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PRS Guitars Announces 2025 SE Series LineupPRS Guitars today announced the 2025 PRS SE Series lineup, bringing sophisticated new instruments, new colors, updated player-centric appointments, and new left-handed signature models to players.
NEW MODELS
2025 brings two stunning new electric models to the PRS SE Series with the PRS SE Custom 24-08 Quilt and the PRS SE Custom 24 Semi-Hollow Piezo. While the SE Custom 24-08 is an aesthetic update, the PRS SE Custom 24 Semi-Hollow Piezo is an all-new instrument for players seeking acoustic and electric tones in one instrument.
“Veneering is an artform our partners have mastered and branching out into more veneer materials like quilted maple, and further developing our staining operations, brings visual art to players while we also continue to advance the tactile elements of guitar making at PT Cort,” said PRS Guitars Chief Operating Officer, Jack Higginbotham. “Meanwhile, the SE Custom 24 Semi-Hollow Piezo model represents our continued quest to bring innovation, sophisticated versatility, and value regardless of where a guitar sits inside of our lineup. The piezo system developed with Lloyd Baggs and his team truly shines in this guitar.”
Also debuting for 2025, the PRS SE T60E is the newest addition to the SE acoustic-electric family’s Tonare Grand body shape. Built to exude full, vintage tone, the SE T60E pairs ziricote back and sides with a solid spruce top, PRS hybrid “X”/Classical bracing and a PRS-voiced Fishman Presys VT pickup.
LEFT-HANDED SIGNATURE GUITARS
As teased earlier this year, three new left-handed signature models are also now available: PRS SE Silver Sky, PRS SE Silver Sky Maple, and the PRS SE Zach Myers.
“We put years into creating guitars that meet the exacting specifications from our Signature Artists. For them to attach their name to a model means it must be everything they need and everything other players, from beginner to pro, will need,” said PRS Guitars Director of Artist & Community Relations, Bev Fowler. “We are pleased to finally offer these two artist models for left-handed players.”
UPDATED APPOINTMENTS & NEW COLORS
Updated appointments and new colors across much of the lineup also continue to elevate the playing experience of the PRS SE Series. For 2025, many of the guitars in the SE Series will now feature lampshade knobs (replacing speed knobs), and guitars that sport a 5-way blade electronics switch will be upgraded to PRS’s proprietary flat-tip switch design. Both of these designs are modeled after appointments found on PRS’s Maryland-made electrics and give players a more ergonomic, player-friendly experience.
“We are happy to bring our latest efforts to the guitar-player community. It almost feels like we are presenting a song we wrote instead of a guitar we’ve designed. It’s a personal effort and our team has all the right kinds of pride around sharing these new instruments and enhancements. Paul can often be heard saying ‘this is our time,’ and I feel that across the spectrum of our instruments, from our Maryland-made guitars through our SE Series,” said PRS Guitars Chief Operating Officer, Jack Higginbotham.
Many models have also been updated with new colors, like Cobalt Blue and Fire Red acoustic models as well as new blue, gold, and silver satin metallics on the $499 USD PRS SE CE Standard, a model introduced earlier this year.The post PRS Guitars Announces 2025 SE Series Lineup first appeared on Music Connection Magazine.
3D Printering: Listen to KlipperI recently wrote about using Klipper to drive my 3D printers, and one natural question is: Why use Klipper instead of Marlin? To some degree that’s like asking why write in one programming language instead of another. However, Klipper does offer some opportunities to extend the environment more easily. Klipper runs on a Linux host, so you can do all of the normal Linux things.
What if you wanted to create a custom G-code that would play a wave file on a speaker? That would let you have custom sounds for starting a print, aborting a print, or even finishing a print.
If you recall, I mentioned that the Klipper system is really two parts. Well, actually more than two parts, but two important parts at the core. Klipper is, technically, just the small software stub that runs on your 3D printer. It does almost nothing. The real work is in Klippy, which is mostly Python software that runs on a host computer like a Raspberry Pi or, in my case, an old laptop.
Because it is Python and quite modular, it is very simple to write your own extensions without having to major surgery or even fork Klipper. At least in theory. Most of the time, you wind up just writing G-code macros. That’s fine, but there are some limitations. This time, I’m going to show you how easy it can be using the sound player as an example.
