Get 90% off the United Plugins WideFire + get UVI Model D for FREE
WideFire is an analogue-style saturation plugin by JMG Sound/United Plugins that takes an interesting approach to audio widening, and now you can get it for 90% off at AudioDeluxe! The WideFire plugin typically sells for $29, but with a 90% discount, you can pick it up for just $3 (I’m not sure how long the [...]
View post: Get 90% off the United Plugins WideFire + get UVI Model D for FREE

Cyber Weekend is over, but you can still save up to 55% on Korg plugins all of this week!If you didn’t manage to grab any bargains during last week’s Black Friday madness, you’re in luck. Plugin Boutique has rolled out a fresh Cyber Week sale featuring deep discounts across Korg’s classic software lineup – from legendary synth emulations to modern effects – with prices starting at just £23.
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The sale covers many of Korg’s most recognisable plugins, including up to 54% off iconic synths such as the MonoPoly, M1, MS-20, and Wavestation. Whether you’re chasing rich analogue pads, classic digital textures, or unmistakable Korg filter grit, now is a great chance to expand your sonic arsenal without breaking the bank.
Producers looking for an all-in-one workflow can also pick up Korg Gadget 3 at half price (£90). The award-winning DAW/groovebox hybrid packs over 40 small synths/drum machines or “gadgets” that can be mixed and matched inside a clean, intuitive interface. It’s one of Korg’s most flexible creative environments, and it’s rarely this affordable.

READ MORE: Cyber Monday music deals 2025: The best deals we’ve found on synths, DJ controllers and plugins

For those who’d rather go all-in on the vintage-meets-modern bundle, the full Korg Collection 6 – which now includes the Trinity, PS-3300, and the Kronos Piano engine SGX-2 – is available for £270, a tidy 25% saving off its usual £360 price tag.
Entry-level picks are discounted too: MDE-X, Korg’s multi digital effects plugin, now starts at £23, making it an easy add-on for producers wanting versatile delays, modulation, and other classic Korg effects.
The deals run until 8 December, so there’s still time to bolster your plugin arsenal before the year wraps up.
Check out the full sale over at Plugin Boutique.
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Score Tekno for just $69 as Baby Audio slashes prices up to 89% for Cyber WeekBaby Audio’s inventive and playful plugins are turning heads in studios everywhere, and this Cyber Week at Plugin Boutique is your chance to snap them up at jaw-dropping prices. From drum synths to vocal processors and multi-effects, the lineup is packed with tools that let you get creative and experiment without breaking the bank.
First up, we have Tekno, Baby Audio’s newly released drum synth that’s quickly become a favourite for crafting cutting-edge beats. It’s currently going at $69, a solid 46% off the usual price. If you’re after effects that go far beyond simple transitions, Transit 2 is a multi-effect powerhouse at the same price, giving you everything from subtle tweaks to wild, unexpected transformations.
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For precise EQ and tonal shaping, Smooth Operator Pro is a must-have. You can grab the full version for $69, or upgrade from the original Smooth Operator for just $29, saving a whopping 77%. Baby Audio’s TAIP Tape Emulation is another standout deal, priced at only $9.99 – an incredible 89% off and perfect for adding vintage warmth to any track.

READ MORE: Cyber Monday music deals 2025: The best deals we’ve found on synths, DJ controllers and plugins

There are plenty more highlights to explore. The IHNY-2 Compressor brings punchy dynamics for $39, while Crystalline and Spaced Out Reverbs offer lush atmospheres at $39 each. Fans of nostalgic textures can also check out Super VHS, a multi-effect inspired by “lofi magic of the VHS era”, now priced at $29. Meanwhile, Atoms and BA-1 Synths are both $49, giving you rich, playful synth sounds at half the usual price.
For producers who want the complete package, the Baby Audio Complete Bundle combines every plugin and expansion pack for $279, saving 30% off the regular price and unlocking the full creative arsenal in one go.
Check out the full list of Cyber Week deals at Plugin Boutique before they vanish.
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Jorja Smith’s label condemns AI “clone” vocals on viral track I Run: “This isn’t just about Jorja. It’s bigger than one artist or one song”Jorja Smith’s record label, FAMM, has taken aim at the British dance act Haven over their viral track I Run, alleging that the song was created using an AI “clone” of Smith’s voice. The label also calls the case a troubling snapshot of how quickly artificial intelligence is reshaping the industry — and how slowly regulation is keeping up.
I Run went viral on TikTok in October, boosted in part by its smooth, soulful female vocals. While the original singer was never credited, listeners have drawn comparisons to the BRIT Award winner – and as chart success in both the UK and US loomed, the song was pulled from streaming services following complaints of impersonation and copyright violation.

