SCMS’ Balourdet Quartet, MLC Statutory DesignationHaving mentored musicians and sharing chamber music in homes, schools and health spaces, The Balourdet Quartet (Angela Bae, Justin DeFilippis, Benjamin Zannoni, Russell Houston) returns for a second residency with Seattle’s Chamber Music Society, through May 2027.

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Launching in 2021, The MLC now has almost 90,000 members and a database of over 54 million songs. With almost $4 billion in royalties distributed to songwriters and publishers to date, the US Copyrights Register continues in its designation of The MLC as the statutory Mechanical Licensing Collective for the United States.

The move follows a periodic review of designation required by the Music Modernization Act (MMA), with The MLC being determined to have met each of the redesignation criteria More HERE. Some improvements were recommended, including database tools, match-rate data disclosure, and investment transparency.

In addition to licensing and distribution, The MLC has also been actively enforcing royalty obligations of digital music services (including a lawsuit with Spotify against subscription bundling, and a dispute with Pandora over ad-supported radio).

The next review of The MLC is slated for January 2029.

The post SCMS’ Balourdet Quartet, MLC Statutory Designation first appeared on Music Connection Magazine.

The BornHack 2026 Cyber Ægg Is A Badge With A Life AfterwardsA problem facing the designers of event badges is this: what happens to the badge after the event? It’s one that designers have tried to solve in many ways with varying levels of success, whether that be by making it a dev board, a games console, a mesh-networked communicator, or as in the case of Electromagnetic Field, a continuing badge for future events. Ar BornHack 2026 they have taken a novel approach, by making it a useful desktop appliance. The BornHack Cyber Ægg is a half-egg-shaped badge with a 3D-printed case, and aside from its on-camp applications it’s both a desktop clock/calendar, and a MeshCore node.
Produced with the assistance of the badge.team European badge makers, it’s an egg-shaped PCB with a Nordic nRF52840 at its heart, a Semtech LoRa module, and an e-paper display. On-site there’s a Tamagotchi-style virtual pet game, an event calender, and an RFID token game, but it’s the other two features that give it a life after the camp. The clock and Meshcore, coupled with its case being designed with a flat spot to sit on a desk, make this badge as much an appliance as it is a badge. This is where it will sit in the Hackaday office, and we’re pretty sure most BornHack attendees will use it thus too.
We like this approach to giving a badge a life after the event, and we look forward to seeing what influence it has on future badges. A badge should be a thing to enjoy, not a piece of e-waste.

Morphoice releases EightyTen, TWO vintage Roland synths in one (free beta)
Developer Morphoice has released EightyTen, consisting of two vintage Roland synths in one (free beta). Morphoice is back with another vintage synth emulation, and we all know the drill by now. In a relatively short time, Morphoice has released emulations of the Yamaha CS-80 (Unstable), the Roland Juno-6 (EightySix), and the Roland Jupiter-8 (EightyEight). EightyTen [...]
View post: Morphoice releases EightyTen, TWO vintage Roland synths in one (free beta)

AAF Tools AAF BridgeConvert AAF and XML to Ableton Live Sets, and back. AAF / XML Ableton Live (Resolve, Pro Tools, Avid, Premiere/FCP, Nuendo, etc): - import AAF, XML, FCPXML or FCPXMLD - Sample-accurate clip positions and source offsets, named tracks - Fades & crossfades (become Live-native crossfades), clip gain, volume automation, pan, markers, track/clip colors (some editors don't write automation or pan in AAF, please see our guide) - Picture cut on its own video track — mix to image inside Live - MXF-wrapped audio (Resolve) converts to WAV automatically. Ableton Live AAF / XML (Resolve, Pro Tools, Avid, Premiere/FCP, Nuendo, etc): - export AAF, XML, FCPXML or FCPXMLD - Named tracks, sample-accurate positions, full handles - Real AAF crossfade transitions, clip gain, volume curves - Timecode track at the session frame rate - Optional "collect media": one movable turnover folder. Every conversion writes a plain-text report — what transferred, what needs attention (e.g. warped clips to consolidate). No MIDI, no plugin chains: AAF can't carry those, and the report says so plainly rather than dropping things silently. www.aafbridge.com Read More

Dirk Ulrich reacquires Plugin Alliance & Brainworx As of 15 July 2026, Plugin Alliance and Brainworx are now officially owned by Ulrich once again, joining high-end hardware companies Manley and Apogee as part of the new RCKFRC audio group. 

