Korg Gadget 3 is a DAW-groovebox hybrid more fun than everMacOS desktop and plugins $299
Mac/Windows plugins only $199
iOS $39.99/£39.99
korg.com
It’s been five years since Korg released the second version of Gadget, which lies somewhere between a groovebox and a DAW but with a unique take on music-making. While version 3 sees some crucial upgrades, there’s still no Windows version of the full desktop app, with Korg focusing heavily on macOS and iOS users.
If you’re a Windows user, it’s possible to buy the Gadget collection — the individual instruments that come with the software — as a plugin bundle to use in your DAW of choice at a discounted price.
macOS users also get the Gadgets as plugins.

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Meanwhile, a big new change to the iOS version, which is a standalone purchase, is that most of the Gadgets are now available as AUv3 plugins on iPad or iPhone, making them available for use in any compatible audio app running on it such as Cubasis or Logic Pro. The exceptions to this are the versions of Korg’s bigger apps like Polysix and MS-20, but it seems likely that these will be added in an update.
Gadget is a standalone MIDI sequencer that comes with 45 Korg virtual instruments; all specially designed and rather beautiful-looking synths, drum machines and the like. Some are based on existing instruments and others are originals but it’s all geared towards making electronic music of all styles.
The single main window is divided into four sections which can be freely resized and each one shown or hidden to tailor your workspace. From left to right they are song sequencer, pattern sequencer, mixer and instrument. Selecting different gadgets will cause other parts of the screen to update to show the relevant pattern and controls.
Genre browsing in Korg Gadget 3.
It’s a very friendly and intuitive way to work and part of what makes Gadget so accessible for less experienced producers. It’s also only really possible with an app that has a relatively straightforward feature set and doesn’t have to accommodate the hundreds of tools found in a fully-fledged DAW.
While Gadget doesn’t have conventional audio tracking, the Zurich gadget is available for sample recording and it’s also possible to import samples into it for use in projects. There’s basic editing of start and end points but no time-stretching. Thankfully, the new Sydney sampler, a heavily user-requested looper with rather more advanced sample editing and also automatic time stretching to your project. This really extends Gadget’s usefulness by making it easier to bring in your own loops and fit them to tempo.
It’s MIDI that Gadget is all about though, and the idea is less about deep-dive sonic editing and more about immediacy and creating quickly. One new feature is a genre-based browser, plus improvements to searching in the existing browser to make it faster to get to what you need. The Genre Select browser has a choice of template projects you can use as a jumping-off point, or of course, you can just add Gadgets to a blank project, with unlimited tracks available.
Pattern sequencing is at the forefront of Gadget and, in addition to mouse input, you can connect your MIDI controller, with deeper integration available if you happen to be using one of Korg’s own controllers like the NanoKey or nanoKONTROL Studio.
Sydney Sampler on Korg Gadget 3.
Quantising and editing note velocity and length in a pattern are straightforward and, when you move a control on a Gadget during playback, it records automation data in the clip’s lanes which you can then edit. The same goes for the automation of the main mixer.
In the Song area, you can see the clips that make up your song and copy, delete or mute whole clips or lanes to create variations and build up an arrangement. Pressing the Function toggle button will also reveal a bunch of shortcuts for these actions which can be a quicker way to work. The other all-new Gadget is Santa Ana, a “rhythm guitar machine” loaded with 25 sampled electric guitar riffs and loops that you can tweak. They sound cool and add another dimension to Gadget’s sound palette, though are more suited to electronic music than other styles.
Each Gadget has a solid number of presets and also a fair few controls depending on its type including built-in effects, plus five insert slots per instrument so you can do a lot of processing in addition to the master channel’s limiter and reverb. Five new effects have been added including a stereo imager, eight-band EQ and transient shaper. One of the final new additions is a Play page, available for most Gadgets, that lets you set up and play chords and arpeggios using a single key. It’s easy to use and will be very helpful for less experienced players.
Gadget browsing on Korg Gadget 3.
Although the app is self-contained it does let you export in a few formats: GadgetCloud, Korg’s project sharing service; exporting the whole mix or individual / all tracks as stems and exporting a MIDI file or an Ableton Live project in either audio, MIDI or plugin format depending on how you want to continue working on it. There’s also an iCloud Drive option where you can upload and download projects and then work on them either on your Mac or iOS device.
Gadget is a lot of fun and an easy recommendation both for budding musicians and for more experienced producers who want something that sounds impressive, is inspiring and quick to create with.

