Reloop launches high-spec turntable, the RP-5000 MK4With an industry-standard torque, a refined brushless DC motor and a slew of features to reduce wow and flutter, the RP-5000 MK4 is a bold new turntable from Reloop. It’s a tactile, old-school bit of kit that’s learnt some new tricks – and it could be the mid-range turntable you’re looking for.
While Reloop is known for its reliable turntables, the RP-5000 MK4 builds upon the company’s formula, optimising and enhancing legacy features. The result is a machine with glimmers of club-standard quality, with its 2.5 kg/cm torque, an intuitive new layout and a refined chassis.

READ MORE: AlphaTheta’s new DJM-V5 mixer “condenses the essence” of its larger DJM-V10 sibling

Alongside the RP-5000 MK4’s refined motor characteristics, the turntable also aims to minimise any potential interference that may disturb your sets. This includes increased damping and shock-absorbing feet to reduce vibration, as well as a gold-plated phono output and IEC connector with a detachable cable to maximise cabling flexibility while lessening potential sources of error.
As well as this, the turntable also employs an internal switching power supply, another effort to reduce unwanted interference.

But what’s it like to play? Well, the RP-5000 MK4 has a die-cast aluminium platter, as well as a statically balanced, S-shaped tonearm equipped with a hydraulic lift and anti-skating mechanism. There’s also an integrated pop-up stylus LED target light, a must for those dark club nights. The button layout has also been tweaked to make it as ergonomic and intuitive as possible, meaning DJs should take to it like a duck to water.
The turntable also boasts three different speeds, 33 ⅓, 45 and 78 rpm, with a clearly marked strobe light indicator and tempo scale to keep you in the know. Elsewhere, you can also adjust your pitch, with the option of exploring ranges of ±8%, ±16% or ±50%. There’s also a smooth, clickless pitch fader and a reverse switch.
Reloop’s RP-5000 MK4 is currently available for £397 from Thomann, with stocks expected to drop within 7-9 weeks.
The post Reloop launches high-spec turntable, the RP-5000 MK4 appeared first on MusicTech.

Maroon 5 and the End of the Analog EraSennheiser this week released word that, with Maroon 5's "first tour to fully deploy Sennheiser Spectera, Dave Rupsch proves that wideband digital wireless is the future of high-stakes stadium audio."

"For 25 years, monitor engineer Dave Rupsch has occupied the high-stakes sonic cockpit for global icons like My Chemical Romance, Katy Perry, Megadeth, Red Hot Chili Peppers, Nick Jonas and more," a statement reads. "He has watched the industry undergo a digital revolution, seeing line arrays and consoles evolve into marvels of precision — yet one crucial link remained stubbornly tethered to the past. To Rupsch, a flawless, end-to-end digital IEM transmission was his 'white whale' and the 'utmost needed component to close the loop on modern concert audio technology.' This search felt like an elusive and unattainable goal for far too long."

"That search came to an end during the 2025 Maroon 5 tour. While Rupsch had spent years relying on industry-standard analog wireless systems, the increasing congestion of the UHF spectrum was becoming an unavoidable disruption."

Mark Chipeur, Business Development Manager at Sennheiser who worked directly with the band's audio team on Spectera deployment.

“Introducing Spectera to Maroon 5’s monitor team was about tackling real-world RF and workflow challenges head-on. Rolling the system out with them on the fly at the first Phoenix show in its especially congested RF environment was a true test, and Spectera delivered. Working closely with Dave throughout evaluation and deployment highlighted his deep RF expertise, thoughtful approach to system design, and ability to quickly translate new technology into a reliable, tour-ready solution. 

"Dave’s team had already coordinated their existing wireless Mics and IEM channels so we decided to use the clean RF spectrum in the Duplex Gap. Following this selection Dave wanted coverage not only on stage but also backstage. This helped us to determine optimal antenna placement for continuous performance.”

For further info, visit here.The post Maroon 5 and the End of the Analog Era first appeared on Music Connection Magazine.