Apple Music hikes subscription prices citing ‘rising licensing costs’"As a result of rising licensing costs, Apple Music is increasing its subscription price beginning today," the company said.
Source

Dirk Ulrich reacquires Plugin Alliance and Brainworx from inMusic
Dirk Ulrich has reacquired Plugin Alliance and Brainworx from inMusic. Well, it’s that time again; it’s time for another chapter in the Native Instruments story. With no more obvious moving parts left, I’m fairly confident that this chapter will be the last, but I never thought they’d make eleven Fast & Furious movies, so who [...]
View post: Dirk Ulrich reacquires Plugin Alliance and Brainworx from inMusic

Sonniss offers FREE Pinball Machines sound effects library
Sonniss is offering Pinball Machines, a vintage pinball machine sound effects library by C. A. Sound, Inc, as a free download until July 22. I love Sonniss as a platform. There is a great variety of sounds to choose from, and the company occasionally releases some fantastic freebies, too. The big one is usually the [...]
View post: Sonniss offers FREE Pinball Machines sound effects library

SoundSurf turns music production learning into a gamified practice platform
SoundSurf is a gamified music production learning platform built around the simple idea of helping producers stop watching tutorials and start producing. We are taking a closer look at SoundSurf and giving away two free months of SoundSurf Premium to five lucky readers. The platform is aimed at producers who get stuck in tutorial mode. [...]
View post: SoundSurf turns music production learning into a gamified practice platform

Arturia AstroLab Silver & KeyLab Mk3 Ultra The KeyLab Mk3 is now available with a striking orange paint job, and the 61-note AstroLab can now be ordered in a slick new silver shell.

“For a long time, the machine itself acted as a gatekeeper”: Teenage Engineering’s new APC-2 wants to make record cutting more accessible than everFor all the advances in music technology, cutting a vinyl record remains one of the industry’s most exclusive crafts, relying on decades-old machines and a shrinking number of specialists. Teenage Engineering thinks it’s time that changed.
Its answer is the APC-2, a professional record-cutting lathe developed with analogue experts SUPERSENSE. Designed to make vinyl cutting more accessible without compromising on sound quality or craftsmanship, the 104kg, made-to-order machine cuts original playback discs in real time, without the need for a traditional pressing plant.
The APC-2 pairs a stereo feedback cutting head with a direct-drive motor, built-in amplifier and vacuum pump, alongside Ethernet and Wi-Fi connectivity for remote control and DAW integration.
The goal, says Teenage Engineering, is to “modernise record cutting” by making the process more accessible to artists, studios and small-scale manufacturers.

READ MORE: Teenage Engineering’s EP-136 K.O. Sidekick is a mixer, effects unit and sequencer all in one – and the “power companion” to your K.O. II

According to TE, much of today’s vinyl industry still relies on restored vintage lathes such as the Neumann VMS70 and VMS80, while the number of engineers capable of maintaining them continues to dwindle. Building a modern equivalent isn’t simply a matter of copying old designs either, with the cutting head remaining one of the most difficult components to reproduce.
Which is why the company has teamed up with Swiss inventor Flo Kaufmann, whose DIALBA cutting heads are known to rival (or even exceed) the performance of the originals, to create their own professional cutter.
The result is an all-in-one cutting machine that combines the cutting hardware with a vacuum suction system, custom playback tonearm, built-in amplification, power supply and Wi-Fi configuration.
But Teenage Engineering believes the APC-2’s biggest selling point isn’t technical.
“Traditionally, cutting a record meant entering a closed system that required access, approval, a record label, and resources,” the company says. “For a long time, the machine itself acted as a gatekeeper. We hope the APC–2 can begin to remove that barrier. In that sense, the APC–2 modernises record cutting and changes who gets to do it, and how.”
The team behind SUPERSENSE believes that could open the door to an entirely different way of making records.
“It might sound ambitious, but the dream is clear: that this machine will lead to millions of records that would never have existed through traditional pressing plants. We’re not trying to compete with large-scale production. We’re opening up something different.”
Instead of replacing conventional pressing plants, the vision is for the APC-2 to be used for small-batch releases, records cut on demand and even live performances turned into physical records moments after they’ve happened.
“This is about accessibility: small editions, records on demand, different shapes and sizes, made anywhere… It’s about creating a new environment for making records. Not factories, but beautiful spaces where sound can be captured and turned into a physical object in the same moment.”
“I don’t yet know exactly how it scales globally, but that’s the direction. It’s about changing the relationship people have with records. At the same time, we want to introduce the machine slowly, learn from it, and understand how people actually want to use it. What do they make? What do they need? How can we move beyond the limits of the old system?”

