Maschine 3 is here after a decade — here’s what’s newAfter over a decade of waiting, Native Instruments has released Maschine 3, the newest version of its beat-making and sampling software. Oh, and it’s apparently pronounced ‘machine-ah’, by the way.
The major features added to the program include stem separation, MIDI editing upgrades, per-scene tempo adjustments, and Kontrol S-Series MK3 integration. Stem separation uses iZotope’s RX technology to break down any audio file into its various parts — prime for remixing or editing classic tracks into something new.
READ MORE: Our favourite new plugins, effects and VST instruments released this week
Moreover, the latest edition comes with Maschine Central, a library filled with new sounds, rhythms, and presets, giving you a bunch of tools to start making music quickly. In total, Maschine Central includes 103 sample packs spanning numerous genres and moods, 144 Kontakt instruments for original creations in any style, and 204 synth presets to get things started on the right note.
You’ll find stalwart Native Instruments soft synths in Maschine 3. The revered wavetable synth, Massive, is included, alongside Minimoog-syle synth Monark and physical modelling synth Reaktor Prism.
Outside software within the Maschine oeuvre, Maschine 3 comes with iZotope’s Ozone 11 Elements for at-home mastering.
Check out the full breakdown below.

On top of the new software, Native Instruments is offering discounts on Maschine hardware for a limited time. You don’t necessarily need Maschine hardware to run Maschine 3, but you’ll have more hands-on control with the software if you have a physical companion.
Until January 15, 2025, the following product discounts are available: Maschine Mikro for $199 ($50 off); Maschine MK3 for $499 ($100 off); Maschine Plus for $999 ($200 off). Maschine 3 also works without hardware for those who prefer creating on their laptops.
For those ready to make the upgrade to Maschine 3 there are several purchase options. The full bundle is $99 / €99 or $69 / €69 when updating from Maschine 2. Purchasing Maschine 3 on its own without Maschine Central or any additional software will run $29 / €29 to upgrade from Maschine 2. Finally, just the Maschine Central Sound Library is $49 / €49.
Learn more at Native Instruments.
 
The post Maschine 3 is here after a decade — here’s what’s new appeared first on MusicTech.

Get the ArcSyn Synthesizer by SPC Plugins for $17.99 (80% OFF)
Audio Plugin Deals have a brand new deal, among many others. Until November 20th, you can grab the ArcSyn Synthesizer by SPC Plugins for only $17.99. ArcSyn is $89 when not on sale, so this deal offers a big discount of 80%. Let’s take a look at what this synthesizer can do. At first glance, [...]
View post: Get the ArcSyn Synthesizer by SPC Plugins for $17.99 (80% OFF)

Sony’s MDR-M1 headphones give ​​a true picture of your mixes and masters£209, sony.com
We were blown away by the stunning clarity of Sony’s MDR-MV1 closed back monitoring headphones in 2023. Though they have dropped a little in price since then, they’re still around £400 – a little pricey for some producers who would value the insight they provide while mixing.
Aiming to widen the MDR audience, Sony has released the new MDR-M1s priced at £209. At around half the price, there are likely to be some differences and perhaps compromises, but will they be ones you can live with?

READ MORE: Sony’s MDR-MV1 headphones offer a stunning insight into your mixes and masters