The workflow encourages you to experiment and go with the flow and the instruments and patches (over 6,000 sounds) are geared towards a range of electronic genres from techno and house through hip-hop and trip-hop.
The new browsing features and looper module are very welcome as is AU compatibility on iOS, though your desktop purchase doesn’t include the iOS version, unfortunately. LE editions of both are available for free though with restricted feature sets should you wish to try them out. Gadget 2 users can – for now – get a free upgrade with a coupon obtained via their Korg account.
Korg Gadget 3 key features

MacOS and iOS, and Windows (plugins only)
45 Gadgets, also available as DAW plugins
Unlimited songs and tracks
Multiple insert and master effects
Genre-based browsing
MIDI sequencing and basic audio recording
Ableton project export
MIDI over Bluetooth
Automation of instruments and mixer
Projects interoperable between mobile and desktop

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11 sad chord progressions you need to know (free MIDI files included)
We analyze 11 sad chord progressions and some songs they're used in to identify what makes them so effective at tugging at our heartstrings.

YACHT's Claire L. Evans on Crafting “Chain Tripping” and Capturing “The Computer Accent”AllMusic spoke with YACHT vocalist Claire L. Evans about the motivations, challenges, and revelations of integrating AI into their music-making process and a look at the possible future of collaboration.

‘Don’t sign things you don’t fully believe in. Otherwise you’ll have to fake it.’Jamie Oborne talks success, ambition, adding Jack Antonoff to his management stable, and the “unflinching” artistry of The 1975…
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Meta’s X competitor Threads invites developers to sign up for API access, publishes docsAfter opening its developer API to select companies for testing in March, Meta’s Twitter/X competitor Threads is now introducing developer documentation and a sign-up sheet for interested parties ahead of the API’s public launch, planned for June. The new documentation details the API’s current limitations and its endpoints, among other things, which could help developers […]
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Killer Mike and Fantastic Negrito Engineer Sets Up Shop in Los Angeles with the Lauten Audio EdenAlexandro ‘Migui’ Maloles has had a meteoric rise over the past decade. The four-time Grammy-winning engineer has brought his considerable live and studio engineering chops to bear with artists like Fantastic Negrito, Killer Mike, Daniel Caesar, Lil Dicky, Tate McRae, Doja Cat, E-40, and P-Lo. Having recently relocated to LA to be closer to his clients, Migui has assembled a new studio to accommodate the steady work he keeps getting offered. Looking for versatility in a streamlined setup, he has made the Lauten Audio Eden Large Diaphragm Tube Condenser his studio microphone of choice. 

Being a conduit for artistsLike many engineers, a key element of Migui’s success has been his ability to tap into the artistic worlds of the artists and performers that he works with. His easy-going manner and ability to authentically channel many different styles of music are a natural outgrowth of his innate curiosity. “What makes an artist choose an engineer is based on their ability to curate a creatively comfortable atmosphere,” he said. “Having that openness to create and low-key, positive attitude makes them feel like they can be themselves in the studio.”

“My whole goal is to be as transparent as possible, and I think of myself as being somewhat of an artistic chameleon. I just want to translate for these artists as clearly as possible and bring their interior worlds to life.”

Migui favors streamlined gear setups in his studio. In practice, he often chooses deliberately minimalist signal chains to minimize both the technical and conceptual distance between his artists and their performances.  “The gear is obviously a huge part of the process, and you want to know every inch of what you have,” he said. “When it comes down to the base of it, though, it’s about getting the idea out and if you can get that atmosphere and energy the gear is really just the icing on the cake of that.” 

“Given that, I take what I have really seriously and that’s one of the reasons why I started using the Lauten Eden for vocal performances — it was the perfect platform for that kind of setup.”

