Coca-Cola suspended production at its Fairlife dairy after a ransomware attackCoca Cola said dairy production at its Fairlife unit will "remain suspended" in the United States following a hack.

Your Local Musician SlowVerb StudioIntroducing SlowVerb Studio You know the sound. Songs slowed down until they feel like a memory, wrapped in cavernous reverb. SlowVerb Studio is a Slow and Reverb Plugin that recreates it faithfully and gives you full control over every part of it, without ever leaving your session.At its heart is a true tape-style slowdown engine. Rather than the artifact-ridden pitch-shifting most plugins use, SlowVerb resamples your audio like a tape reel slowing down, so pitch and character drop together, smooth and warm, exactly like the classic slowed-and-reverb songs you know and love. No metallic wobble, no digital smear.Around it sits a lush, modulated reverb with five distinct voicings, from an intimate Studio to a cinematic Hall to a floating Ambient wash, plus the warmth, weight, and clarity controls that make a slowed track actually sit in a mix instead of turning to mud. Controls: SPEED: the classic tape slowdown (or pitch up), from a subtle drag to full dreamstate. REVERB: a rich, spacious tail that stays tasteful, with five reverb characters to choose from. BASS: puts back the low-end weight that slowing down takes away. DUCK: keeps vocals crisp and up-front by letting the reverb bloom between the words. TONE: warm and dark, or bright and airy, across the whole sound. MIX: blend to taste, from a hint of vibe to fully submerged. Presets that nail it instantly: Slowed, Deep Slowed, Daycore, Ambient Wash, and Dreamy R&B. One click and you're there.Save your own, undo freely, and hover over any control for a plain-English tip.Perfect for lo-fi, phonk, cloud rap, vaporwave, R&B, TikTok and YouTube edits, or any time you want a track to feel slower, bigger, and dreamier. Features: Authentic tape-style slowed engine, clean and warm, with no pitch-shift artifacts. 5 reverb voicings: Studio, Hall, Ambient/Space, Large Room, Plate. Ducking to keep vocals and drums clear under the wash. Bass boost, global tone/warmth, and dry/wet mix controls. 5 factory presets, plus save your own. Undo/redo, tooltips, resizable interface. Works in any VST3 enabled DAW. Who it's for? Producers, beatmakers, and editors making slowed + reverb, daycore, lo-fi, phonk, and ambient edits who want the real sound instantly, without re-uploading tracks to a website every time. System requirements Windows 10/11 (64-bit), VST3 host. macOS version coming soon. Audio Preview Before SlowVerb Studio. YLM Samples · Before SlowVerb Studio After SlowVerb Studio YLM Samples · After SlowVerb Studio Read More

Trump teleprompter operator made $100K betting on Kalshi markets tied to speeches: ABCAccording to ABC News, federal regulators are investigating whether the longtime White House staffer used nonpublic information to profit from event contracts tied to President Donald Trump’s speeches.

Lenny Kaye Brings His Past and Present to ZebulonLenny Kaye is loved by a lot of people. Proper fans of N.Y. punk poet Patti Smith know that Kaye has been working with her from the very beginning, Horses and all. Some would argue that he's equally respected for the Nuggets compilation of "original artyfacts from the first psychedelic era 1965-1968." That album was released in 1972, though it was later blown up into a series of CDs and, in 1998, an awesome four-CD box set. Many of us rock 'n' roll fans not around in the '60s discovered the Strawberry Alarm Clock, the Chocolate Watch Band, the Barbarians and so many others through Nuggets. For that, we're forever grateful.

When we learned that his new album, Goin' Local, is in fact his debut solo record, we had to double check. That felt weird, but it is true. Sorta. He had a band called the Lenny Kaye Connection for a while, so make of that what you will. Still, Goin' Local is the first under Kaye's name alone. We're happy he's done it -- there are some gems on the album, and Kaye played a few of them when he dropped into Zebulon, Los Angeles, in July.

