Behringer Model 15 finally available after two year delayTwo years on from its original announcement, Behringer’s latest Moog clone is good to go. Coming in at $299, the Model 15 semi-modular synth wears its Moog System 55 inspiration on its sleeve in a compact desktop form.
Behringer’s Model 15 is an analogue synth boasting a pair of oscillators, with four selectable waveforms. There’s also a sub-oscillator, as well as oscillator sync and pulse-width modulation.

READ MORE: Behringer reveals smaller UB-Xa D synth which comes without a keyboard

Model 15 also offers an array of features, including a 256-step arpeggiator, sequencer and emulated spring reverb. There are also 3 separate memory slots with multiple playback modes.

The system includes 37 controls that are said to “give you direct and real-time access to all important parameters” you’ll need. It also includes comprehensive MIDI with voice priority.
Visually, the vintage Moog 55 influence is clear. But there are certainly some other Moog-like qualities within the design; considering the colour palette and configuration, Behringer’s Model 15 holds the essence of a Grandmother in rack form. Though, unlike the Grandmother, all 48 patch points are neatly placed on the right hand side of the synth.

People are certainly noticing the similarities. YouTuber Starsky Carr’s comparison between the two synths seems to confirm that the Model 15 offers similar functionality to the Moog Grandmother. Honestly, the differences are barely noticeable – and, at a fraction of the price, the Model 15 could be a great alternative for curious buyers.
While Behringer initially shared the fully developed Model 15 back in 2022, the company were unable to ship the synth due to a chip shortage. Thankfully, that issue seems to have been resolved. Better late than never!
Behringer’s Module 15 is available now for $299. For more information, head to Behringer.
The post Behringer Model 15 finally available after two year delay appeared first on MusicTech.

Guide to Becoming an Artist ManagerThis guide looks at becoming an Artist Manager, their key roles and responsibilities, how they get paid, and essential do's and don'ts.
The post Guide to Becoming an Artist Manager appeared first on Hypebot.

Register.MUSIC domains FREE before September 10Musicians and music companies have until September 10th to register .MUSIC domains name with only a one-time $1.99 identity verification fee per domain name.
The post Register.MUSIC domains FREE before September 10 appeared first on Hypebot.

Gospel Musicians release Gospel Organ Gospel Musicians have announced the launch of a new virtual instrument that has been designed specifically to recreate the distinctive sound of a gospel church organ.

AI song charts in Germany – but people are saying it’s problematicAs musical AI advances, it’s becoming simpler than ever for anyone to bash out a decent track. Whether you’re using Voice-Swap’s AI vocal modelling, or just want TikTok’s AI Song to conjure up a silly jingle, artificial intelligence can transform a tone-deaf dream into a chart-worthy hit, with the right guidance.
Think we’re exaggerating? Just check the current German pop charts. Coming in at number 48, Verknallt in einen Talahon is the first AI-generated song in history to chart in Germany.

READ MORE: More than half of artists would hide the use of AI in their music, per recent survey

The ’70s-inspired crooner track immediately transports you back to the days of twanging Europop. It’s totally nostalgic – because every inch of it, including the artwork, is created by AI. The track is a patchwork of the past, culminating in a timeless pop sound.
German producer Butterbro is the man behind the track. Initially intended as a joke among friends, the creation was never expected to make such a wave with the German public.

Take the subject matter, and it was clearly a satirical creation; the track name, Verknallt in einen Talahon, translates to ‘In Love With A Talahon.’ According to blue News, ‘Talahon’ is used to describe aggressive young men with “an abstruse world view” centring around sexism, patriarchal control and “glorifying violence”.
Uber-macho misogynists draped in Gucci aren’t often the primary focus of a beautiful, timeless love song. It’s the German equivalent of writing an ode to a ‘roadman’ or ‘hypebeast’. It’s clear Butterbro crafted – or prompted – the track with a certain degree of irony.
Of course, in-jokes with your pals are never understood by everyone. People are branding the pop tune as problematic due to its use of the term ‘Talahon.’ The term is sometimes used as a racial slur by far-right groups, often alluding to young immigrants.
While Butterbro hasn’t made any comments on his divisive AI anthem, there’s no denying that the German public love it. DJs are knocking Verknallt in einen Talahon out in clubs, and the German public are happy to howl along to every word.