Macros All the Way Down
Normally, you think of gcode as something like: G1 X50 Y50. Some of the newer codes don’t start with G, but they look similar. But with Klipper, G1, M205, and MeltdownExtruder are all legitimate tokens that could be “G-code.”
For example, suppose you wanted to implement a new command called G_PURGE to create a purge line (case doesn’t matter, by the way). That’s easy. You just need to put in your configuration file:
[gcode_macro g_purge]
gcode:
# do your purge code here
The only restriction is that numbers have to occur at the end of the name, if at all. You can create a macro called “Hackaday2024,” but you can’t create one called “Hackaday2024_Test.” At least, the documentation says so. We haven’t tried it.
There’s more to macros. You can add descriptions, for example. You can also override an existing macro and even call it from within your new macro. Suppose you want to do something special before and after a G28 homing command:
[gcode_macro g28]
description: Macro to do homing (no arguments)
rename_existing: g28_original
gcode:
M117 Homing...
g28_original
M117 Home done....Not Enough!
By default, your G-code macros can’t call shell commands. There are some ways to add that feature, but letting a file just run any old command seems like an unnecessary invitation for mayhem. Instead, we’ll write a Klippy “extra.” This is a Python class that resides in your klipper/klippy/extra directory.
Your code will run with a config object that lets you learn about the system in different ways. Suppose you are writing code to set up one single item, and it doesn’t make sense that you might have more than one. For example, consider an extra that raises the print speed for all printing. Then, you’d provide an entry point, load_config, and it would receive the config object.
However, it is more common to write code to handle things that could — at least in theory — have multiple instances. For example, if you wanted to control a fan, you might imagine that a printer could have more than one of these fans. In that case, you use load_config_prefix. That allows someone who writes a configuration file to specify multiple copies of the thing you define:
[hackaday_fan fan1]
pin: 8
[hackaday_fan_fan2]
pin: 9
The Sounds
In this case, we do want to allow for different sounds to play, so we’ll use load_config_prefix. Here’s the short bit of code that does the trick:Play a sound from gcode
#
Copyright (C) 2023 Al Williams
#
This file may be distributed under the terms of the GNU GPLv3 license.
import os
import shlex
import subprocess
import logging
class AplayCommand:
def init(self, config):
self.name = config.get_name().split()[-1] # get our name
self.printer = config.get_printer()
self.gcode = self.printer.lookup_object('gcode') # get wave and path
wav = config.get('wave')
path = config.get('path',None)
if path!=None:
wav = "aplay "+path+'/'+wav
else:
wav = "aplay " + wav
self.wav = shlex.split(wav) # build command line
self.gcode.register_mux_command( # register new command for gcode_macro
"APLAY", "SOUND", self.name,
self.cmd_APLAY_COMMAND, # worker for new command
desc=self.cmd_APLAY_COMMAND_help) # help textcmd_APLAY_COMMAND_help = "Play a sound"
def cmd_APLAY_COMMAND(self, params):
try:
proc = subprocess.run(self.wav) # run aplay
except Exception:
logging.exception(
"aplay: Wave {%s} failed" % (self.name))
raise self.gcode.error("Error playing {%s}" % (self.name))main entry point
def load_config_prefix(config):
return AplayCommand(config)Note that the AplayCommand object does all the actual configuration when you initialize it with a config object. So, to create an “aplay object” in your config files:
[aplay startup]
wave: powerup.wav
path: /home/klipper/sounds[aplay magic]
wave: /home/klipper/sounds/wand.wav
Then, to use that sound in a macro, you only need to use:
[gcode_macro get_ready]
gcode:
aplay sound=startup
You can make as many different sounds as you like, and if you provide an entire path for the wave parameter, you can omit the path. Optional parameters like this require a default in your code:
path = config.get('path',None)
Obviously, this assumes your Klipper computer has aplay installed and the wave files you want to play. Or, switch players and use whatever format you want.
You can read more about options and other things you can do in the “Adding a host module” section of the code overview documentation. Another good resource is the source code for the stock extras, many of which aren’t really things you’d probably consider as extra.
So next time you want to add some features to your printer, you can do it in Python with less work than you probably thought. Haven’t tried Klipper? You can learn more and get set up fairly quickly.Universal Audio’s Apollo X Gen 2 announced Comprising a total of seven new models, the Apollo X Gen 2 series features the best conversion specs of any Apollo to date, and introduces a whole host of new features and functions.
