Audio Modeling open PolySWAM pre-orders Audio Modeling's latest orchestral instrument combines the company's SWAM engine with a proprietary voice-allocation technology that makes it possible to play chords, melodic passages and layered textures. 

Harrison Audio channels the power of the 32Classic into new Flex-10 desktop production toolKeen to level up your production game? Harrison Audio might have you covered. The new Flex-10 comes as the brand’s latest solution to compact desktop production, with the 10‑in/12‑out USB-C, 32‑bit/192 kHz audio interface interface perfect for a minimalist studio set up, or as part of an on-the-go, portable studio.
Despite its small size, the Flex-10 is a high-quality, tactile and intuitive production tool. The tactile audio interface is reminiscent of Harrison Audio’s 32Classic, allowing for a classic analogue feel while also embracing a few modern perks. It’s a great way of harnessing the power of a full Harrison studio console in a smaller package.

READ MORE: Cradle State Machine Alt Textures relies heavily on its epic sounds

One element that has been directly derived from the 32 is the channel set-up. There are two channels of high-performance Harrison mic preamps, kitted out with H-DRIVE real transformer saturation and high-pass and low-pass filters – a tried-and-true formula for shaping your mix. Each channel also includes buttons for line level, 48V phantom power, -20 dB pad, and phase inversion.
Each of the two channels also has an accompanying 1/4″ input conveniently placed at the front of the interface. That means you can hook up your guitars, synths and whatever else with ease.

In terms of the Flex-10’s full connectivity, the 10-in/12-out setup is a mix of MIDI I/O and a total of eight channels of ADAT I/O. This includes a pair of monitoring outputs, each with their own independent controls, as well as two headphone outputs – so dual monitoring won’t be an issue. There’s also two additional MIDI I/O over 3.5mm TRS connectors, for those wanting some extra connectivity for drum machines and synths.
One of the modern perks in question is the Harrison Creator Pack, which comes bundles with a purchase of the Flex-10. The collection of virtual instruments, plug‑ins, loops and samples are of a respectable quality – hailing from Solid State Logic, Native Instruments, IK Multimedia, and more – and they should allow you to experiment with a slew of sounds right off the bat.
Alongside the Harrison Creator Pack, a purchase of the Flex-10 also comes with a full license for Harrison Audio’s own DAW, Harrison Mixbus 12.
For more information, head to Harrison Audio.
The post Harrison Audio channels the power of the 32Classic into new Flex-10 desktop production tool appeared first on MusicTech.

Stemwire offers Zero Sweep Filter and Subkeeper Saturator for FREE
Stemwire has released Zero Sweep Filter and Subkeeper Saturator, two freeware effects for macOS and Windows. I love the minimal design of these plugins. White on black looks clean, and I think it fits the general idea behind these plugins because they both address a specific production problem without adding a bunch of controls you [...]
View post: Stemwire offers Zero Sweep Filter and Subkeeper Saturator for FREE

