Get Morso, a distortion and tone shaping effect by FedDSP, for FREE in a LIMITED time offer
Starting today, FedDSP will release a brand new plugin every week, with each plugin being free for the first seven days. Morso is the first in line and can be downloaded for free until March 17th. It is available in VST3, AU, and AAX formats and works on both Windows and macOS. Oh, and this [...]
View post: Get Morso, a distortion and tone shaping effect by FedDSP, for FREE in a LIMITED time offer

Duck 2 from Devious Machines Devious Machines’ popular envelope-shaping tool has just been kitted out with an improved envelope editor, a new multiband section, additional presets and a whole host of other enhancements. 

Steinberg’s Absolute 7 is its most comprehensive virtual instrument collection everAbsolute 7 has arrived, bringing a number of new instruments and features to Steinberg’s comprehensive virtual instrument library.
Absolute is essentially all of Steinberg’s VST instruments wrapped up into one convenient package. Designed for pretty much every musical use case – from orchestral scores to electronic beats – Absolute 7 is loaded with 35 virtual instruments, 194 GB of sound content with over 8,000 presets spanning a range of genres, and like the previous version of Absolute, Steinberg’s HALion 7 sample and synthesis platform, too.
Naturally, it’s compatible with all major DAWs, too, with “seamless integration” in particular with Steinberg’s Cubase, Nuendo and Dorico platforms.
What’s new in Absolute 7?

Absolute 7 features a number of new additions, including comprehensive virtual instruments spanning beat-making, electric guitar, piano, orchestras, lo-fi sounds and everything in between. Including the new instruments, Absolute 7 is packed with 35 professional-quality virtual instruments to play with.
Beatmakers will be overjoyed with the inclusion of Groove Agent 6, the latest version of Steinberg’s comprehensive virtual groove and beat-making environment. Now supporting resizing to accommodate any workflow, Groove Agent 6 features 47 newly sampled acoustic drum kit sounds, plus an all-new acoustic Punch Kit for dynamic drum sounds.

Next up, designed in partnership with Soundiron is Axe Machina, a powerful 7-string electric guitar library for HALion 7. This instrument lets you play with open and muted notes, power chords, harmonics, pick scraps and even an auto-strum function – everything you need to craft raw, authentic-sounding, metal-ready guitar tracks.

There’s also two new piano instruments: Etude, sampled from a “world-class” Yamaha C3X grand piano with 18GB of chromatic samples, 12 dynamic layers, four mic positions and adjustable resonances; and Verve, described as a felt piano blended with field recordings from glass, metal, electric distortion and more for cinematic sounds and “dreamy soundscapes.

You’ve also got the Orchestra Colors – which comes loaded with a number of Hollywood-ready presets including string textures, brass ensembles and choirs – Carrier8, a new expansion for Steinberg’s FM Lab by sound designer Stéphane Garganigo, lo-fi instrument Colors Lofi Tapes, Fractured, an expansion for Steinberg Backbone offering new “glitchy distorted drum sounds” and more, and finally Vintage Classics, which offers hundreds of presets for Steinberg’s Retrologue soft synth.

Of course, these new additions join an already-massive collection of virtual instruments covering all the bases you’ll need as a composer or producer.
Pricing & availability
Absolute 7 is available now, priced at £414 for new users. Existing Absolute 6 users can enjoy an upgrade to the latest version for £83, while users of Absolute 5 and below can get Absolute 7 for £165.
There’s also a number of crossgrade options for users of other eligible Steinberg products, as well as an education discount for students, in which Absolute 7 is available for just £207.
To learn more about what’s included in the latest edition of Absolute, head to Steinberg.
The post Steinberg’s Absolute 7 is its most comprehensive virtual instrument collection ever appeared first on MusicTech.

Johnny Keirle on amplifying the Super Bowl halftime show: “I’ve fought really hard to create a proper audio concert experience”Over 120 million people tuned in to watch Bad Bunny honour Latin America with his Super Bowl halftime performance. But for the 68,500 people lucky enough to see the show live at California’s Levi’s Stadium, Johnny Keirle was there to ensure the audio honoured the moment.
Keirle is a freelance audio system engineer who has run sound for everyone from Adele to Rüfüs Du Sol. When he dials into our video call, he’s taking a quick break during prep for Rosalía’s LUX world tour.

