What is dithering in audio? How it works and when to dither
Learn how dithering can help enhance the sound of your digital audio, despite the fact that it adds noise to the waveform.

X sends cease-and-desist to open-source project Nitter over alleged scrapingX has sent cease-and-desist letters to Nitter, the open source project behind privacy-friendly X frontends, demanding its instances and code repository be taken down over alleged scraping.

World Liberty Financial launches USD1 natively on Canton NetworkUSD1 is the sixth-largest stablecoin, with a market capitalization of more than $4 billion, according to industry data.

NatLife Sounds ACID & Trance V4 for D16 Phoscyon 2ACID & Trance V4 for D16 Phoscyon 2 – is a fresh soundbank of Phoscyon 2 Presets & Scenes, with reincarnation of famous "Blade movie theme" and "Voodoo People" by Prodigy. You will get the closest and even more refined sound from these famous themes. Also, besides this, there is naturally a large number of new acid sounds, with a previously unheard sound that couldn't only be achieved from the Roland TB-303 & clones. Soundbank contains: 32 presets. 32 Scenes. https://youtu.be/8ACeSUqSvdU Read More

Native SMB3 Client Brings Modern NAS Access To 20-Year-Old PowerPC MacsAs software updates cease for operating systems, they eventually begin to lose access to parts of the LAN and internet due to out of date encryption features, as well as the inability to handle file sharing protocols like SBM3, which is somewhat of a necessity if you have e.g. a NAS on the LAN. Such too was the case with [watermark_hd]’s 20-year old PowerPC Macs and their installations of OS X Tiger and Leopard.
Cue Aqualink, a native SMB3 client for these older OS X versions that uses [Ronnie Sahlberg]’s libsmb2 server/client library for SMB2 and SBM3. The source code can be found over on GitHub, along with a Japanese translation. By using a local WebDAV server Tiger’s built-in mount_webdav feature can be used to mount these remote volumes.
While you can often still use SMB1 even on modern Windows and Linux/BSD via Samba, allowing even retro systems like these PowerMacs to speak SMB3 is at least a great boost for network security, even if the aforementioned encryption shortcomings mean that you cannot quite run encrypted file shares yet.
Although OS X eventually began to adopt modern SMB versions, some of us may remember how incredibly buggy they were, to the point that us OS X users often had to fall back to CIFS (SMB 1.0), so this is another potential use for this Aqualink application.

Groove Synthesis update the 3rd Wave Groove Synthesis have just launched a free firmware update that kits the 3rd Wave out with a new Shimmer Reverb and improves the Make Waves wavetable creator.

The Amazon Pain ForestThe latest 'Tim's Take' from Music Business Worldwide founder, Tim Ingham
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MONO Music Conference programme announced The first wave of programming for this year's MONO Music Conference in San Francisco has been officially announced.

What is EQ in music production and mixing?EQ, or equalization, is a tool that allows us to control and modify the tonal makeup of audio. This is useful to correct imperfections and to enhance certain tonal characteristics while reducing others.
How does EQ work?
EQ tools work by boosting or cutting the amplitude (i.e, volume) of specific frequencies within a sound.
EQ processors typically include multiple ‘bands’. Each band operates around a specific frequency, and different types of band will affect the surrounding frequencies in different ways.
What are the different types of EQ band?
Credit: Minimal Audio
Parametric / Peak: Creates a bell- or trough-like curve centred on the band’s frequency. The width of the curve is controlled by the “Q” or “Bandwidth” setting.
Low Shelving: Progressively cuts or boosts frequencies that lie below the band’s frequency. Typically, some frequencies that lie above the band’s frequency will also be affected
High Shelving: The functional opposite of a low shelving band. Impacts frequencies that lie above the band’s frequency.
Low Cut: A low cut band is the same as a high-pass filter, and so blocks frequencies that fall below the band’s frequency.
High Cut: A high cut band is the same as a low-pass filter, and so blocks frequencies that lie above the band’s frequency. It is the functional opposite of a low cut filter.
What are the different types of EQ processor?
EQ plugins and processors usually combine multiple types of bands into a single unit. These are the three most common varieties:
Studio- or console-style EQ: Typically combines a low-shelving and high-shelving band with two parametric bands. Sometimes also includes low- and high-cut bands.
Pultec-style EQ: Based on vintage outboard EQ processors. Typically handles cutting and boosting as separate bands. Band frequency selection is usually stepped rather than continuous.
Graphic EQ: Combines a number of fixed-frequency, fixed-width peak bands. Band boost/cut is controlled by a fader. The pattern of faders creates a graphical curve, hence “graphic” EQ.