“I’ve seen artists with less talent outwork everybody else and become stars”: Studio 1501’s Carl Crawford just wants you to have a strong work ethicBefore he was the head of one of Houston’s most pivotal hip-hop houses, Carl Crawford was a left fielder for the LA Dodgers, Boston Red Sox, and Tampa Bay Rays. The former decorated baseballer, a Houston native, played from 2002 to 2016, hanging up his cleats and founding 1501 Certified Entertainment in the same year. But he hasn’t exactly left the sport behind.
As the head of 1501’s label and recording studio, Crawford says he applies the same “discipline, consistency, preparation” into his music career as he did during his baseball years. Since its inception, 1501 has championed all-star talent Megan Thee Stallion and Erica Banks, alongside other grassroots rappers.
It hasn’t been easy. Following a legal battle in 2023 with Megan Thee Stallion, Crawford stepped down as president, with Banks also departing the label in 2023. But now, with the launch of the new Studio 1501, Crawford is aiming to foster a new generation of Houston talent by applying that same work ethic and giving artists access to a glitzy, kitted-out creative space, created with his studio partner Jarrod ‘Lacemode’ Lacy. In this Studio Files, take a look inside and learn more about the benefits of a glammed-up space, and why Crawford is now “much more intentional about what I say, what I post, and how I move.”
Carl, what did your athletics career teach you that you’ve carried into 1501 Studios?
Baseball taught me discipline, consistency, preparation, and how to recognise that “it factor.” Talent will get you noticed, but discipline is what keeps you around. I carried that same mentality into music. You have to show up every day, put the work in, and understand that success doesn’t happen overnight.  Sports also taught me how to build a team. You need the right producers, engineers, A&Rs, management, creatives, and artists all working toward the same goal. At 1501, we push each other to be better.
Crawford and his studio partner Jarrod ‘Lacemode’ Lacy. Image: Press
1501 has influenced Houston’s wave of female rap talent, from Megan Thee Stallion to Erica Banks. What are you listening for when you decide an artist belongs on the roster? And what’s it like when these artists step into the studio to record?
I’m looking for authenticity before anything else. Everybody can rap and make music now, but can you make people believe you? Do you have your own identity? Can I hear you on one record and immediately know it’s you?  Work ethic is just as important as talent. I’ve seen artists with less talent outwork everybody else and become stars. That’s why we built an environment where artists can experiment and become better every session.
Tell us a bit about the studio.
The new Studio 1501 is located in Acres Homes, Houston, which is home for me. We always had our original studio off Memorial, but I wanted something closer to where we’re developing artists every day.
The vision was to build a complete creative campus. Artists can record, rehearse, network with other musicians and influencers, work out, create content, hold meetings, and really focus without distractions. Everything is connected because I believe artist development doesn’t stop once the recording session ends.
Image: Press
Studio 1501 took two years to design and build. What were the biggest challenges, and what would you do differently now?
Our project manager, J Lacy, did an incredible job bringing the vision together. The biggest challenges were the normal construction headaches. We changed developers, timelines shifted, and there were unexpected costs along the way.  That’s just part of building something at this level.  Looking back, I probably would’ve started even earlier because once you see the finished product, you realise every delay was worth it.
The room looks stunning, but does the vibe of the space bring more to a session than just looking good?
Absolutely. The vibe is the beginning of the creative process. Before somebody records one word, they’re already feeling the room. Most of the time, I can tell how productive a session is going to be just by walking in and feeling the atmosphere. We added recliners, custom lighting, fog glass doors, custom Augspurger speakers, LED accents…everything was intentional. When artists feel comfortable and inspired, they create better music.
What’s the latest addition to the space, and what made it a must-buy?
Definitely the custom Augspurger speakers, a set of Duo12Vs and Sub212s. J Lacy pushed hard for those, and now I understand why. They’re incredibly accurate, and hearing a record through them changes your whole perspective. Augspurger’s president Dave Malekpour was also very involved in the final speaker placement and tuning the speakers to the room, to ensure we’re getting the best possible accuracy and performance.
Image: Press
Are there any budget or low-cost pieces of gear that are surprisingly essential to the studio’s workflow?
An AUX cord [laughs].
Do you have a dream piece of gear for the studio?
I’d like to bring in more live instruments. Imagine artists being able to walk in and immediately record with live drums, keyboards, guitars, or strings. It creates a completely different energy than programming everything. I also think it’d be great for live sessions and performances inside the studio.
Image: Press
Many hip-hop artists today make their music in a bedroom or spare room at home. Is there really a benefit to having a studio space like this in 2026? Can you hear the difference between a bedroom-made beat and a 1501 Studio-made beat?
For me, it goes back to preparation. I want my artists practising and writing wherever they are. Come up with ideas at home. Record demos if you need to. But when it’s time to make the record, it’s game time. I want them prepared before they walk into the studio because that’s where you’re working with producers, engineers, and other artists at the highest level.  Can a bedroom record become a hit? Absolutely. We’ve all heard records that started that way, but it’s rare, and I spent way too much money building this studio to send out a record made in a bedroom.
What’s a music production myth you think needs debunking?
I honestly don’t think there’s one right way to make great music. I’ve seen artists become more creative because of the room they’re in. I’ve seen producers completely change an artist’s performance.
I’ve seen artists make incredible records on equipment people would call “basic.”  Two things can be true at the same time.
Image: Press
Who gave you the biggest lesson in your music career? Can you tell us about how it impacted you?
I’ve learned to stay hands-on with my company. I check in with my artists more. It’s important not to make emotional decisions or react on impulse, especially in this business. I’ve learned to expect the unexpected. Probably the biggest lesson was understanding the power of social media. I went from being viewed as a hometown hero and World Series champion to becoming one of the most talked-about people in hip-hop almost overnight. Whether people agreed with me or not, I learned that perception moves fast online.
I’ve spent years rebuilding parts of my public image while continuing to build the business. Now I’m much more intentional about what I say, what I post, and how I move. Every decision has an impact, and that’s something I understand a lot better today.
The post “I’ve seen artists with less talent outwork everybody else and become stars”: Studio 1501’s Carl Crawford just wants you to have a strong work ethic appeared first on MusicTech.