READ MORE: “You could work for 10 years on a Sphere show if you wanted to”: Inside the creation of Illenium’s odyssey

2026 was Keirle’s fourth Super Bowl, and until he came on board, the NFL placed the bulk of its audio emphasis on the broadcast. He sought to change that.
“Since I’ve come in, I’ve fought really hard to step things up—to have a proper audio concert experience, rather than just having sound reinforcement out on the field,” Keirle says.
Keirle designs the temporary PA system for the halftime show. That includes choosing the exact speaker specifications that will provide complete sound coverage for the in-house audience. He also communicates with the National Football League (NFL) and ATK, the Super Bowl’s in-stadium audio provider for over 30 years, on how best to operate the sound in the wake of the massive, intricate production.
This year, because Levi’s Stadium is open-air, Keirle had the speakers on carts rather than flying the speakers from the ceiling. This opened more lines of communication to other personnel, such as groundskeepers who maintain the field, and team managers who are responsible for everyone on the sidelines during the game.
Image: Johnny Keirle
“There are a lot of things I have to approach differently to put the TV side first, which is strange,” Keirle admits. “I have to make compromises in terms of where I can position things and what sort of weight capacities I can have.”
These restrictions make it essential for Keirle to build a virtual mockup of the sound system long before any live implementation. That way, he can send proposed technical breakdowns to the NFL, ATK, and any other parties involved and make changes based on their notes with a few clicks instead of having to move carts and put down new placement markers on the field.
“The vast majority of my design and advanced work is in this prediction software,” Keirle says. The software in question is Soundvision, by French audio manufacturer L-Acoustics. With this program, Keirle can use the precise specifications of the stadium, sound rig, and placements to simulate how the audio will cover the actual performance.
“I’m so familiar with it. I’ve been using it for so many years that I’m very confident and comfortable with the interpretation of the data it gives me,” Keirle says. Having that confidence can ease the minds of the higher-ups overseeing the billion-dollar operation.
“It was quite a bit of uncertainty for everybody involved going back from a flown system to a ground-based system. Because I was able to show them in the mapping software the performance capabilities relative to what we’d had in the previous years, it offered them comfort as well,”  Keirle says. “That’s a consideration too: Make sure that the people paying for everything have confidence in what you’re putting in.”
Image: Johnny Keirle
Keirle also uses L-Acoustics loudspeakers for the event, which are easily compatible with Soundvision. In total, there are 18 carts positioned around the field, which is broken up into four quadrants. Each cart has two KS28 subwoofers, two K1-SB subwoofers, and either four or five K2 line arrays. Some carts also have A15 wides as fills.
“Each [cart] had slightly different configurations in terms of how they were deployed. So, obviously, every cart has to go in a specific place. There can’t be any jumbling,” Keirle says. He’s been using these speakers since he came on to the Super Bowl in 2022, so when they switched over to carts, they built them specifically to hold these components.
“The carts were modified for these loudspeakers. The K1SB subwoofers mechanically pin into the cart, which makes it a lot more stable to move. I chose the K2 loudspeakers because of the flexibility they offer in terms of vertical coverage and horizontal coverage. I can steer and project the sound energy with a lot of flexibility compared to some other loudspeaker options.”
Once the audio layout was approved by the NFL and all the other parties, everything came down to making the show happen in such a short amount of time. Keirle was supervising over 100 people specifically for the carts: five local crew per cart, members of the ATK team, and his own trusted engineers looking after each quadrant. They needed to move them on the exact pre-planned route, ensure the placements are correct, and be available to handle any troubleshooting in the moment.
However, despite the tremendous amount of effort in the minutes during setup and teardown, the huge amount of rehearsal time makes Game Day itself feel like autopilot. At a standard concert tour, the artist’s crew and local stagehands build the stage and audio at every stop and then take everything down at the end of the night. This time, Keirle and the rest of the crew rehearsed for weeks. The physical act of bringing everything on the field and taking it off after is itself rehearsed for a full week.
Image: Johnny Keirle
“I’m used to always being on my toes and always being in a rush. The Super Bowl’s quite the opposite. You seem to have all the time in the world,” Keirle says. Plus, due to how unbelievably crucial it is that the audio not be disrupted during the broadcast, they are only working with live vocals and a backing track. They want as few audio elements as possible, and Bad Bunny’s team isn’t involved with the audio production at all.
“In any other situation, touring engineers will have a lot of involvement. With the Super Bowl, they’re not allowed to operate anything directly,” Keirle says. “Their production manager came out and walked the venue with me to listen to the PA. You’ll often get that sort of thing, so people in the production camp can answer any questions the artist may have. But generally speaking, they don’t have any active involvement.”
As the hundreds of millions of people watching on TV and the tens of thousands in the crowd will attest, there were no sound issues. Now, Keirle is already submitting designs for Super Bowl 2027 in Los Angeles, where he plans to continue to push the boundaries of the show.
“Last time they were in that stadium, they used the house system, and it didn’t seem to be problematic at all, but it’s not as good as what we’ve been getting. So, instead of them just saying, ‘Well, it was good enough last time,’ which was only five years ago, they’ve already asked me to put together some numbers,” Keirle says. “Which is great. It shows that the NFL sees the value in what we’re bringing to the table.”
The post Johnny Keirle on amplifying the Super Bowl halftime show: “I’ve fought really hard to create a proper audio concert experience” appeared first on MusicTech.