Simplicity and versatility Although he now works in major studios around the world, Migui still likes returning to his roots and working in small, minimalist rooms. His studio in LA, which he describes as ‘more of an overdub and finishing room’, has been streamlined for a quick and rewarding recording process. “One thing that I go for when buying gear is versatility,” he said. “What are the things that sound amazing, and I can get a lot out of, quickly? I want the stuff that sounds like butter and is easy to manipulate after the fact.”

“When I needed to pick my main studio mic I knew the Eden would be really good for that and also wouldn’t break the bank, so it was an obvious choice.”

Migui regularly utilizes Eden’s Multi-Voicing switch to give his artists a quick ‘vibe check’, empowering the artist to help find the sound that they want before delivering a performance. The ability to change things up while still maintaining a high-quality baseline sound is ideal for his workflow. “The Eden is always up and ready to go because it’s three different microphones in one with that Multi-Voicing switch,” he said. “There’s a simplicity to using it where I can just get straight to the point, get a few inspiring sounds without any trouble, and process it however we need after the fact. 

“Being able to change the sound up just enough is sometimes the x-factor that makes the artist go for it in the moment, and that’s what we want!”

Despite his success, Migui remains humble and continues to hone his skills and workflow to suit each project. Driven by his own curiosity, he’s always on the lookout for ways to keep his process simple, and inspiring. “At the end of the day I’m relying on my experience and taste to work with these artists and keeping that simplicity and transparency at the forefront of what I do,” he said. “Riding the vibe is so important, and if you do that, you can make some incredible art.” 

About Lauten Audio Lauten Audio is a family-owned maker of original, inspiring microphones. Currently available products include the flagship “Eden” tube microphone, the award-winning “Atlantis” FET condenser microphone, the groundbreaking “Synergy Series” of noise-rejecting condenser microphones, and the new Series Black family of condenser microphones. Lauten Audio and its diverse family of users can be found in studios, on stages, and in homes worldwide.  

 For more information, visit http://www.lautenaudio.com or call 1-877-721-7018. 

Royal Typewriter Gets a Second (or Third) LifeUsually when we are restoring something with a keyboard, it is some kind of old computer or terminal. But [Make it Kozi] wanted an old-fashioned typewriter. The problem is, as he notes, they are nostalgically popular these days, so picking up a working model can be pricey. The answer? Buy a junker and restore it. You can watch the whole process in the video below, too, but nearly the only sound you’ll hear is the clacking of the keys. He doesn’t say a word until around the 14-minute mark. Just warning you if you have it playing in the background!
Of course, even if you can find a $10 typewriter, it probably won’t be the same kind, nor will it have the same problems. However, it is a good bet that any old mechanical typewriter will need many of the same steps.

The first order of business was to clean everything up. He was afraid of breaking springs with a brush, so much of the cleaning was done with an air gun. Even then, some of the linkages were prone to sticking. The keys also needed some very deep cleaning. Soaking the whole thing in a bath looks scary, but with enough air drying, it shouldn’t cause problems.
There were a few stubborn areas where a brush and mineral spirits were a must. Apparently, WD40 leaves a residue that can cause problems later. Once everything was reassembled, there was a problem. The cleaning had bent out the space bar support! Easily fixed, but it shows how hard it is to clean these things no matter how careful you are.
At least a $10 typewriter isn’t much to risk. We lose sleep every time we have to work on our old Selectric. They are pricey and, even for an electric typewriter, complicated. Of course, an electric has a lot more hacking opportunities.

German collection society GEMA’s revenues rose 8.4% YoY to $1.38bn in 2023GEMA to distribute $1.17bn to its members and rightsholders worldwide
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The Rise and Fall of Silicon GraphicsMaybe best known as the company which brought a splash of color to corporate and scientific computing with its Indigo range of computer systems, Silicon Graphics Inc. (later SGI) burst onto the market in 1981 with what was effectively one of the first commercial graphics operations accelerator with the Geometry Engine. SGI’s founder – James Henry Clark was quite possibly as colorful a character as the company’s products, with [Bradford Morgan White] covering the years leading up to SGI’s founding, its highlights and its eventual demise in 2009.
The story of SGI is typical of a start-up that sees itself become the market leader for years, even as this market gradually changes. For SGI it was the surge in commodity 3D graphics cards in the 1990s alongside affordable (and cluster-capable; insert Beowulf cluster jokes here) server hardware that posed a major problem. Eventually it’d start offering Windows NT workstations, drop its MIPS-based systems in a shift to Intel’s disastrous Itanium range of CPUs and fall to the last-ditch effort of any struggling company: a logo change.
None of this was effective, naturally, and ultimately SGI would file (again) for Chapter 11 bankruptcy in 2009, with Rackable Systems snapping up its assets and renaming itself to SGI, before getting bought out by HPE and sunsetting SGI as a brand name.