dBdone releases Feuer, a FREE drum loop mangler that surprised me
dBdone has released Feuer, a free creative drum-processing plugin for macOS and Windows that’s a lot more fun than I anticipated. We recently covered dBdone Glas, a free spectral chaos plugin for turning pads, synths, and vocals into glassy textures. Feuer is somewhat similar, but aimed at drums, percussion, breaks, and rhythmic loops. Anyway, based [...]
View post: dBdone releases Feuer, a FREE drum loop mangler that surprised me

Minimal Audio release Lucid Described as “your dream granular effect”, Minimal Audio’s latest creation is capable of turning any sound into a musical texture or rhythmic effect, with the results always staying locked to the user’s chosen key and tempo. 

StemDeck is a FREE open-source local stem splitter
Solo developer Thales Pereira has released StemDeck, a free and open-source stem separation tool for Windows, macOS, and Linux. Thales says he built StemDeck to help his kid practice drums, after wanting a way to pull stems without paying a subscription or uploading music to someone else’s server. We’ve covered a few stem tools over [...]
View post: StemDeck is a FREE open-source local stem splitter

Suno wants to offer tracks pressing to vinyl, really? Interesting move from the point of rights in #AI #MusicBusiness

Native Instruments’ SuperStarSaw is A. G. Cook’s way of showing you the power of a simple saw wave
The humble saw wave has put in a serious shift over the years. Buzzing away inside Reese basses and Hoovers, it’s the basis for countless synth patches, including the massive, euphoric supersaws that have powered decades of dance music.
First popularised by the Roland JP-8000 and later baked into the DNA of trance, the supersaw is having yet another moment in the spotlight thanks to SuperStarSaw, a collaboration between Native Instruments and Grammy-winning producer A. G. Cook.
Best-known to many listeners as Charli XCX’s right-hand man, Cook’s production calling cards have slowly seeped into the charts since he founded the PC Music label in 2013. SuperStarSaw makes his signature sounds more attainable than ever – but can this synth do more than merely mimic its architect?
What do SuperStarSaw’s presets sound like?
Before I’ve even made any noise, SuperStarSaw’s unique appearance primes me to expect something different. It borrows the pink-and-green geometric design language from Cook’s Britpop album campaign, wrapped up in a one-page layout that feels clean and approachable at first glance.
SuperStarSaw interface. Image: Press
I’m particularly intrigued by the floral Morpher that takes centre stage, though other controls like the amp envelope and filter section feel impractically small. A resizable interface would be useful here.
Native Instruments has clearly lavished attention on the look of the plugin – but how does SuperStarSaw actually sound? I rifle through its 235 presets beginning to end, and am impressed with the instrument’s range. Several evoke specific moments from Cook’s eclectic discography: glassy glissando keys, dense flurries of plucks, aggressively pitch-enveloped percussive stabs. Others tread closer to classic—if slightly generic—dance sounds.

The quantity and quality of cinematic patches is a pleasant surprise, though it makes sense given Cook’s recent move into scoring with The Moment, a mockumentary film starring Charli XCX. But where synth-heavy soundtracks like Drive and Blade Runner 2049 are inspired by sounds of the past, SuperStarSaw’s character feels notably future-facing. At its most restrained, it deals in intimate ambient timbres; moments later, it’s churning out the sound of a spaceship at warp speed.

Designing sounds in SuperStarSaw
For the uninitiated, a supersaw stacks many slightly detuned saw waves to create a thick, drifting sound used for enormous leads and euphoric pads.
In SuperStarSaw, these stacks are presented as two independent ‘swarms’ of 16 oscillators each. Initialising the patch, I begin with the basics and dial up the Spread – this represents the range of detuning applied across the oscillators, and thus how big the sound is.