Is the Akai MPC Live III the ultimate standalone production centre?£1,398 / €1,579 / $1,699, akaipro.com
It’s been nearly ten years since Akai’s return to standalone production hardware. The original MPC Live and its 2020 follow-up grew to become beloved classics among MPC users, and the platform is now into its third generation — and one that, on paper at least, looks like the most fully realised version yet.

READ MORE: Is the Akai MPC One+ still worth buying in 2026?

My last encounter with a standalone MPC was the One+, and while I’m awed by just how deep it can go, significant workflow friction makes it unlikely I’d ever ditch my MacBook-Ableton pairing for good.
However, the MPC Live III promises an even-more powerful, expressive take on computer-free production, boasting a built-in microphone, X/Y-sensitive pads, dedicated sequencer controls, and a beefed-up CPU. Flashy new features aside, a familiar question remains: can the MPC workflow ever feel truly effortless?
Image: Press
Is the MPC Live III portable?
Resting on my desk, the MPC Live III quietly exudes an air of authority, its beautiful black finish and vibrant controls feeling distinctly pro-grade.
It includes an internal battery that Akai says lasts around three hours with typical use. I probably wouldn’t rely on that on stage, but it’s enough to fuel an outdoor sketch session or some bedtime beatmaking. In theory, this is a machine built to travel.
But in practice, the Live III is not exactly small. It’s too large for most backpacks, and at 3.9 kg, it has surprising heft.
For fear of attracting unwanted attention with an open carry, I dig out an old weekend holdall to transport the Live III to my studio. If anyone did try to rob me on the way, I suspect it’s sturdy enough to double as a fairly effective defensive implement.
Image: Press
Is the MPC Live III built-in microphone usable?
I’ve taken the Live III to my studio so I can record an upright piano using the device’s new built-in microphone. It’s unlikely to replace a proper condenser for serious vocal tracking, but it’s more than usable for capturing instruments. Its immediacy feels like sampling a voice note on my iPhone, which suits the MPC ethos surprisingly well.
I noodle on the piano and guitar, grabbing loose sketches to chop to the pads in classic MPC fashion.

I’m already familiar with the MPC slicing workflow thanks to my time with the One+, and it takes just a few minutes to assign the chops, sketch a small idea, and do a rudimentary mix job complete with colouring effects and sidechain ducking.

Alongside the mic, the Live III includes onboard speakers — which sound markedly better than its predecessor’s, according to online user reports. In any case, they far surpass my tempered expectations, with remarkable low-end presence and an exciting, punchy response.
I was prepared to write both the speakers and mic off as gimmicks, but they turn out to be incredibly compelling features. It’s genuinely liberating to be able to capture an idea instantly without reaching for a mic, cables, or even headphones.
Image: Press
What are the MPC Live III pads like?
Perhaps the major headline of the Live III is MPCe, Akai’s new ‘3D sensing’ technology that introduces X/Y finger detection to its velocity- and aftertouch-sensitive pads. The most obvious application for this is for finger drumming, where each pad’s quadrants trigger different articulations like flams, repeats, pitched rolls.

MPCe’s real depth emerges in the Modulation Matrix, where I route X to Pitch and Y to Filter Cutoff for my hi-hats, creating subtle movement and variation before applying this to a full beat.