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Learn more at Teenage Engineering.
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Audeze’s flagship gaming headphones now have adaptive noise cancelling for ultimate focusWhen you’re deep in a game of Fortnite, an enemy – often dressed as Olivia Rodrigo, Chappell Roan, or Sabrina Carpenter – can appear out of nowhere to end your killstreak.
Such mishaps can occur when you’re distracted by real-world noise, so these new gaming headphones from Audeze – complete with adaptive noise cancelling – will ensure no celebrity popstar and sneak up and kill you.

READ MORE: “The magic, consistency, and mystique of Rick Rubin really started to fall off”: music critic Anthony Fantano thinks producer Rick Rubin is “cringe”

In addition to the top-tier audio quality for which Audeze is known, thanks to its patented Audeze planar magnetic driver technology, the Audeze Maxwell 2 ANC now has adaptive noise cancelling. It is the most effective quieting system Audeze has ever developed.
Credit: Audeze
By using both feedforward and feedback noise reduction combined with low-latency transparency, the headphones can clear out a huge amount of external noise. At the same time, audio positioning within the stereo field remains precise, which is essential for knowing where the next threat is coming from.
Beyond this new feature, the Maxwell 2 ANC has exceptional functionality. The ANC parameters have AI capability to adapt to the exact specifications in any environment. There are also voice commands and wired or Bluetooth audio available to keep your hands on the controller and your eyes on the game no matter where you are in the room.
Like the previous Maxwell 2, the Maxwell 2 ANC is compatible with the Audeze App. With this add-on, users can go even further towards designing their ideal audio experience with a multiband EQ (pro tip: some extra high frequencies will make those footsteps stand out a bit more). It also adds that extra layer of convenience to control different options on mobile devices.
Credit: Audeze
Audeze Maxwell 2 ANC is available now for purchase, priced at $429 for PlayStation and $449 for XBOX.
For more information, head to Audeze.
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Hackers reveal Suno scraped music data from YouTube, Deezer, Genius, and moreLast month, The Atlantic’s AI Watchdog uncovered a massive dataset of over 12 million songs allegedly being used to train AI. Now, hackers have discovered a source code in Suno AI that potentially exposes a grand-scale act of data scraping across decades of copyrighted music.
According to 404 Media, hacker ellie.191 discovered that Suno had scraped millions of hours of songs, lyrics and podcasts from Deezer, Genius, YouTube Music, and a slew of stock music libraries. Though, it might not come as too much of a shock; the company infamously insisted it was “fair use” to train its AI model on copyrighted songs back in 2024.

READ MORE: “The magic, consistency, and mystique of Rick Rubin really started to fall off”: music critic Anthony Fantano thinks producer Rick Rubin is ‘cringe’

While Suno has faced multiple lawsuits for “trampling” on artist’s rights, the exposed code seems to back up the June 2024 joint lawsuit pieced together by Universal Music Group, Sony Music Entertainment, Warner Music Group and the Recording Industry Association of America. The lawsuit alleged Suno and Udio were carrying out “unimaginable scales” of copyright infringement due to stream-ripping from Youtube – and the code seems to suggest exactly that.
In screenshots of code shared by 404 Media, it can be seen that thousands, if not millions, of hours of music from were being ripped from millions of clips, all taken from a number of online platforms. One section of code literally lists that it is taking from “genius_hq, youtube_music, freesound, jamendo, imp, deezer, ytm_tagged”.
Elsewhere, sections suggested that Suno’s coding was also seeking out vocal, acapella videos in particular. Of course, these clips would aid any training for filtering vocals, as well as outright generating entirely AI-voices. This would also be aided by the podcast-centric scrapping, with the leaked code suggesting one million hours of podcasts had been downloaded.
As the hacker tells 404 Media, they uncovered the code by “hacking an individual employee using the Shai-Hulud worm, a supply chain attack that allowed hackers to harvest GitHub and cloud service credentials”. They also found that they were able to access the payment information and personal data of “hundreds of thousands” of Suno users.
Despite the hacker’s access to bank details, phone numbers and addresses, they insist they have no ill intentions. “I like to hack anything and everything,” they say.
The hacked code comes as another blow to the countless artists speaking out against AI. SZA has been particularly vocal about her disapproval of AI as of late, even taking to her private Instagram to condemn Diplo for his support of AI tools. “If you’re a musician and you support this degenerate shit, you’re disgusting and there’s nothing you could ever say to me to make this okay,” she wrote.

