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EPiC: Elvis Presley In Concert One-week exclusive IMAX (NYSE: IMAX) engagement on February 20, 2026;

Theaters everywhere on February 27th. 

NEON and Universal Pictures International announce the global theatrical release of acclaimed visionary filmmaker Baz Luhrmann’s (Elvis, The Great Gatsby, Moulin Rouge!) EPiC: Elvis Presley In Concert with a one-week exclusive IMAX (NYSE: IMAX) engagement on February 20, 2026.

The release will allow audiences around the world to immerse themselves in a one-of-a-kind cinematic experience, hearing Elvis perform and tell his story like never before, with the unmatched power of IMAX. 

Following the one-week engagement, EPiC: Elvis Presley In Concert will hit theaters everywhere on February 27th. 

In September 2025, the film critic Owen Gleiberman of Variety praised the documentary.

https://variety.com › film › reviews › epic-elvis...

From Sony Music Vision, Bazmark, and Authentic Studios, the film debuted to raves and a standing ovation at the Toronto International Film Festival, people even danced in the aisles.

EPiC features long-lost footage from Presley’s legendary Vegas residency in the 1970s, woven together with rare 16mm footage from Elvis on Tour and treasured 8mm film from the Graceland archive, along with rediscovered recordings of Elvis telling “his side of the story.”

EPiC marks Luhrmann’s second major project centered around Elvis Presley, following Elvis in 2022, which earnedeight Academy Award® nominations, won multiple BAFTA’s® and Golden Globes®, and grossed nearly $300 million worldwide. With EPiC, Luhrmann transforms unearthed archival material into an electrifying cinematic odyssey that captures Elvis at his best; raw, human, eccentrically humorous, intimate and electric.

The filmis produced by Sony Music Vision, Bazmark, and Authentic Studios.

My only personal location-dependent sighting of Elvis was on a Saturday afternoon during the summer of 1967. I was a teenager, in Dr. Morris Feldman’s Picwood Dental office in West Los Angeles near the MGM studio in Culver City. Presley arrived in a Rolls-Royce, flanked by two guys and immediately whisked into the dentist chair. Dr. Feldman mentioned Elvis broke a tooth during the filming of a movie called Speedway. 

I saw the December 1968 Elvis: The ‘68 Comeback Special on NBC-TV. Afterwards, my father and mother went to see one of Presley’s August 1969 shows at the International Hotel in Las Vegas and gave an enthusiastic review.  

During 2008, I wrote the 5,000-word liner note essay for the 40th anniversary edition of Elvis: The ’68 Comeback Special released by Sony/Legacy Recordings.  In 2007, I was interviewed for MGM Home Entertainment’s deluxe DVD edition of Presley’s film, Jailhouse Rock.

On November 14, 1970 I took three buses from West Hollywood to Inglewood to see Elvis Presley’s debut at the Forum, his first concert in Southern California in 13 years. In 1968 I witnessed the Doors at the Forum, the Rolling Stones twice in 1969 at the same venue and now Elvis. It was a devoted beehive hairdo crowd like a casting call from another era. Thousands of cameras clicked and flashed when Elvis emerged on stage. Presley’s voice sounded terrific as I sat in the colonnade section.

Between 1972 and 1976, Grelun Landon, the beloved and well-respected head of public affairs at RCA Records in Hollywood on Sunset Blvd. arranged for me to attend a handful of Elvis 1972-1976 concerts as a music journalist and briefly meet Presley’s manager, Colonel Tom Parker. 

“I have a feeling in 10 years or sometime in the future you may still be writing about Elvis,” suggested the USC graduate.  

Around October of 1972, Grelun invited myself, Rodney Bingenheimer of GO! magazine, and Canadian music journalist and Hit Parader magazine contributor Larry LeBlanc to a screening of Elvis On Tour, which chronicled Presley’s ’72 US personal appearances and concerts. It was directed by Pierre Adidge and Robert Abel and released by MGM in November 1972. That same month I heard these filmmakers speak at an RCA Records college seminar.

“I was there at the MGM screening in Culver City,” LeBlanc emailed in September 2025.

“Grelun invited me and he introduced me to Parker. Huge theatre with maybe 35 of us with incredible sound and picture. I knew Rodney a bit and I said hello. Parker was at the concession stand handing out popcorn.”  