Windows-G E-Limiter600A JSFX lookahead peak limiter plugin for REAPER that features: * 1 ms lookahead: Lets the limiter analyze peaks ahead of time and respond before they arrive. For a limiter, 1 ms lookahead is sufficient to prevent ceiling overshoot and distortion artifacts. The latency it introduces is reported to the DAW for automatic delay compensation. * Stereo Link (0% to 100%): Controls how much the left and right channels are linked during limiting. At 0%, each channel is limited independently based on its own level, which can alter the stereo image but can sound expressive. At 100%, both channels are limited together based on the loudest of the two channels, preserving the stereo image but can sound static. Values in between 0% and 100% provide a continuous blend of independent and linked limiting behavior. * Input Gain (-40 dB to +40 dB): Boosts or attenuates the level of the input signal. This is useful for maximizing loudness, driving the limiter harder to achieve more gain reduction, or reducing the input level to avoid excessive limiting. * Ceiling (-100 dB to 0 dB): A brick-wall ceiling that sets the maximum output level the limiter will allow. Because the ceiling range extends from -100 dB up to 0 dB, it can be used flexibly for track-level, mix-bus, and master-bus limiting. * Release (1 ms to 2000 ms): Controls how fast the gain reduction returns to unity after the detected signal drops below the ceiling. Fast release (1 ms to 14 ms) creates quick recovery, allowing the limiter to restore gain rapidly, which is ideal for maximizing loudness. Slow release (70 ms to 2000 ms) makes the gain reduction return toward unity at a slow pace, causing gain reduction to persist for a longer period, which can result in quieter output but may be useful for achieving a "glue" effect. Medium release (15 ms to 69 ms) provides a middle ground between fast and gradual recovery, that is, between louder and quieter output. The release uses an exponential curve for smooth sound. * Optional DC Filter (1 Hz): An optional 12dB/oct high-pass filter at 1 Hz that removes DC offset from the output signal after the limiting process. Limiters introduce DC offset during limiting, even if minimal, so the DC filter removes this DC buildup to maintain a clean signal. The DC filter is active only when enabled. * Output Gain (-40 dB to +40 dB): Sets the final output level of the limited signal. This is particularly useful when the DC Filter is turned ON, as even a 1 Hz DC filter can increase peak levels slightly (e.g., by around 0.2 dB). The output gain can be used to compensate for the slight peak increase introduced by the 1 Hz DC filter. * GUI Delta Button: Solos the difference between the wet and dry signals. It lets you hear what the limiter removed from the main signal. This is very useful when adjusting settings. It is available for automation as "Delta (Smooth)" in the plugin's parameter list. * GUI Bypass Button: A smooth bypass button for toggling the limiting effect on or off without audio clicks. The bypass button accounts for the Input Gain setting by using the signal after Input Gain is applied, allowing the user to toggle between the dry and wet signals at roughly the same loudness level, so the user is not tricked into thinking the louder signal sounds better. It is available for automation as "Bypass (Smooth)" in the plugin's parameter list. * GUI Max Left/Right IL Readouts (dB): Display the maximum input signal levels for left and right channels since playback started. The values automatically reset on each playback start and when Stereo Link and Input Gain parameters change. * GUI Input Level Meter: Displays the current input signal levels for the left and right channels independently on a -100 dB to 0 dB scale. A white reference line indicates the ceiling level. * GUI Gain Reduction Meter: Displays the current amount of gain reduction being applied by the limiter. * GUI Cur Left/Right GR Readouts (dB): Display the current amount of gain reduction being applied by the limiter to left and right channels. The values automatically reset on each playback start and when limiting parameters change. * GUI Max Left/Right GR Readouts (dB): Display the maximum gain reduction applied by the limiter to left and right channels since playback started. The values automatically reset on each playback start and when limiting parameters change. * GUI L/R Output Max Readouts (dB): Display the maximum output levels reached for left and right channels since playback started. The value automatically resets on each playback start. You can also click on the readouts to reset them. * Zipper-Noise-Free Operation: Advanced interpolation ensures no zipper noise during slider automation or real-time adjustments. * Minimal CPU Usage. You can grab it for $10. All future updates are free, just make sure to use a valid email so I can send future updates to you. Listen to the audio demos here or on the Gumroad product page to hear what the plugin can do. Email Support: info.windowsg@gmail.com ================================================== Using This JSFX Plugin in Other DAWs: If you want to use this JSFX plugin in other DAWs, you can do so using the open-source YSFX plugin. YSFX is available in VST3, AU, and CLAP formats for Windows, macOS, and Linux. Download your preferred version of YSFX from here (Click on "Assets" for the downloads to appear): https://github.com/JoepVanlier/ysfx/releases YSFX comes in two versions: * ysfx-s FX (for JSFX effects). * ysfx-s instrument (for JSFX instruments). 1. Open ysfx-s FX in your DAW, 2. Then click "Load", find your "E-Limiter600_Windows-G" file, and click "Open." The JSFX plugin will now run inside the YSFX host, working perfectly in any DAW that supports VST3, AU, or CLAP plugins. Read More

LANDR’s Blueprints and Layers are AI tools that promise to inspire ”mix-ready” ideasFollowing LANDR’s recent acquisition of Reason Studios, the AI-forward company has launched two new tools to inspire artists. With LANDR Blueprints offering songwriting support and LANDR Layers assisting with the final mix, this dual release promises streamline your production process.
First up, LANDR Blueprints is somewhat of a musical brainstorming companion. Its goal is to help inspire artists, from generating a diverse range of song starters to encouraging structural experimentation. Still, there’s a focus on user input, with Blueprints requiring an initial input of preferred genre, example lyrics, reference audio or other initial prompts to work from.