Kaye opened with "Luke the Drifter" from the 1984 LKC album I've Got a Right, before the new record's title track. Other new highlights include "The Things You Leave Behind" (a hoarder's lament) and "World Book Day" (a nuggets-esque bit of twee, sweet, psychedelic garage.

"I see ‘The Things You Leave Behind’ as something that resonates with anyone who collects cultural objects and memorabilia. It reflects that instinct to gather things and the question of what to do with them over time," said Kaye, in a statement. 

Kaye takes time out to read from his book Lightning Striking, as well as Waylon, the autobiography of Waylon Jennings which Kaye co-wrote. The latter is a touching tale about Jennings' memories during his spell in Buddy Holly's band of the tragic plane crash

The set is dotted with covers, including the Velvet Underground's "Run Run Run" and The Box Tops' "The Letter," plus "Naked As the Day You Were Born," originally by the Weather Prophets and produced by Kaye. Opening artist Cindy Lee Berryhill returned to the stage to play The Barbiarians' "Are You a Boy Or Are You a Girl," which was on that Nuggets box set. Our favorite moment was "Ghost Dance," which Kaye recorded with The Patti Smith Group for the Easter album.

All in all, a wonderfully intimate, career-spanning night.The post Lenny Kaye Brings His Past and Present to Zebulon first appeared on Music Connection Magazine.

Bad Apple on a Karaoke MachineCD+Graphics was a format that never really caught on. It let music discs pack some graphics, maybe liner notes, and mostly song lyrics into the otherwise empty space on a CD. It was never intended for displaying full-motion video, but that didn’t stop [Adam Gashlin] from getting a Bad Apple, with lyrics, running on any device that will play CD+G.
The main challenge is that CD+G gives you 300 screen commands per second, which is plenty for updating text on the 48×16 blocks as the lyrics scroll by. But if you want to send custom blocks and draw images, that’s 2.5 seconds per screen: a lousy framerate.
[Adam]’s first trick is to drop the resolution way down, which gets him into the 8 FPS range. Only update the blocks that change pushes this up to a respectable 17-20 FPS. But you can see the updates, and that’s distracting. It really needed buffering.
If you don’t know Bad Apple, it’s in black and white. And like many old graphics engines of the day, CD+G uses a dynamic palette of colors. [Adam] uses this to pack four frames into one, switching between them using palette swapping. (Absolutely check out his “rainbow” version of the video to see how the palette-swapping trick works.)
In the end, his demo has audio, triple-buffered video, and lyrics at 16.3 FPS. It’s slower than the fastest video-only version, but it looks so good, and [Adam]’s explanation of all of the graphics tricks he uses to get there is the real star of the show.
If you want to see Bad Apple running on yet more minimal hardware, how about a 16×2 LCD? Or a much more ridiculous implementation? How’s regexes in Vim for absurd? Got any Bad Apple hacks of your own? Let us know in the comments or the tips line. You can never have too many.

Get a free nostalgic synth pad for Splice INSTRUMENT
Download our free synth pad preset for Splice INSTRUMENT—grab these presets during the drop window and they’re yours to keep forever.

Native Instruments announce Super*Saw The newest addition to the Native Instruments line-up introduces a new synth created by A. G. Cook, a Grammy-winning British producer best known for his work with Charli XCX.

“The magic, consistency, and mystique of Rick Rubin really started to fall off”: music critic Anthony Fantano thinks producer Rick Rubin is ‘cringe’Rick Rubin’s approach to production is… controversial, let’s say. The producer’s self-confessed lack of technical ability and musical knowledge has resulted in a divisive, ‘vibes’-based instinct. Even within a single band, Rubin can be a very marmite character; while Kesha has cited Rubin as her most admired creative mind,  the Cult’s Billy Duffy thinks Rubin entirely lacks musicality.
Despite Rubin even penning a book in 2023 on his strange process, The Creative Act, countless musicians and journalists are beginning to question how strong his approach truly is. In fact, music critic Anthony Fantano is the latest to brand Rubin as ‘cringe’, arguing that Rubin is a producer he has grown “increasingly sceptical of” in recent years.