The goal of the M1s is essentially the same as that of their more expensive counterpart – to provide a clean, neutral and accurate picture of your mixes and masters and a platform on which you can mix and master tracks safe in the knowledge that your audio is not being coloured by the headphones.
Reference monitors like these are different from other over-ear headphones which might have all kinds of bells and whistles; they really just do one thing.
As such, it’s a wired-only operation, with two 3.5mm cables of different lengths provided in the box plus a 6.3mm adapter. Only one of the two cups has a plug but it does feature a screw mechanism for securing the cable. The headphones are lightweight but also well constructed, weighing just 216g. Headphones such as these are often worn for long sessions of several hours so comfort is essential. Happily the M1s don’t disappoint on this front.
Image: Press
It’s not quite that you can’t feel you’re wearing them, but it’s not far off as they’re incredibly comfortable, not becoming overly warm or uncomfortable over time. The ear pads are made in very soft leather and are user-replaceable, which the more expensive MV1s don’t allow. The head band is adjustable of course and although the phones don’t fold down for transport, each one can be rotated sideways to free up one ear while listening with the other, a frequent requirement when recording parts in the studio.
The drivers are 40mm neodymium units and the phones have an “ultra wide” frequency response of 5 Hz to 80 kHz. As we noted in the previous review this is wider than the range of human hearing, but it does at least mean you know that every frequency will be reproduced with nothing missing – even if your ears can’t detect it. A relatively low impedance rating of 50 Ohms makes them pretty easy to drive.
The closed-back design means there’s little leakage except at the highest volumes. While some people believe open-backed models offer a more natural sound, they’re also impractical in many studio situations since they leak so much sound. Unlike a lot of high-end hi-fi headphones the MV1s don’t feel particularly closed. In fact, they have a convincing open character despite not being open-backed.
Image: Press
Another characteristic they possess is that they reveal in unsparing detail the different mixing and mastering treatments that tracks have undergone. While some consumer headphones, even the pricier models, can smooth everything out to a kind of uniform soundstage, the aim with reference headphones here is just the opposite. And in this they excel – a 70s funk album and an early 2000s electronic album for example have wildly different separation, gain and dynamics. Revealing this, of course, is the whole point of this kind of headphone.
In tests, the sheer cinematic breadth of Sigur Rós is on full display, pedal noises and all, while the pin-sharp perfect production of Joshia Redman’s 2023 jazz album Where We Are is something to behold. Busta Rhymes’ Extinction Level Event 2 fizzes with energy and fury. Clarity and detail are infectious, making you want to listen to music and work on it.
There are caveats, however. We can be so used to the aforementioned smoothing in consumer headphones that anything less than thunderous bass can initially feel lacklustre. The low end in the M1s is balanced rather than booming because this is a true picture of the recording. Your Beats Studio Pros will be all too keen to swamp you in bass but that’s not what these are for – the signal here is cleaner and more accurate.
Image: Press
There’s also a minor quibble with the M1s. One thing that wasn’t evident on the MV1s is an aggressive upper-midrange at the highest volumes. It’s not an issue until you go to around 85% of full volume – which is pretty loud – but then certain vocals or brass, or other things in that range, can become too prominent. It doesn’t have to be a problem as long as you’re aware of it and perhaps compensate a little for it when mixing or mastering at full volume. Still, the more expensive MV1s didn’t seem to have this problem.
There are many good reasons to use reference headphones for mixes and masters, be it needing to work in a space where there are neighbours or simply testing mixes for the headphones or earbuds that so many people listen on these days. Headphones designed for tracking or general use won’t necessarily offer the level of detail of true reference monitors like these, so it’s always worth using a pair designed for this task.
The price difference from the MV1s is significant – yet the M1s still offer an excellent listening experience, a clear, clean and balanced picture of your audio in a way that even good consumer headphones cannot.
Brightness at high volumes is a definite issue, though not a deal-breaker as long as you’re aware of it. Sony’s MDR-M1s represent a solid and worthwhile investment in your studio and your productions and are also a wholly pleasant way to listen to your music library too. If you’ve not mixed or mastered on reference headphones before, the Sony MDR-M1s will be a revelation.
Image: Press
Key features

Closed-back – designed for sound isolation
40mm dynamic neodymium drivers
50 Ohms impedance
Frequency response 5 Hz – 80 kHz
2 cables supplied (3.5mm to 6.3mm adapter supplied)
Weight: 216g weight
Swivel ear cups
Replaceable ear pads

The post Sony’s MDR-M1 headphones give ​​a true picture of your mixes and masters appeared first on MusicTech.

Turismo: Complete ALM/Busy Circuits Eurorack system Aimed at newcomers and experienced users alike, the Turismo has been designed to act as a fun and flexible instrument that can be played with minimal fuss and setup. 

SpaceX to launch Starship for the sixth time this monthSpaceX will conduct the sixth flight test of Starship, the largest rocket ever built, as soon as November 18 following the smooth success of the previous mission less than a month ago.  The high flight cadence is thanks, in part, to that success, which included the first-ever return of the Super Heavy booster to the […]
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Bitcoin gained 1,900% in Trump’s first term: Will BTC price hit $1M this time?Bitcoin could top $1 million per coin during Trump’s second term, according to historical price data.