When should I use EQ?
EQ is used extensively at all stages in the recording process.
Input conditioning: Hardware EQs and preamps/recording channels that include EQ are useful for optimising the recorded sound, countering mic colouration, and correcting obvious problems.
Tracking: Use temporary EQ during tracking to create a comfortable working mix. Also use on cue mixes to enhance/reduce prominence of elements the performer needs to hear more/less clearly.
Mixing: Use to sculpt and shape the frequencies of your parts to give each its own spectral space within the mix, and to help bring the parts together into a cohesive whole.
Mastering: Use tightly-focused / high-Q EQ to fix specific frequency issues; use broad low-Q EQ to make gentle changes to the overall tonal balance.
Which EQs should you use?
All DAWs come with at least one type of EQ plugin, and often include multiple varieties. You’re certainly able to garner pro-grade results with the EQs in your DAW, or any free EQs that are out there. However, if you’re looking for an EQ with expanded features, a different interface, or would like an emulation of a classic hardware EQ, you might want to look around the third-party plugin marketplace.
Here are some examples of EQs out there right now:

Read more tutorials and guides. 
The post What is EQ in music production and mixing? appeared first on MusicTech.

Core Sampler is “the sampler Pro Tools should already have” – this is how it worksIndie developer Coretone has launched the Core Sampler, an AAX sampler built for Pro Tools.
Coretone was founded by Nico Borromeo, a producer, film composer, and software engineer. Core Sampler is the brand’s first major release, and it boldly describes the launch as the sampler “Pro Tools should already have”, as per a press release shared with MusicTech.

READ MORE: Tamber music creation suite gets a 2.0 update: here’s everything you need to know

The sampler comes into use when a user finds or records a sound and wants to play it immediately. You can drag or load a one-shot, edit it directly on the waveform, shape it with envelope, gain, fade, filter, pitch, and velocity controls, and play it from MIDI — without constructing the part from audio clips.
It requires a one-time purchase (no subscription needed), and has been developed over time with early user feedback. Check out the demo below for more information on how it works:

Coretone founder Nico Borromeo has had his film composition work showcased at Sundance, Tribeca, and Slamdance film festivals, with credits including The Fight, Hulu’s Monsterland, God & Country, and several seasons of CBS’s NCIS. His electronic releases have been signed by major labels, generated millions of Spotify streams, and led to a headline appearance at Ultra Music Festival.
He states, “After two decades in Pro Tools as a producer and film composer, I still felt there was no go-to sampler built around the core features I needed. I was tired of turning musical ideas into timeline and audio-clip work, so I built Core Sampler to keep creativity moving.”
Avid unveiled a new version of Pro Tools – version 2026.4 – back in April, bringing a number of upgrades to immersive audio production, workflow improvements and more. Headlining the new features for Pro Tools 2026.4 was the introduction of Track Pin, a new way to stay focused while working with large, complex sessions.
Core Sampler is available now for a launch price of $24 until 31 October (full price $39). Find out more via the Coretone website.
The post Core Sampler is “the sampler Pro Tools should already have” – this is how it works appeared first on MusicTech.

It’s been 60 years since Jimi Hendrix first plugged into a Marshall – and the brand is celebrating with a collection of psychedelic audio gear60 years ago, Jimi Hendrix first plugged in and played through a Marshall amplifier – and it was the start of a true musical love affair. Instantly, Marshall amps became a key component in Hendrix’s legendary guitar tones. To honour its Hendrix’s relationship with Marshall amps, the brand is releasing the Hendrix 60th Anniversary Collection.
Over the year, Marshall has released a slew of guitar gear, including the 1959 JMH Half Stack inspired by Hendrix’s own rig and limited-edition Fuzz Face pedal. But Marshall has left the best ‘til last; the Anniversary collection is gaining three new additions, in the form of sleek new headphones, a speaker, and a new hand-made amplifier inspired by the iconic Studio Vintage amp.

READ MORE: “For him, reverb was green, distortion was red”: Eddie Kramer on Jimi Hendrix seeing effects in music as colours