It was Grelun who had introduced me in 1974 to Vernon Presley at an Elvis concert in Anaheim. Vernon and guitarist James Burton could walk around the Convention Center during intermission and not be recognized. The crowd came to see Elvis but I came to check out his band, too.

In 1976 I interviewed Emmylou Harris in Studio City for Melody Maker before she did her first show at McCabe’s Guitar Shop in Santa Monica. Glen D Hardin and James Burton were at her rehearsal. At the time I was driving a 1959 Cadillac with big fins. Burton’s ride was a new Cadillac El Dorado. James was delighted to chat about Elvis and the Shindig! television series. He was in the house band where I attended tapings at the ABC-TV studios on Prospect Ave.

In 1976 and 77 I reviewed two Elvis Presley concerts for Melody Maker. My 1977 article was headlined “The King Has Lost His Crown.” Presley was now forgetting lyrics and dropping the microphone in performance. This was a man who was sick and should have been off the road.  In my story I suggested hospitalization.

I didn’t think Grelun and perhaps Colonel Parker in 1977 had any real idea how ill and troubled Elvis was in the mid-seventies, although the well-kept secret in summer of 1977 was finally let out of the bag when Presley confident and bodyguard Red West published Elvis What Happened? His book based on intimate accounts of Elvis' former bodyguards detailed the singer’s medical condition and alleged drug-use.

Then, it slowly dawned on me, as 1977 unfolded, and the first wave of punk rock music and a number of original acts and unique singer/songwriters were emerging, that Elvis was basically a guy stuck doing cover versions, formulaic movies, and Las Vegas residencies, and wishing and hoping he could remedy his live act, even tour the world or really stretch out as an actor.

I was subsequently taken out to lunch at The Hollywood Ranch Market by a concerned Grelun Landon after my stories were published.

During 2007, I conducted an interview with Jerry Schilling, author with Chuck Crisafulli of the insightful book, Me and a Guy Named Elvis, published by Penguin/Gotham Books. Jerry was a longtime Presley insider and a trusted employee. 

“Something happens when Elvis got to be in front of a live audience. He decided to put a band together and do a month at the International Hotel in Las Vegas. I became involved in what was happening around him, even though I wasn’t working for him. RCA studio in Hollywood. Colonel Parker is never there for rehearsals or recordings.

“I watched a guy put a rock ‘n’ roll band together. That’s what he does. He started by picking James Burton. That’s where Elvis was a genius. That’s where he was the most underrated producer in musical history. Whether it be in the studio or putting the band together. Whether it was ‘I hear voices here,’ ‘play this line here.’ The guy was a great producer.

“The ’68 special inspired him but he was doing what he had not been able to do for years. He was doing his thing and he was doing it being able to choose the people he was able to do it with. Being able to choose what songs and not being told what has to be in the soundtrack. What he had to wear. He was out of prison, man.

“I remember being at Elvis’ house with a list that Joe, maybe Charlie Hodge a little bit, ‘here’s some of the musicians that people are suggesting.’ What do you think of this, this and this? Elvis pretty much picked and chose.  He knew who James Burton was. He knew who Ronnie (Tutt) was. Ronnie was the guy who did what DJ had come in and done. He could accentuate Elvis’ moves, but more importantly, when there were bigger name drummers in the audition, like Hal Blaine. I remember what Elvis told me and Joe. He would come over and we both thought he was gonna go for Hal Blaine. It was the obvious choice. And he said, ‘watch this guy’ (Ronnie). Elvis came over and he said, ‘I need one guy on stage that has my temperament. Ronnie Tutt. That’s why Ronnie Tutt has the job.’”

Paramahansa Yogananda, who was born Mukunda Lal Ghosh, (January 5, 1893-March 7, 1952), was an Indian Hindu monk, yogi and guru whose teachings of meditation and Kiya Yoga reached millions of people through his organization Self-Realization Fellowship. His teachings of yoga provided unity between Eastern and Western religions. During 1925 in Los Angeles, he established an international center for SRF.

Yogananda’s life story, Autobiography of a Yogi, was initially published in 1946, and expanded by him in subsequent editions. It’s been a perennial best seller having sold millions of copies, and translated into many languages.  George Harrison would give the book to friends and musical associates. 

In 1950, Yogananda held the first Self-Realization Fellowship World Convocation at the international headquarters in Los Angeles. He also dedicated the beautiful SRF Lake Shrine in Pacific Palisades, that has since become one of California's most prominent spiritual landmarks.

