Top court orders ban on Elon Musk’s X in BrazilA top court in Brazil ordered an immediate, country-wide suspension of the X platform on Friday after a months-long legal battle with Elon Musk’s social media company over content moderation, according to Bloomberg.   The court added that anyone using VPN to access the X platform would be subject to daily fines of 50,000 reais […]
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Pluggnb: What it is and how to make beats in the genre
GRAMMY-winning artist and producer Swoope discusses the key characteristics of pluggnb and walks through how to produce a track in the genre.

2024 Tiny Games Contest: Realistic Steering Wheel Joystick In MiniatureFor racing games, flight simulators, and a few other simulation-style games, a simple controller just won’t do. You want something that looks and feels closer to the real thing. The major downsides to these more elaborate input methods is that they take up a large amount of space, requiring extra time for setup, and can be quite expensive as well. To solve both of these problems [Rahel zahir Ali] created a miniature steering wheel controller for some of his favorite games.
While there are some commercial offerings of small steering wheels integrated into an otherwise standard video game controller and a few 3D printed homebrew options, nothing really felt like a true substitute. The main design goal with this controller was to maintain the 900-degree rotation of a standard car steering wheel in a smaller size. It uses a 600P/R rotary encoder attached to a knob inside of a printed case, with two spring-loaded levers to act as a throttle and brake, as well as a standard joystick to adjust camera angle and four additional buttons. Everything is wired together with an Arduino Leonardo that sends the inputs along to the computer.
Now he’s ready to play some of his favorite games and includes some gameplay footage using this controller in the video linked below. If you’re racing vehicles other than cars and trucks, though, you might want a different type of controller for your games instead.

Hackaday Podcast Episode 286: Showing off SAOs, Hiding from HOAs, and Beautiful ByproductsEven when the boss is away, the show must go on, so Dan slid back behind the guest mic and teamed up with Tom to hunt down the freshest of this week’s hacks. It was a bit of a chore, with a couple of computer crashes and some side-quests down a few weird rabbit holes, but we managed to get things together in the end.
Tune in and you’ll hear us bemoan HOAs and celebrate one ham’s endless battle to outwit them, no matter what the golf cart people say about his antennas. Are you ready to say goodbye to the magnetic stripe on your credit card? We sure are, but we’re not holding our breath yet. Would you 3D print a 55-gallon drum? Probably not, but you almost can with a unique Cartesian-polar hybrid printer. And, if you think running MS-DOS on a modern laptop is hard, guess again — or, maybe you just have to get really lucky.
We also took a look at a digital watch with a beautiful display, a hacked multimeter, modern wardriving tools, switchable magnets, and debate the eternal question of v-slot wheels versus linear bearings. And finally, you won’t want to miss our look at what’s new with 3D scanning, and the first installment of Kristina’s new “Boss Byproducts” series, which delves into the beauty of Fordite.

Where to Follow Hackaday PodcastPlaces to follow Hackaday podcasts:

iTunes
Spotify
Stitcher
RSS
YouTube
Check
out our Libsyn landing page

Download the DRM-free MP3.

Episode 286 Show Notes:
News:

Supercon 2024: May The Best Badge Add-ons Win

What’s that Sound?

Congratulations to bmgxyz for guessing a hand-crank generator.

Interesting Hacks of the Week:

Nice Retro Displays Set This Watch On Edge

Supercon 2024: Show Off Your Unique Display Tech
Motorola MicroTAC – Wikipedia

Fast 3D Printing With A Polar, Four Quadrant Custom Machine
3D Printed Electronics Breadboard

Hackaday Prize 2023: Jumperless, The Jumperless Jumperboard
The Mind-Blowing Machines that Stamp Millions of Metal Parts – Smarter Every Day 288

Farewell Magnetic Stripe

Barcodes Enter The Matrix In 2027
The Barcode Revolution: Welcome To Our Automated World

Running Stock MS-DOS On A Modern ThinkPad
Hidden Gutter Antenna Keeps HOA Happy

Quick Hacks:

Elliot’s Picks

Using A 2D Scanner To Make 3D Things
V-Slot Wheels Or Linear Rails?
Wardriving Tools In The Modern Era

Dan’s Picks:

Backlight Switch For A Better Multimeter
It Turns Out, A PCB Makes A Nice Watch Dial
You Can 3D Print Yourself Some Simple Magnetic Switches