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Neutone and Roland want you to design your own AI model — and play it live“If we could create tools and instruments that lead to the emergence of a new music genre, that would be incredible. We want to empower artists to be able to have the tools to do that.”
This is the dream of Neutone’s co-founder, Andrew Fyfe. As a musician himself, he’s taken an unlikely path from touring in a Glasgow band to engineering ‘neural sampling’ in Tokyo. With a PhD background in AI research, he found himself in the right place at the right time just as AI technology burst into the global zeitgeist.

READ MORE: How Lee “Scratch” Perry taught Mouse on Mars to stop controlling sound

Along with co-founder and CEO Nao Tokui, Neutone produced its first VST plugin called Morpho in 2024—allowing you to morph one sound into another using AI trained models. Since then they have partnered with Roland to embed their AI software into a stompbox interface. Occupying an intriguing and niche corner of the AI music scene, Fyfe hopes that Neutone’s latest invention will work with musicians, not against them.
“We see AI’s role being this extension of what’s possible, it’s something that should be in the loop with humans. It should complement all the processes and music-making practices that already exist. We don’t want to automate any of that away.”
While not yet available to buy, Neutone and Roland have built a prototype AI effects box dubbed Project LYDIA: an anagram of AI and DIY. It’s a nod to Roland’s legacy that includes the AMDEK build-your-own line of effects pedals released in the 1980’s. Roland’s marketing at the time stated “We want to turn passive customers into active musicians”, a sentiment not far from Neutone’s vision for LYDIA. However, almost 50 years later it’s the AI-model that can be custom built, tweaked, or swapped out.
“You can open it up, you can hack it, you can change it”, says Fyfe, “you can change the models, you can change the kind of AI that’s running on it – you can really personalise it and make it your own.”
Project LYDIA by Roland and Neutone. Image: Press
While it seems that every music company under the sun is adding AI to their software, Neutone are among the few attempting to integrate AI into a piece of hardware. Dedicated to creating real-time performance effects, Neutone have taken Project LYDIA on its own tour of audio developer conferences to get hands-on feedback, including NAAM in the U.S., Superbooth Berlin, and ADC Tokyo.
Through this process, Fyfe realised what a difference the physical form made to people’s understanding of AI technology. “When this technology was brought into this hardware form factor, for a lot of people it just made sense instantly, and to see people’s eyes light up when they saw what was going on, it was so exciting.”
Project LYDIA works by taking an audio signal input and running it through an AI model of another instrument or sound. While the resultant sound you hear is of the AI model—whether it’s drums, voice, or something completely abstract—its shape, dynamics, and nuance is crafted by your performance. Neutone are calling it neural sampling, but another way to think of it is transferring the timbre of one sound to another.
“The simplest description is to imagine taking your voice and making it a drum,” Fyfe explains. “You’re beatboxing with your voice and on the other end you hear djembe percussion or drum kit sounds. It’s a very simplistic way of thinking about it but the possibilities are far beyond just that one-to-one kind of translation.”
Where things get interesting is that Neutone’s AI models can be trained on just about anything, and in the hands of artists that can go to some fascinating places. In one example, the company worked with the artist Pecas to record the sound of her heartbeat and breaths using contact mics inside an anechoic chamber.
Project LYDIA by Roland and Neutone. Image: Press
“The cool thing is it’s being driven by arbitrary audio inputs”, says Fyfe, “so you could feed a drum sequence and get these pumping heartbeats and breath sounds, essentially transforming the drum loop into these kinds of textures. You can re-texturise the sound into this completely new sound world.”
Neutone has an ongoing artist series where they work with creatives to build unique AI models. Some models are available to buy on their platform with 50% of the profits going direct to the artist they work with. Building an AI model that delivers good results isn’t always easy, and Fyfe describes the process as a bit like ‘alchemy’, adding that “It feels like an artform. You’re crafting these models in a way that’s artistic in itself.”
Luckily the instructions aren’t being kept under lock and key. Neutone have released guides for how to make your own AI model using their service, appealing to musicians who enjoy a higher degree of control, or simply want to experiment with what’s possible.
Having fine-tuned their AI software over several years, Neutone are now focused on finding a way for everything to pack down into a small effects pedal running a Raspberry Pi computer. With significantly less computing power to work with, it’s the kind of engineering challenge that has meant most companies are sticking to digital AI tools that run via cloud computing. Despite the challenge, Fyfe says that real-time performance has always been the goal.