READ MORE: Josh Baker on why workflow, AI tools and delegation are as important as the music

Once Blueprints knows what the user wants, it can also conjure up DAW-ready stems. These can vary from simple stems to fully arranged sections, including intros, verses and choruses, which users can pluck sections from.
While Blueprints gets the initial cogs turning, LANDR Layers is there to provide the finishing touch.
Layers serves as an AI co-producer, taking your work, or even work from Blueprint’s output, and generating professional, mix-ready layers and instrumentals spanning from guitar leads to bold basslines. And it’s all fully adapted to a song’s structure, key and tempo.
Co-developed with AI music creation platform Aiode, Layers also allows enhanced control for users — this centring of the artist is key, says the brands. “This partnership with LANDR shows that there is a better path forward for AI in music, one where technology serves artists instead of sidelining them,” Idan Dobrecki, CEO & co-founder of Aiode, explains.
“By combining our models with LANDR’s groundbreaking production ecosystem, we’re proving that innovation and respect for musicians can go hand in hand,” he adds.
In terms of “respect for musicians”, LANDR asserts itself as an “ethical” AI platform, powered by LANDR’s Fair Trade AI Framework. This essentially means that the company’s software is trained on “ethically sourced data”, provided by consenting and compensated artists.
“Our goal is simple: to support creators at every stage of the creative process,” Pascal Pilon, CEO of LANDR, says. “Blueprints helps them start. Layers helps them finish. And everything runs on ethical AI that respects creators.”
While LANDR Layers is currently in open beta, LANDR Blueprints is in a closed beta stage. Though, there are plans to allow public access to LANDR Blueprints in February. Once released, both tools will be available as part of the LANDR Studio subscription. Both tools will be demonstrated during this year’s NAMM.
 
The post LANDR’s Blueprints and Layers are AI tools that promise to inspire ”mix-ready” ideas appeared first on MusicTech.

Repair and Reverse-Engineering of Nespresso Vertuo Next Coffee MachinesWell there’s your problem. (Credit: Mark Funeaux, YouTube)
Akin to the razor-and-blades model, capsule-based coffee machines are an endless grind of overpriced pods and cheaply made machines that you’re supposed to throw out and buy a new one of, just so that you don’t waste all the proprietary pods you still have at home. What this also means is a seemingly endless supply of free broken capsule coffee makers that might be repairable. This is roughly how [Mark Furneaux] got into the habit of obtaining various Nespresso VertuoLine machine for attempted repairs.
The VirtuoLine machines feature the capsule with a bar code printed on the bottom of the lip, requiring the capsule to be spun around so that it can be read by the optical reader. Upon successful reading, the code is passed to the MCU after which the brewing process is either commenced or cruelly halted if the code fails. Two of the Vertuo Next machines that [Mark] got had such capsule reading errors, leading to a full teardown of the first after the scanner board turned out to work fine.
Long story short and many hours of scrubbed footage later, one machine was apparently missing the lens assembly on top of the photo diode and IR LED, while the other simply had these lenses gunked up with spilled coffee. Of course, getting to this lens assembly still required a full machine teardown, making cleaning it an arduous task.
Unfortunately the machine that had the missing lens assembly turned out to have another fault which even after hours of debugging remained elusive, but at least there was one working coffee machine afterwards to make a cup of joe to make [Mark] feel slightly better about his life choices. As for why the lens assembly was missing, it’s quite possible that someone else tried to repair the original fault, didn’t find it, and reassembled the machine without the lens before passing the problem on to the next victim.

Cranborne Audio unveil the Brick Lane MC4 As its name suggests, the Brick Lane MC4 comes equipped with four channels of Cranborne’s clever PWM compression, and offers a versatile selection of routing options.