Shop-Built Fixtures Reveal The Magic Of Switchable Permanent Magnets

Can’t-Miss Articles:

What’s New In 3D Scanning? All-In-One Scanning Is Nice
Boss Byproducts: Fordites Are Pieces Of American History

Dan’s prized fordite key fob

For John Summit, the only real challenge is knowing when to slow down“There’s always a kind of cosmic merry-go-round in entertainment, where some people are jumping off the ride while others are jumping on,” says Ryan Raddon, better known as the trailblazing producer and DJ, Kaskade. “John’s timing into music and DJing happened at exactly the right time — he’s who the audience was looking for.”
John Schuster stands in the centre of Madison Square Garden, June 2024, surrounded by a colossal diamond-shaped stage, four CDJs and a crowd of 20,000. His track with HAYLA, Shiver — a dramatic, synth-filled banger from his debut album, Comfort In Chaos — builds intensely as phone cameras flash down on him.
“New York — how the fuck we feelin’ baby!?”
The crowd eats it up as pyrotechnics ignite in sync with the track’s drop, momentarily sending a wave of heat through the iconic New York City venue. Schuster probably didn’t envision the scene when, while studying as an undergrad accountant (a detail of his bio the press has glommed onto hard) he stepped up to the decks of Illinois’ Canopy Club in 2015 as an opener for DJ trio Cash Cash, playing his debut show as John Summit after almost landing on the stage name ‘Johnny Mountains’. After being fired as an accountant, he likely didn’t see himself remixing his all-time favourite dance track, Kaskade and deadmau5’s I Remember, in 2023. Even during the 2020 pandemic, when he was making music production YouTube tutorials and live-streaming boozy DJ sets on Zoom, he couldn’t have foreseen his rapid ascent to dance music’s apex.
The data tells the story. In the past 12 months, Summit has played over 220 shows, closed EDC 2024 with fellow Chicago hero Green Velvet, played the aforementioned sold-out MSG show, and is set to play three shows at Los Angeles’ Kia Forum, the first two of which sold out in days. In the same way, dance music culture has long taken knives out for its biggest and brightest new stars (see Avicii, Skrillex, Fred again..) — he’s been called edgy, immature, and ‘a frat DJ with the ego of Elon Musk’ on platforms like Reddit, which he sees as a kind of a sign of success, too.
“I’m not comparing myself to LeBron James at all but he could have a perfect game and still get haters.”
John Summit. Image: Ben Bentley for MusicTech
But Comfort In Chaos is the artist’s real talisman; proof that the thousands of hours he’s put into producing music and dealing with online critics have paid off. Released in July, the album skips between melodic techno, progressive house, liquid funk and tech house, with features from Sub Focus, Kaskade, HAYLA, Elderbrook, and Julia Church, among others. It’s now racked up hundreds of millions of streams on Spotify alone.
John has no intention of hitting the brakes. The only time he’s taken out of touring since 2021 was to create Comfort In Chaos this past winter, and he’s already got plans for the next album – “I plan on doing multiple, I’m not stopping anytime soon”. He’s eyeing up more intricate live shows, working with more hip-hop artists (he’s coy about who but says he likes what Lil Yachty and James Blake did with their recent album Bad Cameo), and taking fresh producers under his wing via his Experts Only label — and still thinks he has more energy to spend on partying at his shows.
“I’m huge about age being nothing but a number,” says the producer, who turned 30 exactly one month after selling out MSG. “Age is a mentality”