READ MORE: “Music producers are rejecting AI”: Study reveals over 80% of producers are against AI-generated songs

FAMM now says it is seeking compensation for the song, arguing that I Run was created using an AI model trained on Smith’s discography, and that this training unfairly exploited the work of Smith and her co-writers.
Although Haven later re-released the track with new vocals, the label maintains that “both versions of the track infringe on Jorja’s rights and unfairly take advantage of the work of all the songwriters with whom she collaborates.”
“This isn’t just about Jorja. It’s bigger than one artist or one song,” FAMM writes in a statement. “We cannot allow this to become the new normal”.
The label argues the case underscores a broader industry crisis, warning that AI is advancing “at an alarming rate and substantially outpacing regulation”.
“If we are successful in establishing that AI helped to write the lyrics and melody in I Run and are awarded a share of the song, we would seek to allocate each of Jorja’s co-writers with a pro-rata share,” says FAMM. “This allocation would be based on the [percentage] of Jorja’s catalogue that they have contributed to, as, ultimately, if AI helped to write I Run, it would have been trained on Jorja’s catalogue of songs.”
According to Billboard, the track’s producers Harrison Walker and Waypoint (real name Jacob Donaghue) have acknowledged using AI in the song’s creation. Walker insists the original vocals were his own but heavily transformed using Suno, an AI music generation platform often described as ‘ChatGPT for music’. Donaghue similarly confirms that AI was used to “give our original vocal a female tone”.
“As a songwriter and producer I enjoy using new tools, techniques and staying on the cutting edge of what’s happening,” says Walker. “To set the record straight, the artists behind Haven. are real and human, and all we want to do is make great music for other humans.”
For FAMM though, the issue goes far beyond one viral track. Without transparency requirements – such as clear labels on AI-generated or AI-altered material so the public may choose whether or not to consume them – the label argues that artists risk becoming “collateral damage in the race by governments and corporations towards AI dominance.”
Its concerns echo a wave of growing alarm across the music community. Early this year, over a thousand artists – including Kate Bush, Hans Zimmer, Paul McCartney and Imogen Heap – released a silent album in protest against the UK government’s proposed AI copyright exemptions.
Elsewhere, controversies such as the Velvet Sundown saga – in which an AI-generated track was falsely marketed as the work of an emerging artist, complete with a fabricated persona and backstory – have fuelled broader fears that AI tools can easily blur, distort or outright replace an artist’s creative identity.
The post Jorja Smith’s label condemns AI “clone” vocals on viral track I Run: “This isn’t just about Jorja. It’s bigger than one artist or one song” appeared first on MusicTech.

Erin LeCount: “Nobody wants to be a good female producer – just a good producer”Erin LeCount’s makeshift garden shed studio is her “safe space”. Though unfinished and not soundproofed, the DIY alt-pop star likes that “it’s not too perfect, otherwise that could psych me out”. Sticking to making her ethereal music where she feels most comfortable is paying off; however. The Essex-born artist went viral on TikTok in late 2024 and has since enchanted a young, cult-like fanbase with over 180,000 followers at the time of writing.

READ MORE: “It’s not as laid-back as everyone thinks it is”: How Tanis scores movies and makes music from her NYC apartment