By the very late sixties, Elvis Presley was looking for a new spiritual and musical road map just before his memorable Elvis…’68 Comeback Special done at NBC studios. At this time Presley was now preparing for a life and a potential career renaissance.  Elvis, often with pals in town, or driving himself in Hollywood and Beverly Hills could on occasion be seen buying copies of the weekly underground newspaper The Los Angeles Free Press at the lip of the entrance to Laurel Canyon on Sunset Blvd. or with his entourage ordering food to go from Greenblatt’s Delicatessen. 

Elvis had visited Self-Realization Fellowship center on Sunset Blvd. near the Pacific Coast Highway in Southern California and devoured Autobiography of a Yogi from the movement’s founder, Paramahansa Yogananda. Presley and his wife Priscilla had a friendship with Daya Mata of the SRF retreat in the Mt. Washington area in East Hollywood.Sir Daya Mata, born Rachel Faye Wright, was President and spiritual head of SRF from 1955 to 2010.

In Elvis and Me: The True Story of the Love Between Priscilla Presley and the King of Rock N’ Roll, by Priscilla, with contributions from Sandra Harmon, Priscilla mentioned her husband’s fascination with spirituality. Elvis made several trips to the Mount Washington retreat for sessions with Daya Mata hoping to attain the highest form of meditation.

“As Elvis’ fascination with occult and metaphysical phenomena intensified, [his friend and hairdresser] Larry [Geller] introduced him to the Self-Realization Fellowship Center on Mount Washington, where he met Daya Mata, the head of the center,” Priscilla wrote. “She epitomized everything he was striving to be.” According to Priscilla, “Mata resembled Elvis’ mother, Gladys Presley.” Elvis would call her “Ma.”

“Elvis was a seeker,” described Jerry Schilling. “He did go to the Bodhi Tree (spiritual book store in West Hollywood that opened in July, 1970). There was a part of our group that did not like that. I was in the minority with Larry Geller. Elvis was open to show a spiritual and vulnerable side. He was into that. What I loved about it was that through his spiritual quest I got to know the man even deeper. We would go to SRF in Pacific Palisades and Mt. Washington in East Hollywood many times.”

Baz Luhrmann directed, co-produced, and wrote the screenplay for the acclaimed biographical drama, Elvis (2022), with Sam Bromell, Craig Pearce, and Jeremy Doner. Luhrmann emerged from the documentary world when he conceived and appeared in the television movie, Kids of the Cross (1983).

I did an interview with Baz in 2001 for Hits magazine (it was subsequently reprinted in 2014 for Baz Luhrmann Interviews, published by University of Mississippi Press, edited by Tim Ryan).

At the time, Luhrmann was promoting his theatrical feature, Moulin Rouge.

I asked him about the essential role of music soundtracks in films and documentaries.

“That’s why we’ve got audiences who clap and cheer at the songs in cinemas,” Luhrmann replied. “They are not cheering the projectionist. What they are doing is communing with everybody else in the room. Nothing is more powerful than that in doing music. If you can shackle music to story—I know it sounds dramatic, but if you can do that—you unleash an unstoppable force.”

During 2025, Luhrmann returned to the Elvis universe.

“We’ve found reels and reels of never-before-seen footage of Elvis on Tour [1972] and That’s the Way It Is [1970],” Luhrmann earlier posted on Instagram in October 2023. “Stay tuned.” He showed an accompanying video of a cardboard box with a Warner Bros. label that had “Elvis outtakes box” written on the side.

Luhrmann resurfaced in 2025 with his EPiC: Elvis Presley In Concert documentary, which premiered at the Toronto Film Festival on September 5.

In his director’s statement provided to me by Sony Music Vision, Luhrmann detailed his latest Elvis endeavor.

“During the making of Elvis, we went on a search for rumored unseen footage from the iconic 1970s concert films Elvis: That’s the Way It Is and Elvis on Tour that had reportedly been lost. My initial thought was that, if we could find it, we may be able to restore the unused footage and use it in our Elvis feature, starring Austin Butler. I had researchers go into the Warner Bros. film vaults buried in underground salt mines in Kansas and, to the astonishment of all, we uncovered sixty-nine boxes (fifty nine hours) of film negative that hadn’t been seen.