John joins our video call at 9 am, Los Angeles time in mid-August. He’s there working on his next single, the Subtronics and Tape B. collab (Gas Pedal, released today) while promoting his album and preparing to play shows in Las Vegas, Palm Springs, Croatia, Ibiza and the UK, all in the seven days following our interview. He beams from cheek to cheek and chuckles often when we talk about his hectic schedule.
Have you had the chance to take a minute and appreciate your career, the album launch and all these shows?
“A little bit [laughs]. I took a few days off after the album and after the big MSG show — but as soon as I was done with that set, which I’d been working towards for months, I went to the green room, and I couldn’t even celebrate because then I played a three-hour after-party to 6,000 people. So, yeah, I don’t know, when I look back look at these vlogs I’m doing, I’m like, “Oh, wow, this is kind of crazy.”
So you’ve been doing this for eight years at least now?
“Yeah, eight years releasing music but been doing it for 10-plus years now.“
And you started producing in college?
“That’s not what I was going to college for but like anyone, you get a degree in something that you’re not super passionate about but you need to make money in. But my hobby was just making music — I was a big video game guy back in high school so, naturally, I liked being on my computer.”
What games did you play?
“I was a big World of Warcraft and Runescape player. Yeah, I was a nerd [laughs]. I’m just very fortunate that I got good enough at my hobby that it became a pretty solid job.”
Image: Ben Bentley for MusicTech
It wasn’t as easy as he makes it sound. He spent those earlier years teaching himself music production through YouTube tutorials, experimentation, and, crucially, collaborating with his peers. John was taught “basic piano lessons” in high school but is adamant that “you can learn basic music theory in 30 minutes through a YouTube video.” He’s never even used a keyboard — he just draws in his chords and melodies as MIDI notes on Ableton Live (“I saw a deadmau5 tutorial and he was like, ‘I don’t use a keyboard’, so that’ll work for me,” he says).
Armed with his MacBook, Ableton, a few plugins (Diva, Sylenth1, Nexus and some Soundtoys effects), plus some limited music theory knowledge, John got to work making music in 2015 in his college dorm room at the University of Illinois Urbana-Champaign. He was part of a Facebook group focused on sharing music and offering tips to peers, and became accustomed to finishing tracks and sharing them on SoundCloud to try to build a following. He started throwing parties around his college town; he even got a few gigs at Chicago’s beloved Spybar. He’d spend months on end sending demos out to labels in the hopes of being noticed — with his sights squarely set on the U.K.’s venerable house institution Defected Records.After at least 50 submissions, John claims, the label responded, asked him to jump on a video call early one morning in 2020, and informed him they’d signed his single, Deep End.
But why Defected? Why not try a label that’s closer to home?
“EDM is very dominant in America and I never really gravitated towards that sound. It’s not that I think that music is bad, but I’m really into the UK house labels and stuff — Defected and Hot Creations. And then, of course, I’m from Chicago, the birthplace of house, so there’s a big presence there, too — from Green Velvet’s Relief records and Repopulate Mars, for example.”
Do you think, beyond sending countless demos, there was anything that made you stand out as a producer?
“I don’t know if I was making stuff that other people weren’t making, but it was unique to my area.
And just being kind of young and stupid [laughs].
How so?
“It’s like, on my label, Experts Only, I listen to demos from young producers all the time; they’re not technically great — you can tell that they don’t really know what a proper mixdown is — but when you don’t have any rules [to follow], you can create great ideas.”
Image: Ben Bentley for MusicTech
John believes that you should learn the basics of whatever skill you want to excel in “and then from there, if you just keep doing it, you’re gonna get become really good.”His music production, theory and DJing knowledge have vastly exceeded his own expectations and he has the “five hours of DJing every night with DJing software Mixed In Key” to thank for it. He’s also figured out a production process that breaks many traditional rules in music production, but it seems to be working.
When creating Comfort In Chaos in London, John underwent 25 studio sessions in 30 days to lay down the album’s foundations. He’d bring in his collaborators like HAYLA, Sub Focus and Elderbrook, working with an eight-bar loop of basic chord progressions, Splice samples, and melodies.
He usually spends no more than 30 minutes on a sketch but, once he’s got this initial idea, he spends the following months “producing it out” on his laptop while on the road, transforming them into full tracks with additional layers of synths and samples. John doesn’t use studio monitors to reference his tracks, either — he listens to them on his MacBook speakers until it sounds good, then will approach the “nitty-gritty“ tasks of mixing with a pair of headphones.