“We always wanted to build workflows that aligned with the live performance aspect and you can only really do that if the AI models are light, on-device and run fast,” says Fyfe, “the plan was for all the products we put out to have AI models run locally on the user’s machine. There’s no talking to a cloud and sending information up there for processing. We’re a big believer in that because of the uncertainty amongst people about how AI is processing their information.”
Scorn for AI has steadily risen over the last few years, but interestingly, surveys continue to show that people are open to working with AI music tools if it’s done ethically. Seeing where things were headed, Neutone initially began working with open source and licensed datasets, and now build datasets in-house. With a team full of musicians and artists, they are clear about where their ethics lie on the subject.
“We believe that artists should be respected. The materials, their IP – everything should be respected. We shouldn’t be taking their material and building AI models on it that may potentially compete with that original source material in some way. Luckily the technologies we’re building don’t really do that because they’re new kinds of instruments.”
In spite of some attempts to remove the musician from the music, Neutone and Roland are ultimately hoping for a different creative relationship. Thankfully, embedding AI into a physical form comes with one major benefit: human input is a guaranteed part of the equation.
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Reason 14, as reviewed by a Cubase user: “Bells and whistles aren’t always everything”Reason+ (DAW and plugin version): £299 perpetual license / from £14.08 per month (billed annually) for Reason+ subscription / £99 upgrade
Reason Rack (plugin only): £199 perpetual license from £8.25 per month (billed annually) for Reason Rack subscription / £79 upgrade
reasonstudios.com
Reason is sometimes thought of as a less capable Digital Audio Workstation compared to the likes of Cubase, Logic Pro and Pro Tools. The same has been true for Ableton Live, FL Studio, Bitwig Studio and others over the years. But in reality, while these applications may have started out as entry points into the world of production, they have become some of the most reliable tools in the industry.

READ MORE: I swapped Ableton Live for Fender’s Studio Pro 8.1 DAW – but is it compelling enough for the change to stick?