Chechnya reportedly bans all music outside of 80-116 BPM range, Russian artists told to rewrite their musicChechnya, a republic of Russia, has reportedly banned all music that plays outside of the 80 – 116 BPM tempo range. This essentially means that fast-paced and double-time music such as dance and drum ‘n’ bass is forbidden from being played throughout the region.
The new tempo standard was announced following Chechen Culture Minister Musa Dadayev’s meeting with local state and municipal artists.

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According to The Moscow Times , a statement from Chechnya’s Culture Ministry states that “from now on all musical, vocal and choreographic works should correspond to a tempo of 80 to 116 beats per minute”.
The statement also says that Chechen leader Ramzan Kadyrov has instructed Dadayev to make Chechen music “conform to the Chechen mentality”, with Dadayev stating that “borrowing musical culture from other peoples is inadmissible”.
Local artists are currently facing a deadline of 1 June 2024 to rewrite their music to fit the tempo range, otherwise their music will “not be allowed for public performance,” wrote Chechnya’s Culture Ministry on Telegram (via The Moscow Times). 
Local artists were ordered to “rewrite” their music by June 1 to accommodate the changes. “Otherwise, they would not be allowed for public performance,” the Culture Ministry wrote on the messaging app Telegram.
This is a developing story. 
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Music Industry Trends Q1 2024: TikTok, AI, VR, IPOs, Superfans & MoreWith the first three months of the year just behind us, Jesse Kirshbaum looks at the trends and technology that are already reshaping music and the music industry this year.....
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Simple video tricks for singer-songwriters that grab people’s attentionAfter studying the most and least popular singer-songwriter videos on TikTok, here is a list of tips and tricks that have proven to make content more successful.....
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Arturia: 25 Years and Beyond As part of their 25th anniversary celebrations, Arturia will be making a special announcement on Tuesday 9 April at 6pm CEST.

How to pitch music to editors (for Musicians & Writers!)Music editors can get your music to the ears of your target audience, which can ultimately be a game changer for artists and songwriters. Here are some tested tips on how to nail your pitch and prove your stuff is worth listening to......
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Mike Dean leaks a glimpse of Moog’s Muse, a forthcoming mystery synthYou may remember following Usher’s jam-packed Super Bowl Halftime Show that a Moog synth was teased by Andrew Huang. The synth had been used during the mighty performance, and well, one high-profile producer has revealed another glimpse at this mysterious bit of gear.
At the time, it was believed to be called the Moog Mirror, but a new leak from Mike Dean suggests it’s actually called the Muse.
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The producer recently posted a snap of its mixer section to his Instagram Story (now disappeared, as Stories do), revealing a closer look at what seems to be a new eight-voice, polyphonic, analogue Moog. Screenshots of the Story have since been shared on Reddit.
New Moog Muse on Mike Dean’s story byu/TheMarinatorr insynthesizers

Back when Huang shared some images of the synth in February, it appeared that it had a screen display, two oscillators, a chord function and a Unison mode, suggesting polyphony. The pictures also revealed a five-octave keyboard with wooden cheek blocks.
Dean’s image further adds a piece to the puzzle, showing that the prospective product is indeed an eight-voice polyphonic analogue synth with two oscillators. It also shows a ring modulator, a mod oscillator, a noise generator, an overload circuit, and an arpeggiator.
However, as nothing has been confirmed by Moog itself at the time of writing, it’s important to bear in mind that these details are not official and could potentially be subject to change.
In other Moog news, the brand recently moved out of its famous Asheville home into another new building within the city. At its new base, the company will be carrying out product design, development, and engineering.
For further updates as we get them on the suspected Moog Muse, be sure to check back on MusicTech.
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