John credits U-He’s Diva as the main synth plugin you can hear throughout the album (“it has this thickness and just sounds so analogue”). The string sections are made primarily with reFX’s Nexus, and he’s using Soundtoys’ Decapitator on the vocals to saturate them and “give them more grit.” He adds that all of the “ear candy” — pads, plucks and vocal chops in the background of each track — are all added towards the end, too.
Comfort In Chaos is a spectacular showcase of sound design, production and songwriting. But, for John, it was crucial that the album showcased his vulnerable, emotive side — he says that the album is more John Schuster than John Summit. To that end, collaborating with close friends and family ensures each song hits the right tone.
“I’m a huge believer in collaboration — even just bouncing ideas off someone,” he says. “Every single song I’ve ever put out, I bounced off my manager asking, ‘What’s your thoughts on this?’, and I’ll show my mom a track and see what she thinks. It’s just about getting new perspectives.”
Image: Ben Bentley for MusicTech
How do you generally find collaborators and get in the studio with other artists?
“I think you have to be fans of each other online first and be like, ‘Hey, I would love to work with you’. Then it’s easy to be like, ‘Let’s get in the studio together!’ A pet peeve of mine, especially when artists get big, is that they just get thrown in the room with other big artists, and then it almost seems like a manager tried making that song happen, not like there was an actual vision to it.”
Do you often find it easy to get into the studio with people?
“The amount of times I’ve asked people to hop in the and it doesn’t work is like, 90% of the time. Because, when you’re a touring artist, your schedules and stuff are so busy. So that’s why I think for what I do, doing albums and writing in the winter is best, because that’s when all our schedules go down.
You must feel quite fortunate to have collaborated with Kaskade and deadmau5 on the I Remember remix?
Well, I was just thinking ‘I really don’t want to fuck this up’ [laughs]. I was already connected with Kaskade because I already did the remix for Escape ft. HAYLA [released by deadmau5 and Kaskade as Kx5], which is also how I got connected with Hayla, which started this beautiful friendship and working with her. So then I think he already had trust in me, but then from there, it still took a while to really lock in the I Remembet remix, because now I’m like, ‘Oh, this is so iconic, so historic, I can’t fuck this up!”
You tweeted Charli XCX earlier in the summer about a collab — did that end up happening?
“‘Nope! Charlie hasn’t responded yet [laughs]. I think I’ve tweeted at Dua Lipa, no response. I don’t think any of these people take me seriously yet. But, also, I am tweeting Charli in the midst of this absolutely insane Brat campaign she has, so I can’t imagine how busy her phone is right now.”
John’s pretty vocal on X, formerly Twitter. He, of course, tweets artists to publicly ask for a collab, to varying success, which is fun for his fans. If the ‘DJs complaining’ account was still active, he’d be lucky to avoid being called out on it but, mostly, he’s got a healthy following off the back of his bro humour, candid thoughts and chatter about the party life he’s ended up in.

The partying has actually become part of his act; clips of him downing shots, popping bottles and hanging out poolside and shirtless are rife across his channels. His fans embrace it (a number of his Discord members have named themselves Hungover Heroes; others are Guest List Goblins, Red Rocks Rangers and other names less fit for print), while his critics use it to fuel their disdain.
What’s your read on the negative online commentary about you?
“My read is that I am very unapologetically myself. And it’s not like I’m hiding behind a brand, so it’s really easy for people to talk shit. You’re gonna get you’re gonna get haters no matter what, and as long as it’s a decent balance, it doesn’t affect me at all. It’s especially easy too, because you see the lifestyle, the partying, and if you have a job that you really don’t like, and then you see me out there, living what it looks like to be my best life. It’s easy to be like, ‘Fuck that guy’.
It seems like you’re able to laugh it off now, at least
“1,000 percent. It used to affect me a little bit, but now I get more humour out of it.”
Are you living your best life? It does seem like it.
“I’m living life to the fullest. That’s the way I say it. The only thing is that, like you said, I haven’t been able to really sit back and look back on it all. But what drives me is that I want to wake up every morning. ‘Oh, I got this to do today. I got this. I have a purpose’. So, yeah, living a purposeful life is living my best life.”
Image: Ben Bentley for MusicTech
Kaskade, a teetotal DJ, doubles down on the idea that John’s partying is secondary to his aspirations as an artist.
“John is going full-throttle in what he’s doing,” he says. “This is not a person who is just partying and coasting on the success he’s had already. He’s a surprisingly disciplined work-horse, the schedule he keeps with touring and producing is mental. I love seeing anyone who feels blessed to be doing what they’re doing and then leans in to make it even better. I see him doing that.
John’s vision extends far beyond the studio. He’s working on the final touches of his Comfort In Chaos show, a live production that draws inspiration from Daft Punk’s iconic Pyramid show, and deadmau5’s Cube production. He talks of a potential show at the Vegas Sphere one day (“or some kind of mini-Sphere”), and of creating more intimate, adventurous experiences for dance fans.
Kaskade, meanwhile, offers his own advice to the young dance Jedi: “Take the time to acknowledge what just happened — whatever it was, even if it was terrible. The momentum of focusing on the future is a detriment as it casts a shadow on anything good that is happening in the present. I see a lot of very driven people working 17 steps ahead and never sitting down with their crew or loved ones, soaking up success. I would tell him: soak it up.”
Image: Ben Bentley for MusicTech
Eventually, when he slows down on the touring and DJ lifestyle – “hopefully, have a family some day or whatever” — John is looking to become an educator. “I think teaching is what’s going to be giving me fulfilment. Especially with the tour, I have so much to tell and so much to share to people; that’ll be a fun thing to do one day.’
For now, he offers one crucial lesson to budding producers right now: “Do not be afraid of rejection. Everybody sees how I just tweet at the people to collaborate with — you don’t lose anything by putting yourself out there. And no one really gives a fuck. People get too in their heads about this stuff too, but you don’t lose anything from putting yourself out there. And it does come with some hate and stuff but if you don’t give a shit, then anything is possible.”
Image: Ben Bentley
This interview has been edited for clarity and brevity.
The post For John Summit, the only real challenge is knowing when to slow down appeared first on MusicTech.