Arturia release Synthx V Arturia's latest release offers a detailed emulation of the Elka Synthex, and introduces some new features that bring the classic sound into the modern era.
.MUSIC Domain Registration Opens: Control your Music Identity Now!Top level .MUSIC domain registration is are available after several pre-registration rounds along with a new verified MusicID program.
The post .MUSIC Domain Registration Opens: Control your Music Identity Now! appeared first on Hypebot.CARYS: A Case Study in Independent Artist GrowthDiscover how CARYS refined her artistic direction to grow her fanbase and amplify her brand. CARYS: A Case Study in Independent Artist Growth reveals key strategies behind her transformation and. Continue reading
The post CARYS: A Case Study in Independent Artist Growth appeared first on Hypebot.Brazil climbs the global top 10: a new era for the music market [MIDiA’s Tatiana Cirisano]The music industry in Brazil is now officially a powerhouse, climbing into the top 10 markets worldwide. Discover what’s driving this explosive growth.
The post Brazil climbs the global top 10: a new era for the music market [MIDiA’s Tatiana Cirisano] appeared first on Hypebot.Ticket touts cost UK music fans an extra £145 million per year: “All too often fans are forced to pay a price decided by a stranger on the internet”Ticket touts are costing UK music fans an extra £145 million annually, according to a recent report by global research firm YouGov.
The survey, conducted among music fans over the age of 18, found that ‘almost half’ of gig-going fans find it difficult to identify a ticket resale platform, and that approximately one in five tickets end up on a resale platform of some sort.READ MORE: UK government to look at transparency of dynamic pricing and “the technology around queuing systems which incentivise it” following Oasis ticket chaos
O2 – which sells over a million tickets each year through its Priority customer reward platform – says of the findings: “We are tired of professional ticket touts abusing the market and stealing tickets out of fans’ hands.”
“Music fans deserve the chance to buy tickets at a price set by their favourite artist, but all too often they are forced to pay a price decided by a stranger on the internet. Consumers deserve more protection and better information about the tickets they’re paying for.”
The company also claims that it has prevented more than 50,000 suspected bots from entering its Priority platform over a six-week period.
In light of these issues, O2 has called for several steps to improve the current ticketing system: Better legislation against the sale of concert tickets for significant profits; clearer information during the sale process on ticket resale platforms, such as a pop-up notification that explains who the ticket is being bought from and the potential risks involved; and clearer identification of ticket resale platforms on search engines. Currently resale websites can buy their way to the top of search results, without having to mention their tickets are second-hand.
Gareth Griffiths, O2’s Director of Partnerships and Sponsorship, has a few tips for music fans in the meantime. They include checking the artist’s website and social media for official ticket partners and educating yourself on the risks of buying a second-hand ticket — While platforms like Viagogo may offer a full refund should you fall victim to a ticket scam, they cannot guarantee entry to the show.
Alternatively, gig-goers can turn to fan-to-fan platforms such as Twickets and Ticketmaster’s resale marketplace, where tickets can be resold for no more than the price originally paid (plus fees).
In related news, the UK government recently said it will investigate dynamic ticket pricing following mass outcry over the soaring prices of tickets to Oasis‘s reunion tour.
The post Ticket touts cost UK music fans an extra £145 million per year: “All too often fans are forced to pay a price decided by a stranger on the internet” appeared first on MusicTech.Ableton Move is the perfect instrument for music-making on the flyAbleton has officially launched Move, a compact, portable standalone instrument designed for capturing musical ideas whenever they appear.
Featuring a rechargeable battery and a built-in processor, microphone, and speaker, Move is touted as the “ideal companion for creating on the go”.READ MORE: “I just found a way to make the sound come out”: Rick Rubin says he still doesn’t know the “right way” to program an 808
Move features an intuitive design and a simple workflow, making it easy for users to dive into new ideas. With a core library of over 1,500 sounds and instrument presets, getting started is a breeze. The unit is equipped with 32 polyphonic aftertouch pads, a 16-step sequencer, and integrates seamlessly with Ableton Live software, so ideas started on Move can be finished in Live.
Sound shaping is also made simple with nine touch-sensitive, endless rotary encoders. Users can play notes, beats, samples, and clips using the 32 backlit, pressure-sensitive pads.