Reason, believe it or not, is now 25 years old – a lifetime in software terms. And while it bears a closer resemblance to its first version than most DAWs do, it’s now vastly more powerful. I’ve been using Cubase for 30 years, and am curious whether Reason 14 is really worth the switch from another DAW.
Sequencer. Image: Press
Which Reason to choose?
Reason comes in two forms: the full DAW and the Reason Rack. The latter gives you all of Reason’s instruments and effects as a plugin to use in your DAW of choice, without the mixer or sequencer. If you’re absolutely wedded to your current workflow, the Reason Rack is a fantastic purchase, but the full Reason package gives you the Rack and the DAW, just in case you want to hop around different applications.
First, you install the Reason Companion app which lets you manage software, sound banks and additional purchases – Reason Studios makes and sells many add-on instruments and sounds in addition to the generous selection you get already. Reason was conceived as a virtual hardware rack into which you load native effects and instruments, so it has always shipped with a broad range of these. In this regard it’s different to Cubase, Logic Pro and others born in the era of hardware MIDI sequencing, which then added hard disk recording and plugins later in life.
This approach also informed Reason’s workflow which leans towards a multi-section single window with resizable zones. As it’s grown, however, it has added options to break tools and modules off into separate windows – while Cubase has actually gone the other way, trying to consolidate more of its floating windows into one workspace. Though Reason is more complex now, it’s still pretty approachable, thanks partly to the interface looking like the hardware it’s replicating.
Reason favours a drag-and-drop approach to device creation, making it intuitive for new users to pick up. Any devices dropped into the Rack are auto-routed and the virtual cabling system means you can get wildly creative sending audio and control voltage signals between devices, when you get more experienced at least. Though Cubase allows lots of routing, it’s not graphically as intuitive as Reason makes it. Everything is handled as a rack module including audio input channels, making for a consistent way to work. Reason can load your third-party VST plugins too though, like Cubase, it doesn’t support the Audio Unit (AU) format.
Mixer. Image: Press
At Reason’s core are incredibly solid audio and MIDI tracking and editing features, with group tracks, time stretching and pitch editing of audio clips, Blocks for arrangement (like Cubase’s Arranger track) and the ReGroove mixer, a live MIDI quantise system for adding different feels to parts. It’s handy, though it doesn’t approach Cubase’s VariAudio system for versatility. Reason’s mixer is also powerful, modelling a real desk with multi-stage channel strips and a master channel with a dedicated bus compressor. Everything here can be easily automated and mapped to MIDI hardware for easier control and live performance.
The list of new features in Reason 14 isn’t huge— it’s more about refinements and enhancements—but one thing that stands out is a new Track Panel where you can manage inserts, sends and other track parameters. This is something Cubase and its ilk have had for many years, but it’s a welcome addition and means less time spent navigating and clicking around different sections.
So far I’ve talked about what Reason has in common with Cubase – a bunch of instruments and effects, tracking and editing, mixing. Plus its own features like the Rack, virtual cabling and ability to work as a plugin inside other DAWs. Its approach to all of these is unique and the workflow is decidedly different to other DAWs, though perfectly easy to pick up.
Where you hit a bit of a wall with Reason is when you want to start going deeper. Even taking Cubase Artist 15 (£273) rather than the flagship Cubase Pro (£481) as the baseline, the depth of features isn’t quite there. To start with, Reason has no direct support for video playback or any kind of notation tools. MIDI editing, while much improved, doesn’t approach the power of Cubase’s Logical and Project editors. Reason’s audio editing, while covering the needs of many users, won’t give you what Cubase VariAudio’s tools can.
Browser. Image: Press
Reason has fewer track types, no VCA faders and while its browser is adequate, Cubase’s MediaBay is more capable for power users. Cubase’s long history and Steinberg’s wider reach into pro industries with products like Nuendo means it can share tech like ARA 2, chord assistants, Dorico compatibility and far more with Cubase, even if it saves features like true surround, AI stem separation, Atmos and the full Control Room for the Pro version. Cubase also has an iOS-based controller app, which Reason doesn’t.
Making Reason’s Rack work as a plugin inside other DAWs (minus the sequencer and mixer) was an interesting move because it removes the urgency to add these other features, as long as a user owns one other DAW that has them. FL Studio uses the same approach though it’s a more MIDI-focused suite than either of these. It’s less convenient for the user and assumes you love the sound of Reason’s modules enough to bother with the routing, the bouncing and so forth required to use Cubase’s deep-dive tools on Reason’s sounds.
Modules. Image: Press
This is a personal take, but I always find Cubase to be far friendlier than Logic, while just as powerful. And Reason is easier to learn than Cubase – but partly because it doesn’t do as much stuff. Using Reason only as a plugin would be fine, but as a full DAW it makes more sense and offers an excellent path into music-making without what some might see as the extraneous clutter of ‘heavier’ DAWs. And remember, many classic albums were made with far less advanced gear than this, so bells and whistles aren’t always everything.
I don’t want to undersell Reason: its sounds are fantastic, it can load VST plugins and it’s perfectly possible to make release-quality tracks with it. It has many useful tools like system-wide sampling directly into modules, the Combinator which lets you build fearsome multi-instruments and processors and a whole lot more features geared towards creating rather than necessarily poring over micro-edits. It’s more immediately accessible than Cubase or indeed Logic and while it doesn’t go to their depths, there’s still plenty here to power your music-making.
Cables. Image: Press
Key features

Unlimited audio and MIDI tracks
VST support and Rack Extensions
Virtual Rack with free cabling
Blocks mode for arranging
68 Reason Rack Devices with over 50,000 samples, loops and patches
Ableton Link; plugin version to run in other DAWs
Audio stretch and transpose
Live sampling on all sampler devices
Full MIDI automation
Advanced mixing console

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