First up, the Hendrix 60th Anniversary Edition Major V headphones will allow fans to listen to Hendrix classics on the go. With a foldable design, the headphones are perfect to pop in your bag but still pack a crisp, Marshall-standard listening experience.
If you’re keen to share your Hendrix listening experience with others, the Hendrix 60th Anniversary Edition Emberton III might be up your alley. Complete with the collection’s signature cosmic, purple design, with a silver all-seeing eye on the media jog and purple LEDs. Each silicon sleeve is also unique, due to them all being hand-dipped in a water transfer print.
Credit: Marshall
Now for the pièce de résistance – the Hendrix 60th Anniversary Edition JMH Studio Bundle. The hand-made from quality plywood and wrapped in black Tolex, the amp is based on the classic Studio Vintage amp and promises to provide “expressive cleans and deep blues textures”.
The 20W valve head comes with power reduction to 5W, two bridgeable channels as well as two ECC83 preamp valves, an ECC83 phase splitter, and two EL34 power valves There’s also a switchable series effects loop.
The amp also wears a comic-inspired black and purple psychedelic pattern across its control panel alongside purple LEDs. Silver beading is also across the entire amp, with Hendrix’s beloved all-seeing eye motif also sitting on the top and bottom of the stack.
Credit: Marshall
“The story of Jimi and Marshall has always been personal to me because I first heard it from my dad, Al Hendrix,” Hendrix’s sister, Janie Hendrix, explains. “Dad was there and shared those memories with me, so I carry that story only one degree from its source.”
“Jimi was always searching for a sound that did not yet exist, pushing beyond what anyone thought an electric guitar could do,” she continues. “Marshall gave him the power and freedom to turn those bold ideas into a sound the world had never heard before. Sixty years later, that connection between Jimi and Marshall still speaks to new generations of musicians who are pushing creative boundaries and searching for their own sound.”

In terms of other artists searching for their own sound, American blues-rock artist Ally Venable had the honour of trying out the new Marshall Studio Vintage JMH before anyone else. As she experiments with her tone on the new bit of kit, she explains just how Hendrix and Marshall shaped her musical journey.
In terms of pricing, the Hendrix 60th Anniversary Edition Major V headphones will set you back £129.99. As for the speaker, the Emberton III costs £149.99, while the JMH Studio Bundle amp is £1,749.99.
In terms of Hendrix, rare new footage of Jimi Hendrix’s legendary 1969 Woodstock show has also recently surfaced online. Captured by a student who snuck onstage, the hour-and-a-half video gives an entirely new perspective on the legendary show.
The collection is available to order from 25 August, with retail availability beginning 9 September 2026. For more information, head to Marshall.

The post It’s been 60 years since Jimi Hendrix first plugged into a Marshall – and the brand is celebrating with a collection of psychedelic audio gear appeared first on MusicTech.

Studio Kozak releases SK Rust, a FREE lo-fi effect for macOS and Windows
Studio Kozak has released SK Rust, a free lo-fi coloration plugin for macOS and Windows. The developer describes it as “the sound of something forgotten in a damp Eastern European cellar,” which is honestly a pretty good summary, especially regarding the interface (speaking from experience). I really like the GUI because it reminds me of [...]
View post: Studio Kozak releases SK Rust, a FREE lo-fi effect for macOS and Windows

HOFA SYSTEM can now host one third-party plugin for FREE
HOFA-Plugins has released SYSTEM ThirdPartyPluginLoader, allowing the free version of HOFA SYSTEM to host one third-party plugin at a time. HOFA SYSTEM is a modular environment for custom effect chains, routing, and modulation. We previously covered its free DigiDestroy bitcrusher, which works inside SYSTEM or separately. The new loader supports VST2, VST3, and AU plugins, [...]
View post: HOFA SYSTEM can now host one third-party plugin for FREE

Maria BC’s Marathon Tour of the US Comes to a Close

A Song That Changed My Life: The Wldlfe on John Mayer’s “The Age of Worry”The Band Members: Jansen Hogan, lead vocals; Carson Hogan, guitars, keyboards, vocals; Jack Crane, bass.

The Storyteller: Jansen Hogan of The Wldlfe

The Song: Warm and rolling, the bright, lilting guitar of John Mayer’s “The Age of Worry” effortlessly floats above a complex, swirling rhythm of a waltz-like, swaying cadence, creating a comforting, nostalgia-inducing soundscape. This soothing, rhythmic sleight of hand is further amplified by a set of free-verse lyrics, in which whispers of worry about attaining perceived self-perfection are ultimately quelled by a serene, simple mantra of existing unmasked as oneself.

By bypassing predictable pop patterns and rigid lyrical schemes, Mayer cleverly manipulates traditional musical formulas to achieve an emotional prosody that comforts the subconscious. This juxtaposition of off-kilter rhythm and rhyme allows the song to stay steeped in its inherent worry while morphing it into an anthem of resilience.

The Background: Adopting the old-school band-in-a-van, life-on-the-road principle—eschewing the fleeting, frantic rush of immediate digital boom-or-bust—the Indy-to-Music City band The Wldlfe embraced the local circuit, a traditional grind where die-hard fanbases are forged through the irreplaceable chemistry born on a live stage. This slow-burn causeway became the engine of the polished indie-pop outfit’s survival, fueling the grit required to drop their first self-released EP, New (2016) — propelled into streaming circulation by the sweet-sounding, painfully passionate single “Waterfalls.”