READ MORE: “Yeah, I swore at a Beatle!”: Phil Collins recalls how George Harrison’s prank left him “angry, depressed, sad”

While most people tend to critique Rubin’s lack of musical knowledge, Fantano instead argues that the quality of Rubin’s work has diminished as his fame has risen. As he puts it, Rubin seems to be coasting on the clout of his own name nowadays rather than consistently producing excellent records.
Fantano begins by noting his personal respect of Rubin’s work, calling him “one of the most significant big brains in the music industry ever” that has notably had a “direct hand in some of the most massive and significant success stories in popular music for the last 50 years”. However, Fantano argues that the 2010s marked the beginning of Rubin’s downfall. “Around this time period, I would argue the magic, consistency, and mystique of Rick Rubin really started to fall off,” he says.

There’s no denying that Rubin has been involved in some marvellous records – notably revitalising Johnny Cash’s career with 1994’s American Recordings, as well as producing System Of A Down’s 2001 release Toxicity and Beastie Boys’ 1986 album Licensed to Ill. However, Fantano insists that the subsequent “weak output” of work from 2010 onwards has flagged up “glaring issues and flaws” with Rubin’s production.
As Fantano says, it seems as if Rubin is focusing more on his rebrand as a “philosophical guru” than churning out quality records. Rather than accepting his role as a standard producer, Fantano critiques Rubin’s newfound hobby of “[hopping] on social media to post quotes of himself against white backgrounds” in an effort to “make the various things he says seem more important than they really are”.
Another qualm is Rubin’s love of AI. While a majority of the music industry has been at war with AI, Rubin has embraced it, even realising an interactive online AI book The Way Of Code: The Timeless Art Of Vibe Coding.

Last year, Rubin branded AI as “punk rock”, explaining on The Ben & Marc Show podcast that: “[With punk rock music], you didn’t need the expertise or skill set, other than your idea and your ability to convey it. And vibe coding is the same thing – it’s the punk rock of coding.”
It’s a stance that weirdly aligns with Rubin’s insistence that he has no musical knowledge, something he controversially wore as a badge of honour during a 2023 interview with 60 Minutes. “I’ve no technical ability,” he admitted. “And I know nothing about music. I know what I like and what I don’t like. I’m decisive about what I like and what I don’t like.”
Again, the interview and the AI-loving seems to add fuel to Fantano’s argument. As it stands, Rubin is embracing technology that is allows him to be even more hands-off in the studio, hanging the reins over to a computer. While none of this takes away from Rubin’s influence on music, it is certainly strange that Rubin is embracing his lack of knowledge and actively seeking ways to avoid learning about music to improve his craft.

The post “The magic, consistency, and mystique of Rick Rubin really started to fall off”: music critic Anthony Fantano thinks producer Rick Rubin is ‘cringe’ appeared first on MusicTech.

Suno scraped YouTube, Deezer to train AI, hacked code reveals – potentially strengthening UMG and Sony’s legal caseThe code was obtained by a hacker who breached Suno and shared it with 404 Media.
Source

Other Worlds Evolved from Zero G Described as  “a deeply interactive synthesis environment”, Other Worlds Evolved packs in a 4.6GB collection of cinematic samples created by sound designer Adam Pietruszko and offers a mixture of sampling and wavetable synthesis. 

A.G. Cook’s trademark supersaw sound has helped define modern pop music – now it’s wrapped up in a single soft synth from Native InstrumentsNative Instruments has launched Super*Saw, a software synthesizer created in partnership with Grammy-nominated, 2025 BRIT Producer of the Year, A.G. Cook.
Heard in some of Cook’s most notable work with Charli xcx, Beyoncé and Caroline Polachek, supersaws are essentially multiple sawtooth waves layered on top of one another and slightly detuned, and are a defining sound of contemporary pop music. Building them generally consists of painstaking manual layering, but with Super*Saw, Cook and NI look to get the supersaw sound into your hands right away.

