, supporting unquantized or real-time recording, pattern chaining, live step editing, and transformation tools like Spice and Dice for controlled randomness and dynamic gate length adjustment. Scale locking and Chord Modes, which allow for expressive voicings similar to the KeyLab 3, ensure you can stay musical and generate harmonically consistent phrases. KeyStep mk2 Feature Overview Keyboard and Control: 32-key slim keybed with velocity and aftertouch for expressive control. Pitch bend and modulation touch strips. RGB LEDs provide efficient visual feedback on the front panel. Sequencing and Arpeggiation: Sequencer features pattern chaining and unquantized recording for editing or evolving ideas. Arpeggiator with 16 modes and a generative pattern engine for inspiration beyond classic arp types. Mutate function for one-touch phrase mutation and generation with melodic and rhythmic variation. Spice function to inject controlled randomness into rhythms. Phrase Arp (Sequence Arpeggiator) to turn pre-recorded sequences into real-time arpeggio patterns that follow played notes, or to remap existing sequences to any key or chord. Live Step Editing allows for nudging, transposing, or reshaping steps on the fly without stopping playback. Overdub with Double Length to duplicate sequences and layer new material for richer patterns. Musical Tools: Scale Modes for scale locking to ensure phrases remain harmonically consistent. Chord Modes for creating harmonies and recording/playing chords with expressive voicings. New sliders and functions to adjust gate length, transpose, and double patterns in real time. Connectivity and Hardware: CV/Gate, MIDI In/Out, USB-C, and Sync I/O for full compatibility with modular, DAW, and hardware synth environments. New USB-C port and power switch on the back panel. Built-in OLED screen and clickable encoder for direct access to all editing from the hardware. Dedicated Tap Tempo and Transport controls. Sustain (Pedal) input. Custom CV Mapping to assign Mod 1/Mod 2 outputs to Aftertouch, Velocity, or Mod Wheel for personalized modular control. Kensington lock slot. Read More

CDJ-3000’s latest firmware update is reportedly deleting playlists: “My playlist, my tracks, my history – it was all blank”Finding out your playlists have vanished minutes before a gig is every DJ’s worst nightmare, and right now, there’s good reason to hit pause on updating your decks.
A recent firmware update for Pioneer DJ’s CDJ-3000 (version 3.30 released on 21 October) has triggered widespread reports of USB playlists appearing completely blank once plugged in, with many DJs urging others not to update until the issue is resolved.

READ MORE: AlphaTheta CDJ-3000X review: Bigger, sharper, smoother, and cloud-ready — but you’ll need very deep pockets

Australian DJ-producer What So Not was among the first to sound the alarm, posting a video warning his peers: “This is a warning for all DJs. There is a new firmware update in CDJs and it is going to fuck your set up… Basically playlists and songs did not even register when I plugged in the USB. My backup USB either.”
He adds that he uses an older version of Rekordbox because “the newer ones sometimes have crazy problems,” and describes how he salvaged his set by “dumping raw MP3s outside Rekordbox” from his laptop and mixing without sync, hot cues or BPM grids – “like the good old days.”

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BBC Radio 1’s Jaguar, too, experienced the same nightmare during a 1 November show at London’s Drumsheds: “I put both of them in, and clicked on my playlist, my tracks, my history – it was all blank.”
The musician says she was able to finish her set only because she was playing back-to-back and had time to troubleshoot, eventually relying on a four-year-old backup USB.

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A number of DJs including VTSS, SOSA, Zoe London, and more have also reported similar incidents in the post’s comment section.
For now, Seattle-based DJ nohup has urged clubs and promoters to avoid updating their CDJ-3000s for now, and shared advice via their miseryconfusion blog for those caught mid-crisis: “There are two ways to get yourself out of this DJ nightmare if it happens to you: 1. Be prepared with Device Library Plus on your USB (or ask to borrow someone’s laptop). 2. Carry around a copy of the CDJ-3000 v3.20 firmware (the last compatible version) so you can downgrade club equipment.”
In the meantime, Pioneer DJ’s parent company AlphaTheta has acknowledged the issue and says it’s working on a fix: “We’re aware that some users have experienced issues following the recent CDJ-3000 firmware update (version 3.30), and we sincerely apologise for any inconvenience this may have caused,” a spokesperson told Resident Advisor.
More updates as they come.
The post CDJ-3000’s latest firmware update is reportedly deleting playlists: “My playlist, my tracks, my history – it was all blank” appeared first on MusicTech.

The Volume of Canceled Gigs Grows Louder Than EverWith Morrissey and Benson Boone's recent cancellations due to exhaustion and vocal strain respectively, a growing concern in the music industry around how much is too much...
The post The Volume of Canceled Gigs Grows Louder Than Ever appeared first on Hypebot.

Arturia KeyStep Mk2 packs generative tools and deep sequencing powerArturia has announced the KeyStep mk2, the latest version of its acclaimed compact controller and sequencer, claiming that it’s “more creative, more connected, and more immediate than ever”.
Arriving nearly a decade after the original KeyStep’s debut, the Mk2 takes everything musicians loved about the first generation and expands it with new generative tools, a clearer OLED display, extended connectivity, and a more powerful sequencer and arpeggiator.

READ MORE: Modular, AI-powered Sound Blaster Re:Imagine lets you build your dream audio hub — and it’s already 10x past its Kickstarter goal

Described by Arturia as the “ultimate compact controller and sequencer for DAWless workflows or hybrid setups”, the KeyStep Mk2 caters to two main users: synth and modular musicians who need keys and connectivity in a compact format, as well as bedroom producers looking for powerful and creative functionality that fits their workspace.
Key features like the 32-note Slimkey keyboard, pitch bend and modulation strips remain, while the all-new Mutate button introduces a dash of unpredictability. With just a single touch, users can instantly transform sequences or arpeggios – from subtle tweaks to bold variations – perfect for getting through those creative blocks or for exploring fresh ideas.
Credit: Arturia
The sequencer has also been significantly upgraded, offering eight times more memory, unquantised recording, Bend & Mod automation, Undo, step editing, and pattern chaining. Meanwhile, the expanded arpeggiator boasts 16 modes, 9 pattern variations, octave control, and a new Arp Length Reset for deeper rhythmic expression.
Musicians can also stay perfectly in key with scale locking, and record or play chords with expressive voicings, as in the high-end KeyLab 3 controller.
On the hardware side, Arturia has modernised the KeyStep’s design with USB-C connectivity, a dedicated power switch, and a clickable encoder that, along with the OLED display, allows for faster parameter access without relying on the MIDI Control Center.
Designed for hardware-first control, the KeyStep Mk2 can patch into modular rigs, trigger drum machines, and sequence synths old and new. With DIN MIDI I/O, assignable CV outs, and pedal support, it’s ready to command virtually any setup – live, in the studio, or on the move.
The Arturia KeyStep Mk2 is priced at $139/€129, and is available now.
Learn more at Arturia.
The post Arturia KeyStep Mk2 packs generative tools and deep sequencing power appeared first on MusicTech.

Live Nation and Ticketmaster Lawsuits: Tracking The Legal BattlesLive Nation and Ticketmaster are facing increased scrutiny and multiple lawsuits that could reshape concert ticketing and the entire live music industry in 2026.
The post Live Nation and Ticketmaster Lawsuits: Tracking The Legal Battles appeared first on Hypebot.