Rapid Prototyping PCBs With The Circuit GraverWalking around the alley at Hackaday Supercon 2024, we noticed an interesting project was getting quite a bit of attention, so we got nearer for a close-up. The ‘Circuit Graver’ by [Zach Fredin] is an unconventional PCB milling machine, utilizing many 3D printed parts, the familiar bed-slinger style Cartesian bot layout and a unique cutting head. The cutting tool, which started life as a tungsten carbide lathe tool, is held on a rotary (‘R’) axis but can also move vertically via a flexure-loaded carriage driven by a 13 kg servo motor.
The stocky flexure took a lot of iteration, as the build logs will show. Despite a wild goose chase attempting to measure the cutting force, a complete machine solution was found by simply making everything stiff enough to prevent the tool from chattering across the surface of the FR4 blank. Controlling and maintaining the rake angle was a critical parameter here. [Zach] actually took an additional step, which we likely wouldn’t have thought of, to have some copper blanks pre-fabricated to the required size and finished with an ENIG coating. It’s definitely a smart move!
To allow the production of PCB-class feature sizes compatible with a traditional PCB router, the cutting tool was sharpened to a much smaller point than would be used in a lathe using a stone. This reduced the point size sufficiently to allow feature sizes down to 4 mils, or at least that’s what initial characterization implied was viable.  As you can see from the build logs, [Zach] has achieved a repeatable enough process to allow building a simple circuit using an SMT 74HC595 and some 0402 LEDs to create an SAO for this year’s Supercon badge. Neat stuff!
We see a fair few PCB mills, some 3D printed, and some not. Here’s a nice one that fits in that former category. Milling PCBs is quite a good solution for the rapid prototyping of electronics. Here’s a guide about that.

FLOSS Weekly Episode 808: Curl – Gotta Download ’em AllThis week, Jonathan Bennett and Randal Schwartz chat with Daniel Stenberg about curl! How many curl installs are there?! What’s the deal with CVEs? How has curl managed to not break its ABI for 18 years straight? And how did Daniel turn all this into a career instead of just a hobby? Watch to find out!

https://daniel.haxx.se/
https://curl.se/

Did you know you can watch the live recording of the show Right on our YouTube Channel? Have someone you’d like us to interview? Let us know, or contact the guest and have them contact us! Take a look at the schedule here.

Direct Download in DRM-free MP3.
If you’d rather read along, here’s the transcript for this week’s episode.
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Hollywood Music in Media Awards Announce 2024 NominationsNovember 6, 2024 –The Hollywood Music in Media Awards (HMMA) today announced the 2024 nominees for scores and songs in film and other visual media categories. The 15th Annual Hollywood Music in Media Awards (HMMA) will be held on November 20, 2024 at The Avalon in Hollywood, CA. The HMMA honors composers, songwriters, and music supervisors around the world for their contributions over the previous year in music for film, TV, video games, and more.

Nominations highlights include:

EMILIA PÉREZ received 5 HMMA nominations; BLITZ received 3 HMMA nominations; THE WILD ROBOT, MOANA 2, and WICKED each received 2 HMMA nominations

Song Nominees Include: Elton John and Brandi Carlile; Diane Warren; Abigail Barlow and Emily Bear; Pharrell Williams; Miley Cyrus; Taura Stinson, A.R. Rahman; Savan Kotecha; Shane McAnally; Kristen Wiig; Linda Perry, among many others.

Song – Onscreen Performance Nominees Include: Zoe Saldana, Timothée Chalamet, Cynthia Erivo, Saoirse Ronan, Nicholas Galitzine and Anne-Marie

HMMA nominated composers and songwriters include Clément Ducol, Camille, and Jacques Audiard; Nicholas Britell, Steve McQueen, and Taura Stinson; Trent Reznor, Atticus Ross, and Luca Guadagnino; Jon Batiste, Volker Bertelmann, Kris Bowers, John Debney, Michael Giacchino, Tom Holkenborg, Alberto Iglesias, John Powell, A.R. Rahman, Rob Simonsen, Hans Zimmer, among others.

This year, the HMMAs will honor legendary lyricist Bernie Taupin with the prestigious Outstanding Career Achievement Award.

Several of the nominated HMMA songs will be performed live during the HMMA awards ceremonies on Nov. 20.

Tickets are available now at: https://www.tickettailor.com/events/2024hmmawards/1419072The post Hollywood Music in Media Awards Announce 2024 Nominations first appeared on Music Connection Magazine.

Native Instruments Maschine 3 software Native Instruments have announced the launch of Maschine 3, the latest version of their popular groovebox-style beatmaking and sampling platform.