There are quite a few parameters to get your head around. They’re compartmentalised by function: the panning controls, for example, spread the oscillators across the stereo field, while the amplitude controls adjust their balance.
How they alter the sound is not always obvious by ear alone, but I’m assisted by a handy visualisation of the oscillators’ distribution around the root note, while tooltips along the bottom further ease the learning process.
SuperStarSaw Swarm Controls. Image: Press
Eventually, I become impatient with my results and discover the Randomise button. It’s definitely a gamble, with a frustratingly low hit rate for sounds I’d actually put in a track – many are devoid of harmony until tweaked substantially, and a few are almost inaudible altogether. A way to constrain ranges or lock parameters would help tremendously.

As I continue tweaking, I find myself treading a delicate balance: push too far, and the patch becomes cacophonous. While these sounds are fun to play with, they probably won’t work for melody-driven composition.
SuperStarSaw’s harmony engine
The antidote to all this amorphous discord is the harmony engine. At the basic level, it filters incoming MIDI according to a wide variety of scales: familiar options like major and minor, modal flavours including Super Locrian and Dorian #4, or the traditional Japanese Hirajoshi.
SuperStarSaw Scales. Image: Press
To access the harmony engine’s full power, I enable pitch quantisation within the oscillator swarm – this is where SuperStarSaw starts to open up. Each oscillator is ushered into the chosen scale’s confines, creating beautifully tense tone clusters as I increase the Spread:

Pitch quantisation can also be applied by way of a specific chord shape. I automate this parameter and play a single note, again in C major:

Finally, I rhythmically mash my MIDI keyboard, letting SuperStarSaw herd my playing into the Aeolian scale, before I finesse the initialised patch into a delicate, sparkly pluck:

Morphing and motion in SuperStarSaw
So, what actually makes something sound like A. G. Cook? According to the man himself, it’s “a lot of extreme contrast, minimalism, maximalism, finding ways to use those together in an expressive way”.
It follows, then, that SuperStarSaw’s Morpher is the instrument’s centrepiece. Using the snapshot buttons in each corner, users can instantly assign parameter values to the grid and transition between them gradually or dramatically:

I take a cue from Cook, configuring a simple fifth to break down into unwieldy chaos that’s rebuilt as an airy, fluttering pad:

This might be SuperStarSaw’s standout feature. Assigning macros to this many parameters—let alone automating them by hand—would be incredibly time-consuming. Instead, the Morpher makes gesture-based experimentation both speedy and fun.
Elsewhere, life can be injected into your patches through Motion settings within the swarm controls, along with an LFO and two ADSR envelopes that can be assigned to most parameters.
Sadly, the Morpher is excluded. It can be moved manually or automated in the DAW, but there’s no onboard LFO or path recorder to send it drifting around the grid – a missed trick for SuperStarSaw’s most potent sound design tool.
Should I buy SuperStarSaw?
If you’re yet to buy an all-purpose synthesizer, SuperStarSaw probably isn’t for you. Its architecture is unusual, and it doesn’t teach or cover the ‘standard’ synthesis workflow in the way a conventional do-it-all flagship like Serum 2 or Arturia Pigments does.
That said, SuperStarSaw is neither a toy nor a gimmick. It’s a focused, characterful instrument for producers who want to see just how far the supersaw can be pushed.
The more I use SuperStarSaw, the more I’m reminded how much mileage there is in a simple starting point, and its limitations force a different way of working. It’s potentially valuable for sound designers looking to break away from their usual habits or go-to patches.
This approach is not without flaws. With more conventional synthesizers, you can start with a sound in your head and build towards it through a fairly linear process. SuperStarSaw doesn’t always work like that, at least not until you’ve spent serious time with it. As a result, achieving something specific sometimes feels harder than expected.
There’s also a risk of sameness. Unless I fully engage in the sound design process, SuperStarSaw nudges me towards familiar territory, revealing a sort of ‘default’ character – but with a little patience, it’s possible to coax a broad palette from the instrument. This exploration is rewarding: it feels like you’re often just one tweak away from discovering something genuinely striking.
Given its narrower focus, SuperStarSaw does feel slightly expensive. But each time I load it up, I end up with a patch worth building a track around within minutes. For many, that creative spark is worth the £90 asking price.
Key Features

Two independent ‘swarms’ of 16 saw oscillators
235 presets across eight categories
Parameter randomisation buttons
XY pad for morphing between sounds
Quantise oscillator pitches to scales and chords
Independent per-voice glide
1 LFO / 2 ADSR modulation sources
High-pass, low-pass and band-pass morphing filter
Built-in chorus, delay, and reverb effects
Snap note input to chosen key and scale

The post Native Instruments’ SuperStarSaw is A. G. Cook’s way of showing you the power of a simple saw wave appeared first on MusicTech.