READ MORE: Tom Oberheim: “The history books say I was involved in creating MIDI – that’s such a joke”

You can hear A.G. Cook’s trademark supersaw sound in Charli xcx’s 360, from around the 0:28 mark…

The new instrument is the result of two years worth of collaboration between Cook and Native Instruments, which worked directly from his patches and production sessions to create it.
At the instrument’s heart are two independent 16-saw oscillator banks, while a four-corner X/Y Morpher captures four distinct patch states and allows continuous interpolation between them. This transforms what would otherwise be extensive automation into a single performance gesture.
Super*Saw also features chord, scale and quantize tools, so you can ensure it’s harmonically and musically usable at all times. There is controlled off-grid deviation, though, if dissonance is actually what you’re after…
The instrument also features per-voice glide and offset controls, which handle the “liquid smears and stereo motion” key to A.G. Cook’s sound design.

While endlessly customisable, Super*Saw also comes with a vast preset library so you can get stuck right in, covering everything from “blissed-out harmonies, metallic dissonance, ravey leads, and impossible glides”.
Further features include built-in chorus, delay and reverb, as well as LP, BP and HP filters at 2-pole and 4-pole slopes. Additionally, Super*Saw also integrates with Native Instruments’ Komplete Kontrol keyboards and Maschine drum machine and sampler.
Super*Saw is available now, priced at $99/€99. For more info, head to Native Instruments.
The post A.G. Cook’s trademark supersaw sound has helped define modern pop music – now it’s wrapped up in a single soft synth from Native Instruments appeared first on MusicTech.

Sugoi Audio releases CURVA, a FREE football-inspired modulation plugin
From Sugoi Audio comes CURVA, a free football-inspired modulation plugin for macOS and Windows. There have been times over the years when I’ve felt like the best thing for the track I’m working on was to pick up my laptop and punt it from a great height to ensure the sound that I momentarily convinced [...]
View post: Sugoi Audio releases CURVA, a FREE football-inspired modulation plugin

Audio Spices shares new pitch-shifting reverb, Anise GlideAudio Spices, the company by accomplished producer Adi Rotem, has introduced a new pitch-shifting reverb plugin, Anise Glide.
Where many pitch-shifting reverbs are bound to the frequency settings, the Anise Glide lets the wet decay “glide” into the chosen pitch. This creates sonic motion to add some more colour to any audio source.
Several parameters within the plugin allow you to dial in the precise quality. The main adjustment to make within the app is the pitch. It has a full octave range on the higher and lower end. Turn it all the way down to create more depth or all the way up for more brightness. Then, by making more delicate adjustments, the pitch shift can add some sonic tension between dissonant frequencies for a more intriguing sound.

A sensitivity knob controls whether the motion will apply to the full signal or just the most pronounced tones. Four glide patterns can change the curve the frequencies will follow as they shift. There is a straight shot, two deeper bends, or an S curve.
The separate Glide knob determines how long it takes for the shifting to occur. At the fastest setting of 30ms, the new texture follows immediately as an interesting extension. But if it’s increased longer, the pitch shifting can overlap with incoming sounds as the song progresses for another experimental technique.
Anise Glide also includes two overarching settings that adjust how the entire plugin operates. Switch between Reverb 1 for “dense and smooth” textures, and Reverb 2 for “sparse and airy” qualities. Drift and Tuned dictate how rigid the shifting algorithm is in terms of the frequencies. Drift is looser, and Tuned is more precise.
Anise Glide Reverb is available now for the launch price of $39 (regular price $59). It works in AU, VST3, and AAX on macOS (10.13 and up, Universal 2 for Intel and Apple Silicon), and VST3 on Windows.
For more information and a free trial, head to Audio Spices.
The post Audio Spices shares new pitch-shifting reverb, Anise Glide appeared first on MusicTech.