“In addition to this, Angie Marchese (VP of Archives and Exhibits, and curator at Graceland) was able to unearth some never-before-seen Super8 from the Graceland Archives. It has taken over two years to restore the footage to a quality that it has never been projected at previously.

“Whilst some of the negatives had been printed and used in previous productions, there were many ‘never before seen’ shots, sequences and performances; so, if portions of these cuts were out in the public realm, they were generally poor-quality bootlegs. The team had to meticulously restore sound from the many unconventional sources that were also unearthed.

“Throughout this incredibly detailed process, one of the great finds has been unheard recordings of Elvis talking about his life and his music: from the 1970 Vegas show, on tour in 1972, and even precious moments of the 1957 ‘gold jacket’ performance in Hawaii. I knew we could not pass up this opportunity. It was these discoveries that gave the inspiration for the new film.

“What if, instead of reduxing the previous works, we made a film that wasn't a documentary and wasn't a concert film?

“What if Elvis came to you in a dreamscape, almost like a cinematic poem, and sang to you and told you his story in a way in which you haven’t experienced before? And what if we were able to work with the likes of Peter Jackson and the team at Park Road Post Production and other high-end technicians, and bring this original footage to a quality [that made it possible] to be seen on the big screen in a way in which it could not have been realized until now? What if we took both known recordings of Elvis telling you about his life and could reconstitute his own personal voice at a sonic level never before heard?

“Sonically, what if we could both reconstitute and remix the original orchestrations, but at the same time imagine what he might do with his classic musical works through a contemporary prism? And what if in a world where Artificial Intelligence can make all sorts of illusions, the illusions were made from authentic and original material and restored with meticulous human craft? We asked the what-ifs and answered them in what we presented at the Toronto International Film Festival.”

At the 2025 premiere, Luhrmann explained to the festival audience that his film about Presley’s residency at the International Hotel from 1969 to 1976 was “not a documentary, not a concert, but ‘a tone poem.’”

Elvis may have left the building, but we’re still watching.

(Harvey Kubernik is the author of 20 books, including 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon, 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972, 2015's Every Body Knows: Leonard Cohen, 2016's Heart of Gold Neil Young and 2017's 1967: A Complete Rock Music History of the Summer of Love. Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. In 2021 the duo wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble. 

Otherworld Cottage Industries in 2020 published Harvey’s Docs That Rock, Music That Matters. His Screen Gems: (Pop Music Documentaries and Rock ‘n’ Roll TV Scenes) is scheduled for early 2026 publication.     

Harvey Kubernik wrote the liner notes to CD re-releases of Carole King’s Tapestry, The Essential Carole King, Allen Ginsberg’s Kaddish, Elvis Presley The ’68 Comeback Special, The Ramones’ End of the Century and Big Brother & the Holding Company Captured Live at The Monterey International Pop Festival.

During 2006 Kubernik appeared at the special hearings by The Library of Congress in Hollywood, California, discussing archiving practices and audiotape preservation. In 2017 he lectured at the Rock and Roll Hall of Fame in Cleveland, Ohio, in their Distinguished Speakers Series. Amidst 2023, Harvey spoke at The Grammy Museum in Los Angeles discussing director Martin Scorsese's The Last Waltz music documentary.

Harvey is featured in The Sound of Protest documentaryairing on the Apple TVOD TV broadcasting service. https://tv.apple.com › us › movie › the-sound-of-protest. Writer/director Siobhan Logue’s film also spotlights Smokey Robinson, Hozier, Skin (Skunk Anansie), Two-Tone's Jerry Dammers, Angélique Kidjo, Holly Johnson, David McAlmont, Rhiannon Giddens, and more).The post EPiC: Elvis Presley In Concert  first appeared on Music Connection Magazine.

UltraRare RototomRototom is a very simple plugin that accurately emulates the percussion module of the same name produced by Lel during the Soviet era. Read More

Crypto, TradFi sentiment improves: Will Bitcoin traders clear shorts above $93K?Improving retail crypto and TradFi investor sentiment align with the recent uptick in Bitcoin price, but sell orders and short positions in the $93,000 range threaten to cap the rally.