From the RIAA’s H1 US recorded music market stats to UMG’s stock upgrade… it’s MBW’s Weekly Round-UpThe biggest stories from the past week – all in one place…
Source

Kush Audio announce UBK-2 Kush Audio's latest release revisits their popular UBK-1 plug-in, kitting it out with a range of updated features that include two new saturation engines.

Tech startup Miris raises $26m to enable streaming of AR, VR contentThe company's seed funding round was led by IAG Capital Partners, one of the backers of music financing platform beatBread
Source

Audio-Technica launches AT-ONE Radio podcast from its TECHNICA HOUSE Audio-Technica, a producer of innovative audio experiences for more than 60 years, announces the launch of AT-ONE Radio, an original podcast series for and about creators. Featuring interviews recorded at the AT-ONE Studio, located inside TECHNICA HOUSE – New York in SoHo, along with spots captured at happenings throughout New York City, AT-ONE Radio seeks to bring the energy of NYC musicians, DJs, visual artists, and other creators to a worldwide audience.
The podcast series, like its home studio, takes its name from Audio-Technica’s original product, the AT-1 phono cartridge, which revolutionized the music industry in 1962 by making high-fidelity audio affordable and accessible to everyone. In a similar manner, the AT-ONE Radio podcast aims to open the entertainment world to young creators, offering inspiring stories and helpful tips to encourage their artistic pursuits.“
AT some time, somewhere” is the series’ theme. It nods to the meteoric rise of podcasts in recent years, while also highlighting the show’s nose-to-the-ground immediacy and gaze toward the future. Each 30-minute episode will introduce listeners to a new creator currently lighting up the scene, who will talk about their work and the story behind their success. AT-ONE Radio will release over 60 episodes over the next year and will be available on all major podcast platforms.
“We can’t wait to launch AT-ONE Radio,” says Manabu Aoki, President and CEO of Audio-Technica U.S. “This new venture is a unity project for us. We hope to bring young creators together to celebrate creative culture and learn from and inspire each other. Audio-Technica products have long played a part in the creative process, and this new podcast series will allow us to become involved on a more human level – face to face, voice to voice, heart to heart.”
The recently inaugurated TECHNICA HOUSE was designed to both celebrate the Japanese aesthetic and share Audio-Technica’s passion for analog audio. Much like New York itself, this marketing salon and collaboration space – currently open to invited guests only – packs a lot of energy into a small footprint. Aside from the podcast studio, TECHNICA HOUSE includes a listening lounge that features a variety of Audio-Technica headphones, turntables, and even the company’s high-end NARUKAMI headphone amplifier. Guests are welcome to spin records from a large vinyl library and listen through room speakers or any of the Audio-Technica headphones.
The AT-ONE Studio emphasizes the core of the company’s “Always Analog” philosophy: authentic human connections. Equipped with Audio-Technica’s BP40 broadcast microphones and critically acclaimed ATH-M50x professional monitor headphones, and isolated from the bustling SoHo neighborhood with a wall-to-wall and ceiling-to-floor sound treatment, the studio provides an ideal recording environment for podcasts.The post Audio-Technica launches AT-ONE Radio podcast from its TECHNICA HOUSE  first appeared on Music Connection Magazine.