The instrument goes pretty deep here, if you’re willing to put in the effort. You can assign up to eight samples to a single pad and morph between them by sliding your finger — a powerful tool for creating evolving textures and hybrid sounds.

But this is also where the familiar MPC workflow friction creeps back in. You can’t simply throw these kinds of patches together on the fly — configuring them involves navigating multiple screens and menus, and the process sometimes feels like more hassle than it’s worth.
I also can’t help but feel Akai has missed a trick here. Currently, a pad’s X/Y information can only be used as a modulation source within Drum Programs. If it could be freely routed to synth plugin parameters, the Live III’s potential for sound design would expand dramatically.
Image: Press
How does the MPC Live III sequencer work?
One of the Live III’s most welcome additions is its row of step sequencer buttons. While the pad-based sequencer mode on previous MPCs got the job done, these dedicated controls feel much more immediate.
The sequencer supports several approaches: classic TR-style grid sequencing, step-by-step pad input, or granular per-step editing via the screen that includes probabilistic triggering. It’s also capable of polyrhythmic ideas thanks to the Last Note function, although these reset to the beginning once you reach the end of the Sequence so they won’t cycle indefinitely.

In fact, the step sequencer might be the biggest win. Ideas come together quickly, there’s far less menu diving involved than before, and — most importantly — it’s fun to use.
The physical buttons themselves are the only shortcoming. They’re wide but actuate centrally, and they feel a little wobbly unless you hit them dead-on. The Live III’s other control buttons, however, feel superb and I wish they’d used these across the board.
Image: Press
How powerful is the MPC Live III?
Compared to its predecessor, the Live III has been significantly bolstered under the hood. RAM has jumped from 2 GB to 8 GB, and Akai says the CPU is four times as powerful.
These upgrades are tangible. The Live III can now handle up to 32 instrument plugin tracks and 16 stereo audio tracks versus the Live II’s eight of each. For the first time, the standalone MPC experience has enough raw power to rival a modest laptop setup.
The extra grunt also enables higher-quality FFT-based timestretching, and brings Akai’s Stems Pro separation — previously limited to the desktop MPC software — directly into the hardware. I test it on 30 seconds of a popular dance track, where it takes about 90 seconds to do a reasonable job, but I’d probably opt for a desktop tool for the best (and quickest) result.
When I reviewed the MPC One+, I was frustrated to find certain features — namely the Ableton-style clip launching — locked behind the expensive MPC Pro Pack add-on. Thankfully, the Live III includes this functionality from the get-go, along with 30 GB of factory content, 24 different synth engines, and a multitude of effects. They sit comfortably on its larger 128 GB onboard storage, reducing reliance on memory sticks and SD cards that felt almost mandatory with the Live II’s modest 16 GB drive.
Connectivity has improved too, with the stereo TRS inputs replaced with combination XLR/TRS sockets offering phantom power. While there’s also a stereo phono connection for turntables, I would have liked an extra pair of line inputs for more complex setups, but the Live III does support class-compliant interfaces if you need extra I/O.
Image: Press
Alternatives to the MPC Live III
At around £1,400, the Live III sits firmly in premium territory, which means the competition is serious.
The Ableton Push 3 Standalone costs a similar amount and may feel more intuitive if you’re already embedded in the Ableton Live ecosystem — though in terms of sheer onboard features, the MPC Live III arguably offers more.
At £839, the Maschine+ presents a cheaper standalone option. Striking a middle ground between sampler, groovebox, and hardware controller, it also ties neatly into the Native Instruments ecosystem for sound libraries and instruments.
Sound designers could also look at Elektron devices like the Tonverk or Digitakt II. They’re not exactly all-in-one production hubs like Live III, but their sampling, sequencing, and processing capabilities may feel more inspiring to those who prioritise experimentation.
Image: Press
Should I buy the MPC Live III?
Once again, Akai leaves me conflicted: impressed but not converted, inspired yet sometimes frustrated.
The new MPCe pads make the Live III the most expressive standalone unit to date, while the dedicated step sequencer elevates its pattern-building workflow to pole position.
The MPC operating system remains deep and fully featured — arguably surpassing all competitors in that regard — but it remains stubbornly menu-driven. More than ever, the hardware encourages spontaneity, but the OS still demands your patience, and that’s perhaps where my core frustrations lie.
At £1,400, it’s also impossible to ignore that a computer, interface, DAW, and MIDI controller could be assembled for less, and would offer greater flexibility. Of course, that argument applies to plenty of standalone gear. The appeal here is a self-contained production hub designed to replace the laptop altogether. Through three generations of thoughtful refinement, Akai has certainly come close to achieving that.
If price is no object, the Live III might be the most complete standalone groovebox yet, but you’ll need to invest more than money — unlocking its full potential requires significant time and patience too.
Image: Press
Key Features