The 22-year-old has come a long way from the finals of The Voice Kids in 2017, and later creating “tinny” backing tracks on GarageBand, hunched over a laptop in her bedroom. “I just found it fun,” the producer, vocalist and songwriter recalls of uploading these covers to TikTok during her late teens. “A lot of it happened in lockdown,” she says, adding that she first got into producing as a way to boost her confidence and battle imposter syndrome.
“As soon as I got in rooms with songwriters, I would freeze up. Any environment that was too professional or clinical would instantly bring it on.”
Because she also suffered from stage fright, posting to social media felt “more private – even though these videos were out there for anyone to see”. It was also, she adds, “the first time it had been fun in a long time”.
Image: Press
However, there was an issue with her bedroom setup at the time: Erin’s posture was suffering; “It was terrible, so my dad kindly suggested that we build a shed, or just somewhere out of the house, for me to make music in”. Plus, her neighbours weren’t always fans of the noise: “I would be recording and they would bang and shout on my walls,” Erin recalls. “It got to the point where there was either negative or positive feedback,” she laughs. “It was borderline necessity at that point, otherwise we were going to have the council called on us!”
Fast forward to 2025, and the garden shed studio — which remains acoustically untreated — boasts her essentials — a laptop with Logic Pro, a tiny Akai APC Key, a Focusrite Scarlett Solo — plus prized gear for use on the stage as well as studio. This includes a Sequential Prophet, a Boss RC-505 that she uses to loop vocals on stage, a “tiny but powerful” Novation Bass Station, two drum pads, a MIDI Fighter Twister that she uses to affect reverbs and delays, two mics (one that she uses for lead and the other that she’s affecting and looping on) and then Ableton Live which runs on the side of the stage.
“It’s like a playground on stage,” Erin summarises. “I’m dancing and twirling between all these little stations. It’s sort of childish in a way,” she enthuses. “It’s like play, and I love having that.”
Much of her current collection has also expanded thanks to pieces she has borrowed and is yet to give back: “I’ve got very lucky with just being cheeky, and people lending me things,” she says, highlighting her Moog Grandmother and a Native Instruments Maschine MK2. “No piece of equipment has driven me more mad than that,” she says of the latter. “I love the concept, and it looks so beautiful, but I could just never get to grips with it”.
Image: Press
Perhaps the most basic piece of equipment that she owns is her mic, a second-hand Neumann TLM 103, which came wrapped up in a tea towel. “It was not fresh and new,” she admits, adding that she’s been enjoying growing her range of equipment. “I’m at the point where I’m stopping stealing from everyone I know and getting some nice stuff for myself, but I’ve been in the box for so long that anything else is a luxury.”
More recently, Erin has been breaking down the creative process behind her songs for TikTok and Instagram. In one such video, she reveals that the harps and strings that feature prominently on ‘Mable Arch’ were actually played on her APC. Not only did she find this approach fascinating, but she loved the “slightly shitty quality of it”. This, Erin says, is why she named her latest collection I Am Digital, I Am Divine: “it’s got this divinity to it, but it literally is MIDI and plastic.”
“I love these massive orchestral sound options that, more often than not, come from a machine or a box,” she continues. “There is something so interesting and amazing about simulating those kinds of instruments,” she continues, referencing the work of her producer heroes Sampha, Imogen Heap, Björk and Kate Bush.
Image: Press
Sharing her behind-the-beats videos has not only helped minimise her imposter syndrome, but she says that “people appreciate it and are interested and fascinated by it”. One clip, in which she dissects Silver Spoon, has received over 600 comments and been loved by 11,000 TikTok users. “I think people are interested in how songs can come from that, as opposed to sitting at a piano and writing, because that’s never been how I’ve approached it,” she considers. “But I care about songs with good melodies and good structure.”
Having previously been unsure if her singular approach to bedroom production was the correct one, the response to her videos has given her “validation that there is no wrong way to go about making a song”. And, while Erin admits that she’s “not the most musically fluent person in the world”, she thinks that “finding out that the instruments are not real is part of the charm. The laptop and my voice are my favourite instruments, which is why most things I do are off of vocal chops, or drones of long reverbs.”
The technique breakdown videos have also helped to subtly negate doubt over how much involvement Erin has in her songs, which is something she has faced for many years due to outdated stereotypes: “So many times, I’ve walked into rooms with people who were there to have meetings with me about my music,” she recalls. “It’s only midway through the conversation that they realise, whilst talking to me, that I make it all,” she says. “But this isn’t something that I’ve hidden. I’m proud of it, and I show as much as I can, because it’s all I do. I do this all the time.”
Image: Press
As someone who loves self-produced artists and takes a keen interest in who produces her favourite songs, Erin says it’s “lazy when people say they don’t know enough female producers, or that there are not enough”. She couldn’t disagree more: “There are women doing it, but they’re either not calling themselves producers or are not being put in the right rooms. I know so many people who make beats and make tracks and then go ‘but I’m not a producer’, even though that’s exactly what it is.”
Reflecting on her own experience, she says, “You can feel a sort of condescension sometimes, or the idea that you can do maybe 60 per cent of it, and then they’re surprised when you want to do the last 40 per cent as well”. While Erin believes things are improving, she feels that more needs to be done to level the playing field.
“There is a lot of performative-ness and inclusivity for the sake of it,” she says. “But nobody that I know, including me, wants to be known as a ‘good female producer’. They just want to be a good producer.”

Having only been afforded the opportunity to rehearse at local gig venues and community hubs “out of the kindness of people’s hearts”, Erin feels that music production should be accessible for everyone – especially young women. How can this be achieved? An overhaul of school curricula, perhaps.
“Arts and music are being defunded so quickly, which is awful,” she says, “but there needs to be space and accommodation, in or out of school, that is ideally free. Because it was for me, and I wouldn’t make music if I didn’t have that”.
Not only is Erin LeCount one of the most honest and innovative producers around right now, but she’s also unafraid to speak up for the next generation – a role model for other upcoming producers.
Erin LeCount tours the UK in December and the US next February
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ValhallaDSP FutureVerb review: I can’t believe a $50 reverb can sound this good$50, valhalladsp.com
ValhallaDSP is an outlier in the world of plugin developers. For years, it has steadfastly stuck to its rule of $50 per plugin, with no annual sales. Through high-quality algorithms, positive word of mouth and free updates, it has cemented itself as a developer to trust, especially when it comes to reverb and delays. FutureVerb is its latest release, which has apparently been eight years in the making.