The David Bowie Line in 'Heroes' Written About Two Real People Against the Berlin Walla

CarbonDSP TextureTexture turns any sample into a playable instrument: finds a seamless loop in your source, then plays a drifting granular cloud key tracked across the whole key range. Three layers, a reorderable FX rack, 36 modulation sources into 198 destinations, and an offline render that bounces the result to a loop-ready WAV. SPOTLIGHT Texture is built on one idea: a sample should not stay a sample. Give it a field recording, a guitar take, a synth pad or thirty seconds of someone talking, and it finds a seamless loop inside that audio automatically, then plays it back as a cloud of overlapping grains that drifts, spreads and evolves while you hold a chord. The source stops being a fixed recording and becomes an instrument you can play across the full keyrange. The sound is the point. The granular engine is not a simple loop-slicer -- grain size, density, position, spray, drift rate and depth, stereo spread and keytrack are all continuous and all modulatable, and every grain is spawned with its own jitter in pitch, gain, onset timing and playback direction. Onset jitter in particular breaks up the periodic spawn grid that gives cheap granular engines their characteristic buzz. Each grain runs through its own filter -- a morphing low-pass/band-pass/high-pass, a diode ladder, or a Moog-style ladder -- with anti-derivative antialiased drive, so pushing it hard adds harmonics instead of aliasing. Behind the cloud sits a full effects section. A reorderable rack runs Filter, Gate, Delay and Reverb in whatever order you drag them into, followed by a fixed post-rack pair -- a Karplus-style string resonator and a tempo-synced slice sequencer -- and an 8-band parametric EQ. The reverb offers six algorithms including a shimmer with real pitch-shifted feedback, and an "Air" mode for very long tails. The filter block is three independent bands with thirteen types each, from ordinary 12/24 dB slopes through ladder, comb and formant, running in parallel or in series. Modulation is where it scales. Thirty-six sources -- four LFOs, four ADSR envelopes, eight macros, the rhythmic gate, MIDI performance controls, five generative sources (chaos, Euclidean, locked random, ratchet, probability) and four audio-reactive sources that analyse Texture's own output - route into 198 destinations across sixteen slots, with per-slot depth, response curve and layer targeting. The matrix can modulate itself: an envelope can open a macro that sweeps an LFO's rate. Any control can be assigned by right-clicking it, from either end of the routing. The rhythmic gate is a proper sixteen-step sequencer rather than a tremolo: per-step level, plus per-step accent and tie, so a pattern can phrase rather than simply chop. And when you have built something you want to keep, the RENDER page bounces the entire live patch offline to a tempo-synced, loop-ready WAV or AIFF with loop points and ACID metadata embedded -- one note, or a batch across the keyboard -- so your texture can leave as a sample and go straight into anything else. Key Features: Automatic seamless looping - point Texture at any audio and it finds the best loop internally, with an editable crossfade, so a sustained cloud never clicks or reveals its loop point. Three independent sample layers - up to 30 seconds each, with per-layer key zones, gain, monoand reverse -- stack three sources into one instrument, or split them across the keyboard. Live sampling - capture straight from the input bus in the plugin or the standalone app, with noround trip through a file. Granular engine with per-grain character - size, density, position, spray, drift, spread and keytrack, plus per-grain pitch jitter, gain jitter, onset jitter and reverse probability, and four selectable grain window shapes. Per-grain filter - Three characters (morphing, diode ladder, Moog ladder) and a live response graph you can drag, and anti-aliased drive. Reorderable FX rack - Filter, Gate, Delay and Reverb, dragged into whatever order the sound needs followed by a string resonator, a slice sequencer and an 8-band parametric EQ. Six reverb algorithms - Room, Hall, Plate, Shimmer, Air and TextureVerb -- an 8-line feedback delay network with real pitch-shifted shimmer feedback, not a chorused approximation. Three-band multimode filter - 13 types per band (12/24 dB low/high pass, band, notch, peak, shelves, allpass, ladder, comb, formant), parallel or series, with draggable response nodes. Sixteen-step rhythmic gate - Per-step level, accent and tie, swing, per-step decay, and 1/4 to 1/32 rates locked to host tempo. Modulation matrix - 36 sources into 198 destinations across 16 slots, with response curves, bipolar depth, per-layer targeting and self-modulation. Right-click any control to assign it. Generative and audio-reactive modulation - chaos, Euclidean gates, locked random, ratchets and probability gates, plus threshold, transient, sidechain and pitch-follower sources driven by Texture's own signal. Offline patch render - bounce the whole live patch to a tempo-synced, loop-ready WAV or AIFF with embedded loop points and ACID metadata -- single note or multi-note batch, with bit depth, sample rate and mono options. Five-page interface - Source, Grain, FX, Mod, Output -- with a per-page user guide built into the plugin, and a resizable window. SYSTEM REQUIREMENTS: Format: VST3, Standalone. Platform: Windows, 64-bit. Host: Any VST3-compatible DAW, or the included standalone application. Validation: Verified against pluginval at strictness level 10. MacOS: In progress. PRICE: $79 when released. VST is a registered trademark of Steinberg Media Technologies GmbH. Read More