Last Day to be eligible for the 2025 Grammy AwardsIt's not too late to drop that track you've been toiling over and still be eligible for a Grammy. The Recording Academy's 2025 Grammy Awards eligibility period ends today Friday, 8.30.24. Here are details and a full list of the 2025 Grammy Awards deadlines.
The post Last Day to be eligible for the 2025 Grammy Awards appeared first on Hypebot.

Remembering Greg Kihn: One rock music’s nicest peopleRemembering Greg Kihn, best known for his 80's hits "The Breakup Song" and "Jeopardy," passed away on August 13th. Michael Brandvold and Jay Gilbert share their memories and stories on a new Music Business Weekly Podcast.
The post Remembering Greg Kihn: One rock music’s nicest people appeared first on Hypebot.

“Take your music back to the ’80s” with Solid State Logic’s new non-linear reverb plugin, GateVerbSolid State Logic has launched GateVerb, the latest in its growing lineup of FX pedal-style plugins.
Billed as a “non-linear, gated reverb”, the aptly named GateVerb allows producers to shape reverb characteristics with added speed and precision.

READ MORE: Can Solid State Logic’s Sourcerer solve your mic bleed and feedback problems?

As SSL explains, traditional linear reverbs maintain a consistent decay pattern, most often emulating natural spaces like halls or rooms. Conversely, non-linear reverbs allow producers to have greater control over a decay pattern, and thus create more complex reverbs that evolve and decay in unconventional ways.
Additionally, greater control over the reverb tail allows for interesting production possibilities. For example, you could set a massive, expansive reverb – which would normally have a long tail – to decay very quickly, leading to both space and punch in your mix.

GateVerb’s controls include Density, Time, Colour, Size and Retro – which allows you to dial in an old-school ‘70s- or ‘80s-style vibe. The plugin also features ducking and sidechaining features, as well as the ability to time-sync pre-delay and time parameters according to the tempo set in your DAW. 
Other features include a LoFi control, which enables users to deliberately degrade a signal with a lo-fi touch, adding to the plugin’s retro capabilities, and a Mix Lock control, which allows users to return to a previously locked setting following preset changes, a feature that will no doubt be welcome to those using the plugin in a live setting.
“GateVerb is an incredibly powerful creative tool that can add clarity, punch or an extra degree of vibe to almost any mix,” says Jon Sandman, SSL Plug-in Product Manager. 
“With its highly flexible set of controls and creative parameters, GateVerb can help users take control over how their reverbs morph and change over time. This can have a significant effect on the overall outcome of a mix.”
GateVerb is available now for $99.99/£79.99. For more information, head to Solid State Logic.
The post “Take your music back to the ’80s” with Solid State Logic’s new non-linear reverb plugin, GateVerb appeared first on MusicTech.

Wusik Limiter is FREE until November 1st
Wusik offers the Wusik Limiter (49.95 value) for macOS and Windows as a free download until November 1st. You might have already grabbed a bargain limiter this month with Plugin Boutique’s 1176 bundle deal: all three UAD 1176 plugins for £38 (usually £261). If you’re interested in the UAD collection, act fast; it’s a limited-time offer. [...]
View post: Wusik Limiter is FREE until November 1st