READ MORE: Best reverb plugins: Our favourite free and paid-for reverb plugins

When you look at what’s on offer, FutureVerb appears to be the culmination of all the releases that have come before; providing lush, crystal-clear algorithms, surprisingly deep sound design potential, and vintage grit on tap, should you want to get lo-fi.
Could this be ValhallaDSP’s magnum opus, and does it stand out in a year that’s seen a flood of reverb releases?
Valhalla’s goal with FutureVerb was to create the most transparent and realistic-sounding algorithmic reverbs possible. It includes a reverb section with five real-world acoustic spaces, two huge ambient spaces, and a tight nonlinear effect. To dramatically increase the sonic flexibility, there’s also an Echo section that lets you add extra colour and dirt. By default, the Echo will feed into the reverb, but this can be swapped if you prefer, which can result in a more washy or characterful sound.

The user interface follows in the footsteps of Valhalla’s other plugins, with a clear, if somewhat uninspiring layout. You get Mix and Width controls on the left, a handful of Echo and Reverb controls in the middle, then Modulation and output EQ controls on the right. Some of the main controls change depending on which mode is selected. It’s a no-nonsense approach that makes you use your ears, but multiple options and a lack of visual feedback mean you’ll have to spend some time learning what everything does to fully understand what’s going on. Thankfully, there are tooltips for every control and mode, displayed in the corner.
In the Reverb section are controls for Decay, Size, Density, and Early/Late reflections, which changes to an Attack control for the non-realistic spaces. This is enough to make broad changes without becoming overwhelming. The modes include Room, Chamber, Plate, Hall, Cathedral, Space, Frozen and Nonlin. True to their word, the acoustic spaces sound incredible and surprisingly lifelike for algorithms.
I test FutureVerb alongside a range of other reverb plugins, including Sonible smart:reverb 2, FabFilter Pro-R 2, SoundToys SuperPlate, Universal Audio’s Lexicon 480L, Logic’s ChromaVerb, and also Valhalla’s own VintageVerb. In terms of clarity, three-dimensional depth and general smoothness, it outshines them all. Eight years of research and development were well spent.
Image: Press
The other three reverb modes are more tailored for ambient spaces and sound design. Space can create epic, gentle swelling washes, and Nonlin is a classic nonlinear/gated reverb that’s great for adding thickness without huge tails. The unique new Frozen algorithm is a bit of a cross between the two, as it’s like a thick nonlinear reverb that can sustain and hang in space until it fades away. I fine tune the timing settings to use this for a staccato chord progression, to sustain the notes before they drop away for the next chord.
If you simply want to add a clean pre-delay, then this can easily be done with the Echo section. However, it’s also capable of dense detuned echoes, warm and warbling tape delays, and reversed and pitch-shifted delays. There are twelve modes to choose from, which can be used to add depth and character to the pristine reverbs. These include a clean Modern setting, plus Tape, Digital, Analog and LoFi modes that all have different types of saturation and grit accessible via the Drive dial. There are also a range of detuning, reversing and pitching options that swap the Drive dial for Detune. Of particular interest is the Sparkle mode that uses granular pitch-shifted delays to create ethereal shimmer patches, or the Swarm mode for more dissonant results.
On top of the standard delay time and feedback controls, you get a unique Spread dial that transforms the simple stereo delay into a four- or eight-voice feedback delay network. Increasing the dial fades in the extra voices and spreads them in time. This adds an extra lushness to sounds, and can also be used with short delay times to add convincing width to mono signals. You could easily turn off the reverb and just get wild doing sound design with the Echo section, but combine the two and you have a huge number of options.
Alongside the High-Cut and Low-Cut EQs that shape the final output, there’s also a Color menu that lets you change the overall equalisation and high frequency decay. The Bright and Neutral settings make reverbs sound more present in the mix, whereas the Dark setting gives a duller vintage sound, and the Studio setting rolls off frequencies below 600 Hz to help it sit further back in the mix. It will also slightly change the colours of the interface, which is fun, but doesn’t really bring anything practical.
FutureVerb Reverb Modes. Image: Press
There is vast amount of presets, which really helps to show off how this plugin can be used for a broad range of functional reverb tasks alongside more experimental effects and character work. With so much on offer, it takes a while to learn how all the different modes sound and interact, but it’s versatile enough to easily become your go-to reverb for most tasks — especially when you consider just how pleasant it sounds.
The only feature really missing is an internal ducking control, which is something that’s found on most reverbs these days. It seems the developer considered including one, but decided to keep the interface cleaner instead. Maybe they’ll reconsider for a future update, as it could be a useful addition to help create more mix space for your sounds.
If you’re the kind of person that likes to delve deep into editing a reverb’s parameters and how it decays across the spectrum, then there are other plugins such as FabFilter’s Pro-R 2 that offer more control. Where FutureVerb shines though, is the way it encourages you to playfully explore what it sounds like to add pitch, width and saturation effects into the reverb tail. In that respect, it feels a bit like a hardware pedal where you can lose hours turning dials and experimenting with different combinations.
Overall FutureVerb is a versatile and stunning-sounding reverb that’s well worth the reasonable asking price, and like VintageVerb before it, I can see this becoming a future classic.
FutureVerb Echo Modes. Image: Press
Key features