16 velocity- and pressure-sensitive MPCe pads with 3D sensing
16-button step sequencer
6.9-inch LED touchscreen
Built-in speaker and microphone
Includes a range of bundled samples, instruments, and plugins
Includes stem isolation and MPC Pro Pack features
8-core ARM processor, 8 GB RAM, 128 GB onboard storage
WiFi and Bluetooth file transfer
Ample connectivity options

The post Is the Akai MPC Live III the ultimate standalone production centre? appeared first on MusicTech.

This Artist-Run Record Label is Competing with the Majors in a Big WayThis week, Ari is joined by Michael Turner, founder of Rebellion, to discuss viral marketing, short-form content, and new artist-first label models.

NatLife Sounds Melodic & Progressive for U-he DivaNatLife Sounds proudly presents the newest Melodic & Progressive soundset for U-he Diva created by talented House producer – VVOKAA. This is a groovy full-size preset pack for a legendary synth U-he Diva created to bring you the best analog-sounding presets. Melodic & Progressive for U-he Diva delivers 70 high-quality original presets for groove-based music genres such as Melodic, Progressive, Deep, Organic, Tech House and Trance. The sounds inside this pack sound truly analog due to the use of various analog-simulating filters and envelopes inside the Diva.Try this pack to enhance your musical ideas with powerful bass, lead, and melodic pluck sounds. Inside you'll find 70 presets for U-he DIVA: 18 Groovy Bass Presets. 16 MelodicPluck Presets. 27 Original Lead Presets. 9 Pad Presets. Presets include Mod Wheel assignments for intuitive and expressive sound shaping. Read More

Symphonic Launches Fifth Annual Women Empowered+ Mentorship ProgramSymphonic, the leading music technology and services company for independent labels, managers, and artists, announced this week that it is "celebrating Women’s History Month by opening applications for its annual Women Empowered+ mentorship program. Mentees can apply today through March 23 to be paired up with established professionals in their area of focus."

Mentors participating in this year’s program include:

Kassandra Robinson, Associate Manager, Label Partnerships, Spotify

Sarah Davis, Director, Global Client Services & In-House Forensic Musicologist, Downtown Music Publishing

Mayra Vargas, VP, Publishing Sync, Concord Music Publishing

Bianca Alarcon, VP of Content Development, Spanish Broadcasting System

Juliette Leparrée, Business Development Manager, Music Story

Bilarys Ramirez, Comptroller (Accounting), Rimas Publishing

Ellen Truley, Chief Marketing & External Affairs Officer, The MLC

Isabel Echeverri, Strategic Partner Manager, Music Label Partnerships, Meta

Laurie Jakobsen, Founder & President, Jaybird Communications

According to a statement, "Additional mentors are also participating from companies including Audiomack, Chartmetric, Cinq Music, FUGA, M for Montreal, Sony, We Make Noise, and more."

"Now in its fifth year, the Women Empowered+ mentorship program has already welcomed 1,011 total participants, connecting 306 mentors from companies across the music industry with 705 mentees spanning 181 cities and 46 countries across the U.S., Mexico, Latin America, South America, Europe, Canada, Asia, and Africa."

"The Symphonic Women Empowered Mentorship Program has been an incredible experience. I’m so grateful to have been paired with my mentor, Maria, who’s shared invaluable advice from both her career and life experiences," Stephanie Falvo Liang, Senior Manager, Artist Relations, Business Development, told MC. "She’s truly gone above and beyond to support me and help shape my next steps. I’m excited to continue our mentor-mentee relationship."

“Having Maya Brown as my mentor has been an incredible experience and a perfect match,” said Patrice Ware, a Music Supervision & Licensing Manager and a mentee in last year’s program. “She’s challenged me with real-world mock assignments in sync, helped me sharpen my critical thinking, and taken the time to walk through new concepts while answering all my questions. I’m grateful to be part of this program and hopeful it opens new doors for me in the music business.”