Move is able to run up to four tracks, each of which makes use of a version of one of Live’s Instrument Rack or Drum Rack devices. The unit uses many of the same instruments and effects that power Ableton Live, which should make things familiar enough. It is also equipped with built-in audio effects such as reverb, delay, and saturation for real-time sound manipulation. Users can apply up to two effects per track, plus two on Move’s master output.
Move also features onboard sampling capabilities. Users can sample via a built-in mic, a 3.5mm audio input, or by resampling the main output. You can also import samples via a wired connection or Move’s onboard WiFi, which comes in handy when transferring Sets to Live and Note with Ableton Cloud and Move Manager. The instrument also provides up to four hours of use on a single charge.
Weighing just 2.1 lbs, Move is lightweight enough to fit into any bag and offers up to four hours of use on a single charge.
The unit is priced at $449/ £399/ €449.Head to the Ableton shop to learn more.
The post Ableton Move is the perfect instrument for music-making on the fly appeared first on MusicTech.“In high school, I was making songs on my laptop that sounded fully professional”: Ninajirachi on the democratisation of music technologyEDM artist Ninajirachi has shared her thoughts on the democratisation of music technology, and how advancements allowed her to make music at a professional level without a studio.
With an ever-growing market of budget friendly plugins, DAWs and freeware, music making to a high standard is becoming more and more within reach of up and coming artists and bedroom beat makers.READ MORE: Billy Corgan thinks Pro Tools made music worse: “It brought a lot of people into the music business that really have no business being in the music business”
Speaking to MusicTech for a brand-new cover story, Ninajirachi – real name Nina Wilson – reveals her early ventures into dance music began with Lady Gaga: “I was in primary school when Gaga was kind of blowing up, and she was my hero. My 12th birthday was Lady Gaga themed.”
She went on to discover Skrillex, Madeon, Deadmau5, Flume and her absolute favourite, Porter Robinson via YouTube. “I had no idea about clubbing,” she recalls, “but the sonic palette was so crazy and made me feel so euphoric. Also, just the dynamics of it — the tension, the build-ups, the drops, were just so thrilling. I would just listen to it on the bus to school in my headphones. It was such a solo endeavour. I would never really be [given] the AUX [cable], because I was the friend with the ‘wob wob’ taste.”
Nina’s own journey into music began at primary school, when she began tinkering with iMovie and GarageBand, and in turn was later gifted the full version of FL Studio at 14 by her mother. She later adds, “In the past, someone would have to spend 20 grand on a studio, an engineer and a mix person to create something that people would deem consumable.
“When I was in high school, I was making songs on my laptop that sounded fully professional. With a computer, you can hypothetically make any sound. That’s so awesome,” she concludes.In other news, producer Jack Antonoff recently unveiled early plans to make accessible studios across America for those who would not normally be able to afford to use them. Arguing that while at-home production tools are brilliant, there’s no experience like a real-life studio. As part of his mission, Antonoff wants to begin by launching these within LGBTQ+ youth centres.
The post “In high school, I was making songs on my laptop that sounded fully professional”: Ninajirachi on the democratisation of music technology appeared first on MusicTech.It is good to combine that technique with M/S processing in mixing to avoid clashing frequencies... or I would use a multiband sidechain (non M/S) processing for more natural results sometime
This is the DDJ-GRV6 by AlphaTheta: a 4-channel controller with the ability to live remix drum loopsAlphaTheta announced the latest addition to their family of gear today: the DDJ-GRV6. The 4-channel DJ controller is compatible with both rekordbox and Serato DJ Pro – and introduces the ability to remix and manipulate drum loops in real time via the Groove Circuit features. Key Features Take a look at the major features worth noting on […]
The post This is the DDJ-GRV6 by AlphaTheta: a 4-channel controller with the ability to live remix drum loops appeared first on DJ TechTools.Great video published by Melodyne about #vocals doubles creation strategies in #musicproduction. They have more interesting tutorials there
Laufey: Gen-Z's Gateway to the Realm of JazzYoung artists including Icelandic-Chinese singer songwriter Laufey, English pop group Wasia Project, London-based singer/songwriter Ella Hohnen-Ford, and American Jazz singer Samara Joy, utilize their own personal fusions of contemporary jazz and pop to bridge the genre divide. We explore these musicians who are helping to introduce jazz-adjacent sounds to new audiences.