One Lucky 3DS Gets A Switch-Style DockThe Nintendo Switch dock set a new bar for handheld docking user experience – just plug your console in to charge it, output image to your monitor, and keep it working with any USB peripherals of your choice. What if a 3DS is more your jam? [KOUZEX] shows off a Switch-style dock design for his gorgeous yellow 3DS, with Switch Pro controller support, and this dock wasn’t just a 3D printing job – there’s a fair bit of electronics to show, too.
While the 3DS looks stock at a glance, it has already been upgraded internally – there’s a USB-C capture card built in, half-ticking the “monitor output” requirement, and a Raspberry Pi board turns that output into HDMI. Building a charging dock is also pretty simple, with just two contacts on the side that desire 5V. Now, the pro controller support was a fair bit harder – requiring an internal modchip for emulating buttons, and trying out receiver boards for the Switch controller until a well-functioning one was found.
The build video is quite satisfying to watch, from assembling some QFNs onto tiny OSHPark boards using a hotplate and soldering them into the 3DS, to planning out, building, and dremeling some prints to create a true slide-console-into-dock experience, same way the Switch pulled it off. It even has the same USB-C and HDMI arrangement as the Switch dock, too! Want a simpler dock for your 3DS? Don’t forget that you can build a charger dock for yours with just a 3D print and a few wires.

The 23 biggest music business deals of 2025: From Taylor Swift to Tencent Music, Live Nation, and Chord.The biggest artist catalog related deal on this year's list is for the masters of Taylor Swift's first six albums, acquired by... Taylor Swift from Shamrock Capital
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12 Days of Soundtoys Each of the plug-ins will be available for just 48 hours, exclusively from the Soundtoys website, giving artists, producers and sound designers a selection of powerful new tools to shape and enhance their creativity.

NoiseAsh offers Backs EQ as a free download for a limited time
NoiseAsh offers Backs EQ as a limited-time free download for macOS and Windows. The EQ is normally priced at $90 but is currently available at no cost. Backs EQ combines Baxandall-style curves with a few modern twists. The main idea here, though, is that the workflow is straightforward enough that you could get around it [...]
View post: NoiseAsh offers Backs EQ as a free download for a limited time

Tame Impala isn’t worried about AI music: “I’m one of the people that doesn’t really give a s**t”Few conversations have dominated the music industry this year quite like artificial intelligence. Sure, the increasing prevalence of AI artists like the Velvet Sundown – powered by AI platforms like Suno – is a cause for concern, but should we really be that worried?
AI sceptics have voiced concerns over the increasing number of AI artists on streaming platforms like Spotify, and how they may be diminishing the reach of real human artists. There are also concerns over whether copyright laws are being bypassed by some of the biggest AI companies in order to train their models.
But not everyone is all that concerned. Kevin Parker of Tame Impala, for example, says he’s “not worried”.

READ MORE: Native Instruments’ Kontakt 8 marked its “biggest update in years” – and you can now get it for nearly half price

In its current state, AI is exceptionally good at creating music based on styles on which it is trained. But as Parker explains, raw, gritty, imperfect tracks are where humans will continue to excel.
“I do feel like the music that I hear is getting more and more perfect, and more pristine,” he tells The Hot Hits and Hit Network.
“Production’s getting better, computers are getting better. AI is the elephant in the room. So for me I just like making music that’s a bit dirty, a bit scungy. That’s kind of what I want to listen to. I’m not sure if it’s because of the looming possibility of this AI thing, I don’t know.” 
He concludes: “I’m one of the people who doesn’t really give a shit [about AI]. I’m not worried.”
It’s been a busy year for Kevin Parker, owing mostly to the hype surrounding Orchid, his brand Telepathic Instruments’ first synth. Following a sellout second drop in May, the synth eventually got its global release in September, and was the centrepiece of a popup store at this year’s ADE (Amsterdam Dance Event).
We were lucky enough to get our hands on Orchid in October, and not at all to our surprise, loved it so much we scored it a 9/10 in our review.
Learn more about Orchid at Telepathic Instruments.

The post Tame Impala isn’t worried about AI music: “I’m one of the people that doesn’t really give a s**t” appeared first on MusicTech.