VST/AU/AAX plugin
7 Reverb algorithms (Room, Chamber, Plate, Hall, Cathedral, Space, Frozen and Nonlin)
Echo section with Drive, Detune and unique Spread control
12 characterful Echo algorithms (Modern, Tape, Digital, Analog, Detune, Reverse, ReverseOctUp, ReverseOctDown,
ReverseOctUpDown, Sparkle, Swarm, LoFi)
Independent level controls for Echo and Reverb
Color section with 4 profiles
Lush sounding modulation
HighCut and LowCut EQ
Mix and Width controls, plus Mix Lock feature
Large collection of presets

The post ValhallaDSP FutureVerb review: I can’t believe a $50 reverb can sound this good appeared first on MusicTech.

Hey @GLOBUS welcome to the Space 🌌💫

For a Life of Sin: Rob Miller and the Making of Bloodshot RecordsBloodshot Records co-founder Rob Miller tells the story behind the "insurgent country" movement where punk rock met twang in his new book "The Hours Are Long, But the Pay Is Low: A Curious Life in Independent Music." AllMusic runs through the setlist and the backstage rider.

Zillow drops climate risk scores after agents complained of lost salesThe move is a loss for homebuyers, who through Zillow had ready access to a property's climate risks scores from First Street.

Goodhertz VCME (Vulf Compressor Mastering Edition)VCME (Vulf Compressor Mastering Edition) is a compressor developed by Goodhertz as an extension of the original Vulf Compressor. While it maintains the core vari-mu behavior and character of the original algorithm, VCME is designed for applications that require finer control & more transparent processing, such as mastering or mix bus processing. Key Features Classic Compression Controls: Ratio, threshold, makeup gain, etc. — VCME retains the vari-mu characteristics of Vulf Compressor but in a way that is easier to dial in if you're used to a classic compressor control-set. Release "Style" Control: choose your own release character: opto, FET, or anywhere in between. Soft Clip: A very special analog soft clipping / saturation section follows the compression stage. Use it to prevent digital overs, add subtle clipping, or apply all-out fuzz and saturation. It has four different modes, each with their own vibe. Chino: Hifi, classic tube sound, notes of Hendrix. Rødovre: Round, tube-y, smooth. Detroit: Grungy, warm, notes of Jamerson. Melbourn: Punchy, British, transformer saturation. Standalone VCME Soft Clip plugin is a free add-on to VCME. Extensive Sidechain & Linking: Spectral sidechain tilt to precisely control how the compressor reacts to the frequency spectrum, often eliminating the need for a de-esser or multiband compressor. Extensive Stereo / Surround Linking. Support for M/S & surround modes. Transparent Frequency Response: No matter the settings, the original Vulf Compressor imparts a certain color on everything. Here in VCME, we've ensured the frequency spectrum remains completely untouched — perfect for mastering. Read More

Using a Level 2 Charger to Work Around Slow 120 VAC KettlesTo those of us who live in the civilized lands where ~230 VAC mains is the norm and we can shove a cool 3.5 kW into an electric kettle without so much as a second thought, the mere idea of trying to boil water with 120 VAC and a tepid 1.5 kW brings back traumatic memories of trying to boil water with a 12 VDC kettle while out camping. Naturally, in a fit of nationalistic pride this leads certain North American people like that bloke over at the [Technology Connections] YouTube to insist that this is fine, as he tries to demonstrate how ridiculous 240 VAC kettles are by abusing a North American Level 2 car charger to power a UK-sourced kettle.
Ignoring for a moment that in Europe a ‘Level 1’ charger is already 230 VAC (±10%) and many of us charge EVs at home with three-phase ~440 VAC, this video is an interesting demonstration, both of how to abuse an EV car charger for other applications and how great having hot water for tea that much faster is.
Friendly tea-related transatlantic jabs aside, the socket adapter required to go from the car charger to the UK-style plug is a sight to behold. All which we starts as we learn that Leviton makes a UK-style outlet for US-style junction boxes, due to Gulf States using this combination. This is subsequently wired to the pins of the EV charger connector, after which the tests can commence.