Opusonix Review: A Cleaner, Smarter Way to Collaborate on Music Projects
As an audio engineer, a surprising amount of time is spent not mixing or mastering, but managing files, links, and feedback. Cloud storage folders multiply, email threads grow long, and important notes get buried. Even with good intentions, projects can quickly become fragmented. Opusonix is designed to remove that friction by combining file storage, structured [...]
View post: Opusonix Review: A Cleaner, Smarter Way to Collaborate on Music Projects

Duetti secures $200m in fresh financing, led by $50m Series C equity investment from The Raine GroupThe funding consists of a $50 million Series C equity round led by Raine Partners and a $125 million private securitization.
Source

It’s the return of a Hollywood legend – Neumann revives its M 50 V Tube MicrophoneLights, camera, action – it’s time to roll out the red carpet for the return of Neumann’s legendary M 50 Tube Microphone. Originally released in 1951, the microphone defined an era of classic orchestral recordings and film scores. Now, the microphone has been reimagined for the modern era. Enter: the M 50 V Tube Microphone.
The original M 50 Tube Microphone was heralded as a Hollywood gamechanger due to its innovative design. The mic utilised a small diaphragm omnidirectional capsule mounted inside of a 40 mm acrylic sphere, as well as opting for a durable titanium diaphragm to improve stability. Its design resulted in a unique polar pattern and top-notch response – making it the perfect option for live recordings.

READ MORE: I’ve fallen in love with ribbon mics all over again with Warm Audio’s Fen-tone

The M 50 also served as a pivotal microphone in the development of the Decca Tree recording technique, a multi-miking technique often used for choirs and orchestras for a well balanced recording. It was the key to capturing truly vivid, deep sound, with a brilliantly powerful bass response unlike any mic before it.
The modern rebirth of the M 50 V meticulously revives the original microphones’ inner workings, with a few tweaks to suit our contemporary world. One example is how the original circuit design adds in an ultra-low-noise subminiature tube and an RF-proof connector to aid with modern interference from mobile networks and WiFi.
Credit: Neumann
Neumann has also improved the mic’s original yoke mount. The new mount adopts elements for mechanical decoupling of the microphone, as well as a nifty cable holder to suppress any potential cable-related interference.
There’s also a special NM V power supply that can automatically adapt to your local mains voltage – which supports the new M 50 V as well as any original M50s you may have lying around.
Speaking on the rebirth of Neumann’s M 50, the company’s Portolio Manager, Jorma Marquardt, explains: “The M 50 V is handmade in Germany to original specifications, but with enhancements like a titanium capsule and improved mechanical decoupling in the yoke mount. It is the ultimate choice for orchestral recordings and film scoring, be it in stereo, surround, or immersive formats.”
“This reissue is not just a microphone — it’s a piece of recording history reborn,” Medzid Veseli, Head of Neumann Service and Quality Control, adds. “The production team and I take immense pride in crafting each unit by hand. Every component is meticulously inspected and assembled to deliver the legendary sound that professionals expect from Neumann.”
This isn’t the first time Neumann has revived an old icon. Back in 2022, the company notably reimagined another legendary 1950s microphone, the M 49.
Head to Neumann to pre-order now, with first shipments due to kick off in February.
The post It’s the return of a Hollywood legend – Neumann revives its M 50 V Tube Microphone appeared first on MusicTech.

Ed Sheeran Is Letting Fans Curate His Setlists. You Should Too. Ed Sheeran is letting fans curate five songs in his setlist on his current tour. Is this something all artists should take note of?
The post Ed Sheeran Is Letting Fans Curate His Setlists. You Should Too.  appeared first on Hypebot.

Brodinski on his sonic identity, production techniques, and new sample pack
In this exclusive interview, legendary producer Brodinski shares insights into his sonic identity, production techniques, and more.

FRCTL releases GRN Lite FREE granular effect plugin
FRCTL has released GRN Lite, a free granular effect plugin for Windows, macOS, and Linux. I’m always curious to try new granular tools, especially since some granular plugins can feel a bit intimidating at first, so I like searching for ones that instantly click with me. We recently covered Fractive, which is a more advanced, [...]
View post: FRCTL releases GRN Lite FREE granular effect plugin

Neve’s NAMM 2026 launches It’s clearly been a busy start to 2026 for Neve, who will have not one, but three new products taking pride of place on their NAMM booth.

“For where traditional loudspeaker monitoring is impractical or impossible”: Beyerdynamic debuts free Headphone Lab plugin for optimising audio monitoring through headphonesBeyerdynamic has unveiled Headphone Lab, a free new plugin which enhances the performance of its range of monitoring headphones, aimed at producers working “outside of acoustically treated rooms”.
Setting up a fully fledged speaker system in your home studio is often both a logistically challenging and costly endeavour, so many producers opt for headphone monitoring to keep things simpler. But as Beyerdynamic explains, where conventional headphones deliver isolated signals to each ear, Headphone Lab employs a “sophisticated crossfeed model” that accounts for frequency-dependent time and level differences, and ensures accurate bass reproduction without phase issues or artifacts.
This, the brand says, results in a “centred, natural soundstage ideal for critical listening, mixing and mastering”.