Native Instruments’ Kontakt 8 marked its “biggest update in years” – and you can now get it for nearly half priceCyber Weekend may be over, but there are still plenty of great deals on offer over at Thomann in celebration of the festive period, including a generous saving on Native Instruments’ Kontakt 8.
This latest version of NI’s treasured sampling platform was described as its “biggest update in years” by us at MusicTech, and received an 8/10 in our review. We noted its updated interface and new additions such as Tools elevated Kontakt to an “idea generator”.
[deals ids=”ysuFmm2nvOwGYLPLaG079″]
Now over at Thomann, you can get 49 percent off Kontakt 8, knocking its price down to just £133. As part of its Tools collection, users can experiment with Chords and Phrases to craft harmonic foundations and riffs, or make intricate, evolving melodies with Patterns – an arpeggiator and polyphonic step sequencer hybrid that gives users control over each note, rhythm, and layer.
Kontakt 8 also introduced Leap, described as “an ultra-fast and playful way to play and manipulate loops”, and Conflux, “the first in a new breed of Kontakt instruments for experimental sound design” that lets you layer organic and synthetic samples. You can also add dynamic movement to static sounds in real time, with original PPG wavetables and techniques like FM, phase modulation, and ring modulation.

READ MORE: SLAB: the first hardware controller for Serato Studio has arrived – here’s everything you need to know

Overall, Kontakt 8 offers a comprehensive instrument collection including over 900 orchestral, acoustic, band, synth, and vintage sounds. Find out more in the video below:

As we approach the end of the year, you can find plenty of our top 2025 picks for the best plugins, DJ gifts, studio gear, and much more through our guides – curated by our team of reviewers and writers.
You can shop this deal now over at Thomann, or view more deals curated by MusicTech.
The post Native Instruments’ Kontakt 8 marked its “biggest update in years” – and you can now get it for nearly half price appeared first on MusicTech.

Small Venues in Small Cities: A Playbook for Building CommunityIn this post, we offer strategies for live music venues, promoters, and festivals in smaller markets around how to strengthen and develop the local community rather than focus on growth.
The post Small Venues in Small Cities: A Playbook for Building Community appeared first on Hypebot.

TonalMark releases Analog Glow, a FREE analog-style saturation plugin for macOS
We’ve got something here we don’t come across too often: a Mac-only plugin. Analog Glow is a new saturation plugin from TonalMark, available in AU and VST3 formats for macOS (Intel and Apple Silicon). You can download the .pkg installer directly from Gumroad. If you want to support the developer, you can enter any amount [...]
View post: TonalMark releases Analog Glow, a FREE analog-style saturation plugin for macOS

Your Morning Coffee Podcast: Congress’ Radio Loophole, Spotify Wrapped, & Suno/UdioEpisode 279 of Jay Gilbert and Mike Etchart's podcast Your Morning Coffee: Weekly News for the New Music Business is available now.
The post Your Morning Coffee Podcast: Congress’ Radio Loophole, Spotify Wrapped, & Suno/Udio appeared first on Hypebot.

Erica Synths reveal the Xenodrive Erica Synths’ latest collaboration with renowned DSP effects developer 112dB is said to be capable of everything from “nuanced harmonic enhancement to total sonic destruction”.

VirtualDJ 2026: new AI assistant for track organisation and a revamped FX engineAtomix Development has unveiled the latest version of its flagship DJ software, VirtualDJ 2026, bringing a number of new features and upgrades for users.
AI is front and centre in the new features for 2026, with a new AI prompt folder, essentially your very own AI assistant inside VirtualDJ which can, via user prompts, offer formatted lists of track recommendations, complete with an explanation for each track, all ready to be dragged to a deck and played.

READ MORE: SLAB: the first hardware controller for Serato Studio has arrived – here’s everything you need to know

Additionally, VirtualDJ 2026 is now able to automatically extract lyrics from any audio track and display them as part of the waveform, meaning navigating a waveform is easier than ever, leading to a wealth of new creative opportunities for DJs.
“For DJs who like to push the boundaries of their art, it brings wordplay mixing to another level,” Atomix says.
Elsewhere, there’s a revamped professional FX engine with more than 122 effects, including almost every effect from popular hardware mixers from Pioneer and Rane. There’s also a new video plugin available for lyrics visualisation – perfect for singing karaoke along to any audio track.
“True to its mission, VirtualDJ 2026 pushes again the boundaries of what it means to be a DJ in modern times, and is the first to introduce some new innovative features that are sure to  become the DJing norm of the future,” Atomix says.
VirtualDJ 2026 is available now on early access at virtualdj.com.
The post VirtualDJ 2026: new AI assistant for track organisation and a revamped FX engine appeared first on MusicTech.