Drag-and-drop mastering: Meet HyFi, the new platform from Musik HackMusik Hack may have just made mastering easier than ever…
With HyFi, the brand’s new drag-and-drop mastering platform, users can simply drag in their audio files for mastering and the platform will do the rest.
The platform operates on a token/credit basis, with one credit used per minute of audio. No subscription is required, simply pay for what you need when you need it. Oh, and upon making an account you get 10 credits completely free.

READ MORE: “I can’t talk about it, but it’s keeping me busy”: Tom Oberheim is working on a “little project” – could a new synth be on the way?

Once the audio is uploaded, the platform creates a default master in moments. From there, certain options such as Loudness, Character, and playback speed are available for general alterations. Use the A/B to hear the exact difference with each setting, then download the mastered audio straight from the website in either mp3 or WAV. The website stores everything for 30 days, and one credit extends that for a full year.
It works on mobile, too, so if you want to give a new track of yours that little extra sheen before you show it to a friend, just make sure you have enough credits.
Musik Hack’s most popular product is the mastering plugin, Master Plan, which MusicTech granted an 8/10 in its 2024 review.
“Master Plan’s supreme simplicity masks a surprisingly deep and extensive chain of well-chosen mastering processors, while the basic controls reach into those processors and tweak them in just the right way to provide you with loads of tonal and dynamic control,” we wrote.
HyFi builds on this accessibility and efficacy. While the website can’t include as many options for fine-tuning as the plugin, the intention for a crisp and clear sound remains the same. Plus, HyFi was specifically designed to maintain the integrity of the mix. By focusing on color and volume, its functionality enhances the uploaded audio rather than morphing it.
For more information, head to HyFi.
The post Drag-and-drop mastering: Meet HyFi, the new platform from Musik Hack appeared first on MusicTech.

“I can’t talk about it, but it’s keeping me busy”: Tom Oberheim is working on a “little project” – could a new synth be on the way?Age is just a number…
Tom Oberheim, the namesake of the legendary Oberheim synthesizers that have been used in classic hits such as Van Halen’s Jump, Rush’s Tom Sawyer, and Prince’s Let’s Go Crazy, just turned 90 years old. But he’s far from done building.
In a new interview with MusicTech, Oberheim says, “I do also have a little project, which I can’t talk about but it’s keeping me busy.”

READ MORE: Tom Oberheim: “The history books say I was involved in creating MIDI – that’s such a joke”

Oberheim holds himself to silence on it for the rest of the interview, but it’s an exciting development for him. Not just because of his longevity (he makes it clear he will never retire), but because he hasn’t spent the last 47 years just making synths. He’s been on a long, arduous journey with these instruments.
Oberheim launched the OB-X, which is responsible for the unforgettable synth hooks in the three aforementioned songs, at the NAMM show in Atlanta in 1979. That came in the midst of a fierce run for the company, also releasing the DMX drum machine, the OB-Xa, and the OB-8 within the span of seven years.
Since then, the company went bankrupt. Oberheim lost the naming rights to his lawyer, whom he later sued for malpractice. Then Gibson purchased the brand, which sent Oberheim to work in Silicon Valley completely away from synthesizers.
“I decided in the mid-90s that it was time for me to go to work and pay the mortgage on the house,” Oberheim says.
Decades later, Oberheim recouped the rights to his name, which Focusrite later purchased alongside a distribution deal with Sequential. Under this arrangement, the TEO-5, OB-X8 and OB-6 have all been released to the public.
It sounds cliché, but it’s the simple joy of the work that keeps him going:
“Do the work you love, and combine that with what you like to do that isn’t work.”
The post “I can’t talk about it, but it’s keeping me busy”: Tom Oberheim is working on a “little project” – could a new synth be on the way? appeared first on MusicTech.