Jon Platt accepts International Executive of the Year honor, pays tribute to Sony Music Publishing, the songwriting community and more at MBW’s Music Business UK AwardsYesterday evening (November 5) saw MBW's Music Business UK Awards take place in Covent Garden, celebrating the very best that the UK music biz has to offer.
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Believe, TuneCore respond to $500M UMG ‘industrial scale’ infringement lawsuitBelieve has responded to the UMG lawsuit alleging that it and DIY arm TuneCore have engaged in “industrial-scale" copyright infringement and asking for $500 million in damages.
The post Believe, TuneCore respond to $500M UMG ‘industrial scale’ infringement lawsuit appeared first on Hypebot.

MixWave’s Overdrive Guitar Stomp Plugin is FREE for a Limited Time Only
MixWave is currently offering the Overdrive guitar pedal plugin for free for a limited time only.  Overdrive is a MacOS and Windows 64-bit release for VST3, AU, and AAX formats.  A free iLok account and iLok License Manager are required to install the plugin.  MixWave says the plugin is inspired by a classic stomp developed [...]
View post: MixWave’s Overdrive Guitar Stomp Plugin is FREE for a Limited Time Only

Paradise Worldwide wants to help Gen AI platforms become licensed – and get rightsholders paid in the processCompany claims to be the "only Independent All Rights Distributor" with its own AI department
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All you need to know about Cubase 14: New features, reactions, pricing, and availabilitySteinberg has launched its latest iteration of Cubase, with new features and enhancements “designed to inspire”.
Cubase 14 is available immediately, and as usual, consists of three different versions: Cubase Elements is designed for those taking their first steps into production, with Cubase Artist intended for intermediate-level users, and the fully comprehensive Cubase Pro bringing all the features used on “countless, well-known recordings by high-profile artists”.

READ MORE: Best DAWs in 2024 for making music in all genres, styles and workflows

“Cubase 14 is designed to inspire creators to explore their creativity without limits,” comments Senior Marketing Manager, Matthias Quellmann, in a press release. “Guided by our Creativity First philosophy, Cubase 14 encourages producers to experiment, innovate, and take their music in exciting new directions.”
Given that Cubase 13 was awarded 10/10 in our 2023 review, we’re eager to take a look at all that’s on offer in its latest version. So, let’s dive in.
New features
Cubase 14 introduces six “intuitive” Modulators for its Pro users, which allow you to modulate any parameter of a track or channel that contains an audio signal. It also introduces the Drum Track, a new addition to Cubase’s track types. This is an “all-in-one environment” for the creation of complex drum patterns and offers comprehensive features that allow users to build custom drum kits (Pro and Artist).
The full MixConsole can also now be opened in the Lower Zone of the Project window, allowing channels to be rearranged via drag and drop (all versions). The event volume curve editing has been enhanced, so that users can optimise their audio with draw tools, and new effects include Shimmer (a reverb plugin), StudioDelay (an easy-to-use delay with access to built-in effects like modulation, distortion, reverb, and pitch), and Autofilter, which is designed for modulating its cutoff frequency via the input track or sidechain signal – all for both Pro and Artist users.
Cubase 14 also introduces Underwater, a new signal processor for building atmosphere and space for vocals or lead instruments with the “party next door” effect, and there’s a revamped Score Editor built on technology from Dorico too (all versions).
Take a closer look at the DAW in action below:

Reactions
Though Cubase 14 has only just landed, reactions among the community so far seem rather positive. Early trials bring praise for its new modulators, and for its simple upgrades, such as the ability to re-order channels from the mix console.

Dom Sigalas states of its new modulators, “I wanted something like this in Cubase for a while.. It’s not just here it’s made in the best way possible, the best implementation I’ve ever seen.”

Pricing and availability
Cubase 14’s Pro, Artist and Elements versions are now all available from resellers and directly via Steinberg online. Cubase Pro is priced at 579 euros / 579.99 US dollars, with Artist at 329 euros / 329.99 US dollars. Elements is just 99.99 euros / US dollars. Prices may vary according to location.
Customers who activated any tier Cubase Pro 13 or earlier versions from 9 October 2024, are eligible for a free, downloadable grace period update for their particular version.
To find out more or purchase now, head over to Steinberg.
The post All you need to know about Cubase 14: New features, reactions, pricing, and availability appeared first on MusicTech.