Free sample packs for progressive and tech houseAd feature with BandLab Sounds
Building a floor-filling progressive or tech house track requires a strong command of energy, groove, and atmosphere. Progressive house is known for its highly emotive melodies and evolving soundscapes, while tech house focuses more on tight, driving rhythms.
Artists like John Summit, Eric Prydz, and CamelPhat have mastered these styles, creating hypnotic tracks that are perfect for the clubroom and festival stage alike.
Achieving the sound requires a toolkit of high-quality samples — but luckily, you don’t have to break the bank to get started. To help you craft your own sonic odysseys, we’ve compiled a list of the best free sample packs that capture the essence of both subgenres.
[Editor’s note: BandLab and MusicTech are both part of Caldecott Music Group]
MusicTech: Wavefolding
MusicTech Wavefolding
If you’re looking to add a dark, gritty edge to your tracks, the Wavefolding pack has you covered. This collection features powerful synth stabs, ominous drones, and sweeping oscillators, all meticulously processed through a wavefolding hardware synth. The result? A set of raw, textured sounds that will add depth and intensity to your progressive house productions.
Download MusicTech: Wavefolding
Bingoshakerz Tech House Vol. 1
Bingoshakerz Tech House Vol. 1
Want to inject some high-octane energy into your production? Tech House Vol. 1 is your go-to pack, brimming with electrifying vocal phrases and driving basslines that provide relentless momentum. There’s a plethora of percussive loops perfect for creating irresistible grooves, plus a range of spine-tingling effects to give you deft control of your track’s tension and release — everything you need for your next tech house banger.
Download Bingoshakerz Tech House Vol. 1
Tech House Vocals
Tech House Vocals
Drawing inspiration from artists like Chris Lake, Fisher, and Defected Records, Tech House Vocals is designed to give your tracks the vocal edge they need. Its selection of 105 samples includes leads, hooks, and one-shots treated with autotune, distortion, and other intriguing effects, adding plenty of character to elevate your tech house productions.
Download Tech House Vocals
Malarkey: Lock & Key Sounds Vol. 1
Malarkey: Lock & Key Sounds Vol. 1
Lock & Key Sounds Vol. 1 presents a selection of highly usable samples from Spinnin’ Records signee Malarkey, known for his distinctive EDM style. This versatile pack includes 101 loops of crisp drums, soulful piano progressions, and evocative melodies that are certain to wash a sense of euphoria across your audience.
Download Malarkey: Lock & Key Sounds Vol. 1
Function Loops: Magnetic Tech-House
Function Loops: Magnetic Tech-House
Often, a great tech house track is all about an infectious groove — and that’s exactly what Magnetic Tech-House from Function Loops will help you create. Filled with pulsating basslines, hypnotic synths, and dynamic rhythms, this pack has all you need to create engaging tracks that keep the crowd moving. You’ll also find crisp toppers, minimalist synth leads, and vocal hooks in this tech house toolkit that covers all bases.
Download Function Loops: Magnetic Tech-House
Vocal Tech House
Vocal Tech House
While this pack does contain plenty of vocal samples, that’s not the only thing you’ll find. Vocal Tech House serves up a collection of slick bass grooves and pumping drum loops alongside, with more of a minimalistic and old-school vibe that’s ideal for building stripped-down yet highly effective dancefloor beats. Whether you’re just starting out or looking to refine your sound, this pack is a solid choice for creating fresh, timeless tech house tracks.
Download Vocal Tech House
Tech & Melodic House
Tech & Melodic House
This curated selection of sounds features a mix of basslines, pulsing synths, and vigorous house drum patterns — ideal for bringing both energy and atmosphere to your productions. From classic 909 loops to resonant arp sounds, this sample pack is a treasure trove of possibilities.
Download Tech & Melodic House
Rave Grave Tech House by Cr2
Rave Grave Tech House by Cr2
Inspired by the underground rave scene, this pack from Cr2 is ideal for those looking to tap into a raw, intense flavour of tech house. Driving basslines, foley-inspired percussion, and euphoric synth melodies are what you’ll find inside, many of which have a more industrial feel. Thanks to deft use of effects, these samples deliver aggressive, distorted textures that are perfect for producers seeking a bit more edge.
Download Rave Grave Tech House by Cr2
Thomas Gold Tech House
Thomas Gold Tech House
Unmistakable German DJ Thomas Gold offers up a selection of his own sounds with this tech house sample pack. Featuring pumping house rhythms and aggressive basslines, this collection is all about impact, with screeching bass growls and hard-hitting four-to-the-floor beats tailor-made for producing tracks that demand attention.
Download Thomas Gold Tech House
Melodic EDM Vol. 2
Melodic EDM Vol. 2
Want to make radio-ready prog house hits with a more commercial flair? This pack is all about capturing the melodic side of dance music, including a variety of anthemic riffs and sounds perfect for crafting club anthems. It’s not all high-energy though — you’ll find plenty of softer tones for breakdowns and build-ups too.
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Cazzette
Cazzette
Swedish electronic producer Cazzette brings the heat with this sample pack — a collection of speaker-shaking sounds including deep bass grooves, metallic sound effects, and a strong focus on percussion. Many of these samples have been treated with nuanced processing, delivering a level of detail perfect for making tracks that reward repeat listens.
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