“Mentoring for Symphonic’s Women Empowered+ mentorship program was honestly one of the best parts of my year,” said Stephanie Santiago-Rolón, Chief Executive Officer at Elevated Music Industries and a mentor in last year’s program. “Sitting with brave, ambitious women and cutting through the noise to talk about real strategy and real doubt felt grounding and energizing. Watching them refine their vision and step more boldly into leadership reminded me why community matters so much in this industry. This program creates space for honest conversation and meaningful growth. I walked away inspired and even more certain that when women support women, everything changes.”

“Five years into running this mentorship program, I am incredibly proud of the meaningful connections we’ve been able to facilitate across the music industry,” said Janette Berrios, VP of Corporate Marketing at Symphonic. “What started as an idea that Ana Maria Gamboa and I launched together has grown into a global community of women supporting one another through mentorship, guidance, and shared experience. The feedback we receive each year reinforces how important it is to continue expanding the program and advocating for female empowerment.”

Those who are interested in applying as mentors or mentees can read more about the program requirements and submit their application at symphonic.com/women-empowered.The post Symphonic Launches Fifth Annual Women Empowered+ Mentorship Program first appeared on Music Connection Magazine.

Kalshi suffers court loss in Ohio over sports betting lawsuitThe prediction markets platform argued for an injunction against Ohio authorities, claiming that federal commodities laws superseded state laws on sport event contracts.

Google and Tesla think we’re managing the electrical grid all wrongThe duo have teamed up with other companies to launch Utilize, which seeks to change how the grid is used and regulated.

There Are No LEDs Around the Face of This ClockThis unusual clock by [Moritz v. Sivers] looks like a holographic dial surrounded by an LED ring, but that turns out to not be the case. What appears to be a ring of LEDs is in fact a second hologram. There are LEDs but they are tucked out of the way, and not directly visible. The result is a very unusual clock that really isn’t what it appears to be.
The face of the clock is a reflection hologram of a numbered spiral that serves as a dial. A single LED – the only one visibly mounted – illuminates this hologram from the front in order to produce the sort of holographic image most of us are familiar with, creating a sense of depth.
The lights around the circumference are another matter. What looks like a ring of LEDs serving as clock hands is actually a transmission hologram made of sixty separate exposures. By illuminating this hologram at just the right angle with LEDs (which are mounted behind the visible area), it is possible to selectively address each of those sixty exposures. The result is something that really looks like there are lit LEDs where there are in fact none.
[Moritz] actually made two clocks in this fashion. The larger green one shown here, and a smaller red version which makes some of the operating principles a bit more obvious on account of its simpler construction.
If it all sounds a bit wild or you would like to see it in action, check out the video (embedded below) which not only showcases the entire operation and assembly but also demonstrates the depth of planning and careful execution that goes into multi-exposure of a holographic plate.
[Moritz v. Sivers] is no stranger to making unusual clocks. In fact, this analog holographic clock is a direct successor to his holographic 7-segment display clock. And don’t miss the caustic clock, nor his lenticular clock.

Universal Music Nordics restructures, unifying units in Denmark, Norway, Sweden, Finland, and Baltics under ‘One Nordic’ modelBig news today from Universal Music Nordics, a division of Universal Music Central Europe, which has unveiled a new operational structure.
Source

Aspen Instruments releases Black Diamond Distortion, a FREE plugin that can emulate any distortion
Aspen Instruments has released Black Diamond Distortion, a free distortion plugin with a wild concept. It can basically simulate any other distortion, whether it’s software or hardware. This is the developer’s first release, and it comes with a companion plugin called Black Diamond Probe that can reverse-engineer the distortion character of almost any hardware or [...]
View post: Aspen Instruments releases Black Diamond Distortion, a FREE plugin that can emulate any distortion

discoDSP releases Retromulator, a free ROM-based hardware synthesizer emulation
Developer discoDSP just released Retromulator, a hardware synthesizer emulation plugin featuring seven classic synths for that retro goodness. But there’s a twist! Retromulator uses cycle-accurate emulation. It’s not a soft synth programmed to sound like these classic units; it runs the actual machines’ firmware while emulating the chips and bits to get as close to [...]
View post: discoDSP releases Retromulator, a free ROM-based hardware synthesizer emulation

Stereo Miking: The Sound On Sound Guide Designed for recording engineers, audio-technology students and technically minded musicians, our latest free eBook delivers a comprehensive all-in-one guide to stereo miking techniques.