Unsurprisingly, the two US kettles took nearly five minutes to boil the water, while the UK kettle coasted over the finish line at under two minutes, allowing any tea drinker to savor the delightful smells of the brewing process while their US companion still stares forlornly at their American Ingenuity in action.
Beginning to catch the gist of why more power now is better, the two US kettles were then upgraded to a NEMA 6-20 connector, rated for 250 VAC and 20 A, or basically your standard UK ring circuit outlet depending on what fuse you feel bold enough to stick into the appliance’s power plug. This should reduce boiling time to about one minute and potentially not catch on fire in the process.
Both of the kettles barely got a chance to overheat and boiled the water in 55 seconds. Unfortunately only the exposed element kettle survived multiple runs, and both found themselves on an autopsy table as it would seem that these kettles are not designed to heat up so quickly. Clearly a proper fast cup of tea will remain beyond reach of the average North American citizen beyond sketchy hacks or using an old-school kettle.
Meanwhile if you’d like further international power rivalry, don’t forget to look into the world as seen through its power connectors.

Robert Kyncl signs new deal as Warner Music Group’s CEONew deal includes PSU package and options tied to company share price performance
Source

The Bob Moog Foundation Announces “What Would Bob Do” Winter Raffle for Custom Built $24,000 Eurorack SynthesizerThe Bob Moog Foundation just dropped its 2025 winter raffle and the grand prize is a bespoke, one-of-a-kind Eurorack system worth $24,000.

Crafted for maximal musical mayhem, this 15U (126 hp) walnut cabinet was built by Asheville wood-smith Christopher Perryman (from Goldsplinter Woodworking Studio) and filled with 50 Eurorack modules plus 11 expressive controllers from 52 different manufacturers across 17 countries. The result is a fully-loaded, performance-ready playground built to honor the impulse of Bob Moog’s original curiosity for expressive, hands-on synthesis. As curator and modular guru Chris Meyer puts it, the theme here is “What Would Bob Do?”—and the system lives up to that question.

On top of this sonic powerhouse, the winner also receives a signed copy of the 352-page book Push, Turn, Move by Kim Bjørn, plus full-access to Meyer’s Learning Modular online courses—and even patch cables courtesy of Luigi's Modular Supply.

If you don’t win the Eurorack head, no worries. The raffle also offers two more prizes: a coveted Expressive‑E Osmose MPE synth (second prize, valued at $1,799) and a license for Noisy 2 (third prize, valued at $149).

Tickets went on sale today, December 1, 2025: $25 each, 5 for $100, 12 for $200, or 35 for $500. The raffle is open internationally, and winners will be announced on December 23. Proceeds support the foundation’s ongoing initiatives: Dr. Bob’s SoundSchool, the foundation’s archives, and the Moogseum.

The post The Bob Moog Foundation Announces “What Would Bob Do” Winter Raffle for Custom Built $24,000 Eurorack Synthesizer first appeared on Music Connection Magazine.

Save on these top-rated Solid State Logic plugins at Plugin Boutique – including this Native Channel Strip 2 with over 80% offThere are some huge deals on Solid State Logic plugins right now over at Plugin Boutique, including a huge saving on its Native Channel Strip 2 with 87 percent off, bringing it down to just £17.
The Native Channel Strip 2 plugin offers “the legendary tone, features and workflow” of an SSL 9000K console channel strip according to SSL. It’s one of three major SSL deals running this December as part of Plugin Boutique’s festive deals.
[deals ids=”1TzkI8ywJV1LXJsC32edPl”]
As for features, the Native Channel Strip 2 hosts SSL’s proprietary ‘Anti-Cramping’ technology and external Side Chain input. The EQ section has a classic four-band design with parametric LMF & HMF and shelving LF & HF sections. The whole EQ can also be switched between E & G Series characteristics and can be applied to the dynamics side chain.
The Dynamics section offers a separate Compressor and Gate/Expander. The Compressor can be switched between soft and hard knee. Both the Compressor and Gate/Expander sections feature fast/slow attack switches and independent side chains.