SEC proposes new crypto rules in absence of CLARITY ActThe proposed rules from the US securities regulator would provide companies with a safe harbor from tokens being treated as “investment contracts” and certain exemptions for token issuance.

"LEMONADE" by AespaSM EntertainmentProducers: Various

Aespa shines the brightest when their bold personalities take center stage. Their second studio album LEMONADE startsoff strong with the catchy hooks and explosive lyrics of “LEMONADE” and “SHAKIN.” The album’s clear production really highlights the K-pop group’s vocal prowess especially in the rock inspired track “Can’t Help Myself.” The biggest stand out is “Switchblade (feat.Ty Dolla $ign),” the songs experimental electronic production is euphoric and Ty Dolla $ign’s feature works nicely. The last half is when things start to fall apart as songs feel less ambitious and more generic. Overall, LEMONADE is filled with more sweet notes than sour. The post "LEMONADE" by Aespa first appeared on Music Connection Magazine.

DOJ’s probe into Andreessen Horowitz over board seats baffles VCsSince portfolio companies often pivot and expand into competing markets, investors view occasional conflicts of interest as unavoidable for large VC firms.

Reverse Engineered Grill Controller Gets Open FirmwareIf you are a regular reader, then the odds are you have taken apart an electronic gadget, either for a fix, or simply because your curiosity got the better of you. Once inside, it’s all but impossible to help yourself from doing at least a little reverse engineering. That’s what happened when [PRBS23] took a look inside a Gravity 800 Grill for a simple wire fix. But one thing led to the next, and now open source firmware for the grill is freely available!
Control board schematic.
The first order of business in creating the firmware is reverse engineering the original controller. Opening it up immediately reveals an ESP-32 and a well-labeled programming port. The rest of the control board is equally simple, including connectors for four thermistor temperature sensors, lid open/close switch, fan driver, 16 segment LCD, piezo buzzer, and some physical inputs.
The thermistor along with the physical inputs are connected to a 16 pin chip, interfacing with the MCU over a 9600 baud UART connection. [PRBS23] cannot determine an ADC chip meeting these specifications, so the most likely answer is a cheap MCU programmed to act as a simple analog fronted.
The neatly labeled programming header is used to quite easily dump the firmware with the espflash utility. Analyzing this dump reveals a rather strange ADC correction function used by the original firmware. The necessity and overall utility of this function remains unclear, does corrects a maximum of around 40 degrees Fahrenheit.
Most of the other features ended up being at least somewhat easier. The CS1621 segmented display driver is reasonably well documented with datasheets making its implementation far easier. Likewise, the other odds and ends were implemented in a far more normal manner compared to the thermistors.
All this reverse engineering work got tied together into a neat little firmware package. It comes with over the air updates PID controlled temperature, and a real-time web interface. This also isn’t the first time we have seen an IoT device liberated from proprietary firmware, and this remains one of our favorite uses of reverse engineering!