READ MORE: NAMM 2026 Live: The latest guitar launches and news from the biggest music gear event on the planet

Compatible with Beyerdynamic’s range of monitoring headphones, Headphone Lab ensures “accurate, reliable” mix translation by optimising the tonal balance of said headphones.

“Each model’s fundamental sonic character remains intact, but it is refined using a proprietary studio sound profile – a scientifically developed reference curve built from years of research and collaboration with professional studios,” Beyerdynamic says.
Each headphone model has a Standard Calibration, which is based on a “Golden Sample” reference unit landed on by the Beyerdynamic acoustics team. 
Credit: Beyerdynamic
There’s also Factory Calibration, which uses “original production measurement data” from an exact headphone unit, “compensating for even the smallest manufacturing or material variations”, resulting in a technically precise calibration for peace of mind that mixes will translate across playback devices.
“Headphone Lab reflects our commitment to making professional-quality monitoring accessible to every creator,” says Martin Stahl, Director of Pro Audio at beyerdynamic. 
“Our studio headphones have long been trusted as a professional reference. Headphone Lab builds on that foundation, using innovative and precise factory calibration technology to unlock their full potential wherever creators work.”
Credit: Beyerdynamic
Headphone Lab’s Standard Calibration supports all Beyerdynamic DT headphone models, while Factory Calibration is available exclusively for the DT 700 Pro X, DT 900 Pro X, DT 1770 Pro MKII, and DT 1990 Pro MKII.
Headphone Lab is available now as a free download for Windows and MacOS, and supports VST3, AU and AAX formats for integration with any major DAW.
You can learn more at Beyerdynamic, or visit Beyerdynamic at NAMM 2026 and Booth #10702 – Hall A.
The post “For where traditional loudspeaker monitoring is impractical or impossible”: Beyerdynamic debuts free Headphone Lab plugin for optimising audio monitoring through headphones appeared first on MusicTech.

“The world’s most advanced analogue dynamics processor”: Cranborne Audio’s new Brick Lane MC4 is a four-channel analogue dynamics powerhouseCranborne Audio has announced the Brick Lane MC4, a four-channel, 19-inch rackmount Modal PWM Dynamics Processor described as the brand’s “most powerful and flexible” to date.
Building on the innovative architecture of the Brick Lane 500, the MC4 expands the concept into a fully featured, digitally controlled analogue dynamics system designed for tracking, mixing, and mastering.

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At the heart of the MC4 is Cranborne Audio’s Modal PWM Compression architecture, which offers six distinct compression modes: VELVET, FLOAT, SMASH, TAME, GLUE and POLISH. The STRESS control adds analogue harmonic saturation that evolves dynamically with gain reduction, making compression as much a creative tool as a corrective one.
Each of the four channels can operate independently or as part of advanced routing configurations including Mono, Stereo, Mid/Side, Series, Dual-Band, and De-Esser modes.
Credit: Cranborne Audio
Series mode chains two dynamic stages for smoother gain control, Dual-Band splits frequencies for precise multiband processing, while the De-Esser mode – built around analogue lookahead – provides precise high-frequency control without loss of clarity.
Despite its advanced control capabilities, Brick Lane MC4 maintains a 100% analogue audio signal path. All parameters are digitally controlled for precision and recall, along with a 5” full-colour TFT display, LED rings, and encoders providing detailed visual feedback. Remote control and preset management are available via USB or Ethernet via Cranborne Audio’s dedicated control plugin, enabling seamless DAW integration and instant recall across sessions.
“Brick Lane MC4 isn’t just more channels or more features; it’s the most advanced analogue dynamics processor we’ve ever built, and one of the most advanced ever made,” says Cranborne Audio Managing Director Sean Karpowicz. “Discovering Analogue Lookahead was thrilling in itself, then applying it to compression, and then realising that the same technology could create what is quite possibly the best analogue noise gate and expander ever made – that’s the kind of invention we live for.”
Priced at $2,799/£2699, the Brick Lane MC4 will be available from Cranborne Audio resellers at the end of Q1 2026.
Learn more at Cranborne Audio.
The post “The world’s most advanced analogue dynamics processor”: Cranborne Audio’s new Brick Lane MC4 is a four-channel analogue dynamics powerhouse appeared first on MusicTech.