While continuing their tireless touring sojourns, the band found a fertile sanctuary within their pockets of time to hone their songwriting skills, eventually helping them craft their guitar-driven, retro-glow melodies. Through a rapid succession of self-funded releases spanning from 2017 to 2020—highlighted by the multi-single compilation Waking Up Is Hard To Do (2020) —The Wldlfe steadily boosted their visibility across digital platforms with readily accessible music, while injecting their setlists with fresh tracks for the I-65 faithful.

Continuing to navigate their van-to-studio routine for a few years, they eventually settled in Nashville, surrounding themselves within its historic songwriting roundtables. Seeking to build on this new creative foundation, the band expanded their digital dossier and refined their sonic identity, while sustaining a relentless release schedule. This prolific work ethic resulted in a diverse catalog of music that includes the bright grooves of their defining release Repaint My Mind (2021), the cinematic evolution of Goodbye To All Of That (2023), and the unforgettable hooks and catchy rhythms of Heaven is a place (2024).

Fast forward to the present, and the trio is entering their most ambitious era yet. With their upcoming full-length album, Revolver, scheduled to arrive via Riser House Records, the band is primed to channel years of self-funded creativity into a definitive new chapter. As The Wldlfe prepares to step onto larger national stages, they hold fast to the foundational lessons learned, drawing on the concept of unmasking oneself to achieve true artistic integrity.

The Story: There is a distinct, almost magical synergy in the way music and physical movement intertwine; when they align, a song can effortlessly loop a listener back to a specific place and time. This form of neural nostalgia, specifically auditory-motor entrainment, is especially common in a highly creative mind. Many artists find themselves pulling melodies, rhythms, or harmonic textures from the past; however, it is also their intrinsic nature to look toward the future: always observing and searching for the special spark needed to create what does not yet exist.

While this backward-and-forward-looking vantage point is often unsettling — where the creator is trapped in a paradox, and tomorrow's anticipation overshadows today's reality — syncing with a song that settles into the present can instantly snap the subconscious back to the safety of its origins. For Jansen Hogan, hearing John Mayer's "The Age of Worry" pulled off this rare trick: it used the comforting sounds of yesterday to secure him in the present, helping him make the conscious choice to simply exist unmasked.“I remember listening to John Mayer's Heavier Things in the car with my dad and that kind of being the catalyst for me loving music," he recalls. But while those early records lit the initial spark, a deeper, more individual connection was waiting down the road. "I think the first song that really felt personal for me was a song of John's called 'The Age of Worry.' Although Born and Raised aged quite well for me over time, 'The Age of Worry' was one of the few on the record that felt like what I remembered listening to with my dad, and something that was fresh and new."

Beyond that childhood connection, Hogan was drawn to the song because of its specific musical layout. “The cadence of it felt similar to a hymn, and that has always been an ear-catcher for me personally. It feels like the best way to tell a story while maintaining a melody that feels familiar,” he notes. That rhythmic familiarity offered a peace of mind for the threads of thought that easily unravel. "I've always been a person who is thinking toward the future and not always living in the moment," Hogan admits. "Spending so much time thinking about what has yet to come can sometimes turn into a vacuum of 'worry.' This song put that into perspective in a way that felt really positive for me."

To break out of that overwhelming mindset, he found comfort in the track's straightforward lyrics. “‘Smile in the age of worry’ is the punchline, so to speak, and maybe it isn't the most poetic lyric in this song, but it represents that, to a certain point, there can be a conscious choice when it comes to how we view life day-to-day. It's a good reminder."

The track’s unique arrangement also revealed a brilliant lesson in artistic contrast that directly influences Hogan's own approach to music. "I really like the juxtaposition of taking something that lyrically has maybe a somber tone to it, and making it into something that feels light," he explains. "I could only hope to write a song as good as this one though!" This realization of how a song can balance heavy emotions with a light atmosphere completely changed how Hogan approaches his songwriting. It allowed him to shed the pressure of trying to create perfect music, revealing that the act of simply playing often yields the best ideas. “I feel like I fall in love with songs when it's just a guitar or piano and I can just freestyle. I think sometimes what needs to be said finds its way out when you take away the 'box,' and give lyrics the freedom to fall where they may." 

Photo Credit: Alex GreenThe post A Song That Changed My Life: The Wldlfe on John Mayer’s “The Age of Worry” first appeared on Music Connection Magazine.