READ MORE: Cyber Monday music deals 2025: The best deals we’ve found on synths, DJ controllers and plugins

You can also save on Solid State Logic’s Acoustifier DI-to-mic simulation plugin, and its SSL 4K E plugin, which emulates the 4000E console channel strip. These are now priced at £45 and £66.50 respectively. The Acoustifier deal ends a little earlier on 5 December, so you’ll have to act fast. The other two deals are set to run until 10 December.

 
Shop these deals over at Plugin Boutique. 
The post Save on these top-rated Solid State Logic plugins at Plugin Boutique – including this Native Channel Strip 2 with over 80% off appeared first on MusicTech.

Arturia’s KeyStep mk2 is a refined and feature-packed MIDI controller keyboard$169 / €129, arturia.com
Arturia struck gold with the KeyStep in 2016, with it quickly becoming a go-to compact keyboard controller for myriad bedroom producers. KeyStep Pro and KeyStep 37 followed in its wake, but it’s only now — nearly a decade on — that the Grenoble-based company has unveiled the mk2 version of the original, 32-key format.

READ MORE: Telepathic Instruments Orchid review: What’s not to love?

With a sleeker design, workflow refinements, and new generative features, mk2 makes a strong case but the miniature keybed remains an inherent limitation of such a small footprint.
Despite its size-related constraints, I’m eager to discover where KeyStep’s place in serious production workflows lies. I plug it into my MacBook (with the supplied USB-C to USB-A cable) and flick the new power switch to the left, and the controller becomes a futuristic dashboard of coloured light.
Image: Press
Is KeyStep mk2 well-made?
KeyStep mk2 feels solid in the hands, and there’s enough weight to keep it steady on the desk. Around six inches longer than my 15-inch MacBook, it’s easy to imagine throwing it in a roomier rucksack for out-and-about music-making, and it should tuck neatly into even the most cramped of studio setups.
The matte white finish is stylish, and the new OLED screen used for sequencing and menu navigation is a significant upgrade to the seven-segment displays of previous models. It also means more configuration can be done directly on the unit, without requiring Arturia’s MIDI Control Center software as previous KeySteps did. Both aspects lend the unit a premium air, despite the fact it’s a relatively affordable controller at $169.
Mk2 has plastic buttons instead of rubber. While they look cleaner and benefit from bright backlighting, they also feel a little brittle, and I’d hoped for a firmer, more satisfying click. Still, the brightly coloured LEDs are a pleasing touch, offering visual feedback for various settings — whether chord or scale modes are active, for example.
One concern is the device’s sole encoder, which feels less durable than the rest of the unit. Its presence also signals a move towards more menu-driven control, eschewing the handful of knobs found on previous KeySteps.
Thankfully, many core functions like arp and sequencer settings can be accessed via key combinations using the piano keys, which becomes a surprisingly quick and intuitive workflow once I get used to it.
Setup on macOS is instant and I load up Arturia’s Jun-6 V in Ableton Live. That’s the plug side covered, so what about play?
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How does KeyStep mk2 feel to play?
The mini keybed is solid for its size. There’s a pleasing springiness to the keys; they’re firm, but not so stiff to be uncomfortable, and the action is relatively quiet unless you’re hammering out maximum velocities.
Like all mini keys, the mk2’s keybed can feel cramped. My hands aren’t overly large, but I find it hard to play fast runs, and even simple triads take a bit of finger contortionism. It casts doubt on whether any mini keyboard can be used for serious composition. But ultimately, this is the trade-off for a compact, portable controller.
Fortunately, KeyStep Mk2 scores playability points elsewhere. The capacitive touch strips for pitch bend and modulation feel remarkably responsive and expressive, although I do wish they were more recessed within the chassis. I find my hand brushing the mod strip when reaching for other controls — not the end of the world in the studio, but it could be a nuisance during live performance.
One feature returning on the mk2 is the latching Hold button. Using it musically takes some getting used to, but it’s a handy stand-in for an external sustain pedal.
Another welcome addition for modular hardware users is the KeyStep mk2’s expanded CV outputs, which can be assigned per-note to aftertouch, velocity, mod wheel, or random/pulse.
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Using chords and scales on KeyStep mk2
For production newbies or theory slackers, KeyStep mk2’s Scale mode locks notes to the chosen harmony, keeping things in key. Layer Chord mode on top and you can trigger full voicings — simple triads, jazzy extensions — with a single finger, and you can even rake through the notes by enabling Strum. It’s a surprisingly addictive way to develop progressions, especially when paired with a lush polysynth like Jun-6 V.
Arturia hasn’t skimped on options here. Alongside simple scales like major, minor, and pentatonic, you get more unusual modes like Japanese, Freygish, and Gypsy, and rich chord voicings that open the door to more leftfield territory.
However, configuring scales and chords is where the menu diving becomes a little more apparent. Where the KeyStep 37 offered instant access via rotary knobs, KeyStep mk2 hides them in submenus that take a few steps to get to. That’s fine for setting and forgetting, and ultimately means more options and flexibility, but it’s a speed bump if you’re experimenting on the fly.
I do like how scale quantisation sits at the end of the MIDI chain. I record a jumble of raw, off-key notes and flip through scales, unearthing new melodic ideas as I go — it’s a creative tool as much as a safety net.
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How does KeyStep’s arpeggiator work?
KeyStep’s arpeggiator behaves exactly as you’d expect — strike a chord, and off it goes. It’s easy to set up and control, with simple key switches for adjusting parameters including rate, octave range, and direction. Combined with the shift key, the pitch and mod strips control gate length and a somewhat opaque parameter called Spice, which adds randomisation to the gate length and note triggering.
Along with basic arpeggiator patterns like up, down, and random, KeyStep includes nine further preset sequences. But once I discover the new Mutate function, that number becomes virtually infinite.
Mutate is a creative shortcut that rewards a bit of trial and error. My foray calls to mind the sort of hypnotic rhythmic phrasing you’d hear from someone like Barker, and I can see this feature becoming an incredibly easy way to kickstart a new track.
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Using KeyStep’s integrated sequencer
KeyStep mk2’s polyphonic sequencer is more powerful than its size might suggest. You get up to 64 steps per pattern, with space to save 64 patterns in total. There’s also a pattern chain for building a single long-form arrangement that plays back automatically.
Sequences can be recorded and overdubbed live, with or without quantisation. I’m unsure how easy it’ll be to keep in time, but my worries are quickly quelled by the on-screen metronome’s clear visual reference. Automation data for pitch bend, mod, gate length, and Spice can be recorded as well.
You can also enter notes manually, with up to eight notes per step — handy for chords or dense rhythmic parts — but frustratingly, you can’t directly edit note velocities.
Just as the arpeggiator can be exported to the sequencer, the reverse is also true. Once a pattern is selected or recorded, swapping to the arpeggiator’s User Sequence mode loads it in. This doesn’t copy the entire sequence, per se. Rather, it’s a handy way to create an arpeggiator blueprint using the sequence’s rhythm, velocity, and polyphony data, while note pitches are determined by the keyboard.
I then discover another powerful feature of KeyStep mk2: the sequencer and keyboard can be set to output notes on separate MIDI channels. This lets you lay down accompaniment on one instrument and play improvised lines on another, for example.

KeyStep mk2 vs other compact controllers
In 2025, there’s a bounty of mini keyboard controllers in the KeyStep’s price bracket. Most offer comparable keybed quality, so the real differentiation lies in features and workflow.
Akai’s MPK Mini range offers an all-in-one solution available in 25-key and 37-key formats, and even a standalone Play version with built-in speaker and onboard sounds. CV outputs, pads, and assignable knobs make it a strong (and lower-priced) KeyStep challenger, but it doesn’t offer the same depth of arpeggiation or sequencing chops.
Novation’s LaunchKey Mini 25 and 37 are also popular, with the Mk4 versions similarly priced to KeyStep mk2. Powerful DAW integration is the selling point here, and LaunchKeys are superb choices for in-the-box setups. There’s no CV output, so they won’t be controlling your modular gear.
Should I buy KeyStep mk2?
The powerful combination of sequencing, arpeggiation, and chord and scale modes is KeyStep mk2’s core appeal. The synergy between these features is where it shines most brightly, and many will be picking one up specifically to interface with outboard gear or modular setups.
The lack of programmable knobs and faders might put DAW-centric users off, and pianists will be left wanting by its mini keys. But the KeyStep is less about controlling nuanced virtual instruments and more about building patterns and motifs quickly.
There’s likely not enough new here to warrant an upgrade for owners of the previous models, and it’s not a MIDI controller workhorse in the traditional sense. But paired with the right instrument, KeyStep mk2 becomes a focused, inspiring tool for exploring sequence-based composition. If that’s your goal, there’s little else at this size and price that can match it.

Key Features

32-key velocity-sensitive miniature keybed with aftertouch
Polyphonic sequencer with up to 64 steps and live recording
Storage for 64 sequencer patterns plus pattern chain for longer arrangement
Chord and scale modes with Strum
Generative Mutate function
Powerful arpeggiator with multiple patterns
Touch-sensitive strips for pitch bend and modulation
OLED screen for step-by-step-sequencing, visual metronome, menu and settings
USB bus power (USB-C to USB-A cable included)
USB-C port, MIDI in/out, sync in/out, CV/gate output
Comes with Arturia Analog Lab Intro

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