@domy.berger
DU STEHST IM BIERKÖNIG UND ES KOMMT DIESER SONG #domyberger #djdomy #bierkönig #bierkönigmallorca #ballermann #alterbereich #talahon #verknalltineinentalahon
♬ Verknallt in einen Talahon – Butterbro

A study back in December showed that 30% of musicians surveyed used ChatGPT for songwriting, and it’s likely those numbers have risen since. Butterbro’s track could very well be a sign of AI music’s impending takeover.
The post AI song charts in Germany – but people are saying it’s problematic appeared first on MusicTech.

“We’re honouring the legacy of Bob Moog; making instruments that give you his iconic sound” Moog talks Muse“I think people have a sense of Moog being a much bigger company than it is — but then again, even if we had more resources, it still takes a long time to build an instrument like this.” That’s Moog’s Product Specialist, Chris Miller, and the instrument he’s talking about is, of course, Muse.
For five long years, a small but dedicated team have been quietly crafting an analogue, bi-timbral, polyphonic powerhouse. Rumours have swirled, details leaked, and Superbowl sightings fed into a cresting wave of hype. Now, that long wait is not only over – it was worth it.
Moog Muse. Image: Simon Vinall for MusicTech
“One of my favourite synths of all time, Andrew Huang tells us; the popular YouTuber, musician, and songwriter got his hands on an early edition of Muse. “It’s very well balanced. You can go super deep into sequencing, editing, and modulation, but at the same time there are great performance features.”
You see, the Muse isn’t a run-of-the-mill release; it’s the new flagship. The Moog One, which offered raw power, versatility, and a premium package, has been officially retired, with Muse taking up the baton and adding a new focus: Accessibility.
“The main vision behind Muse was to design a polyphonic synth for players,” says Miller. “We wanted to design something that was more approachable in every aspect — something that’s immediate, accessible, and playable.”

READ MORE: Review: Moog Muse doesn’t need nostalgia — it’s an outstanding synth for the new generation

At approximately half the size and weight of the Moog One, and at a lower price of £2998/$3499, Muse is an attractive option for those who want to take a serious synth on tour – but that’s just the start. The instrument’s design is a masterclass in balancing quick and easy performance controls against powerful and highly specific sound design capabilities.
That’s no fluke: Miller says the team regularly consulted with performers and artists including Misha Mansoor and Stephan Moccio at Moog HQ in Asheville, North Carolina, as Muse came together. “We really wanted to make something that was going to speak to the needs of touring musicians,” Miller emphasises. “And we worked especially closely with artists like Lisa Bella Donna, who we’ve had a very long and fruitful relationship with, to bounce ideas back and forth and get those performative elements worked out.”
Those performative elements include instant switching between timbres, a very powerful arpeggiator, and an innovative, per-key chord memory function. But perhaps the most illustrative example is how Muse handles modulation.
Image: Simon Vinall for MusicTech
“It’s about having all the most important controls right at hand,” Miller says of the design. “A lot of the modulations can be done right on the panel. We know you probably want to add some kind of vibrato to a lot of patches, so there’s a Pitch LFO right there and ready to go. Maybe you want a tremolo on the VCA, so the Modulation Oscillator has a knob for that. There are lots of knobs on Muse, but if you can sit behind it, close your eyes, and hit the right knob then we’ve done our job well.”
While Muse’s control surface preempts the most common modulation routings, that doesn’t reduce its scope for experimentation. By streamlining the basics, says Miller, the Muse frees up creative brain space for more inspired sound design. “Our thinking was, ‘If we can make this easier, make it immediately accessible, then people can spend their time working on deeper, weirder modulations if they want.’”
The inspiration I consistently find in the probability, parameter recording, and gesture recording features make it something I know I will keep returning to.” — Andrew Huang
With an eight-lane modulation matrix for each timbre and a host of additional settings hidden just beneath the surface, there’s no shortage of options for players who like to sculpt and refine their sound. “One of the really nice innovations we took from the Moog One is the ‘More’ menu,” Miller enthuses. “We want you to look at the LFO and go, ‘Okay, I get it’, but then be able to immediately go a step further with one button press.
“The Muse emerges mostly from the Matriarch family,” he continues. “That series explicitly references the modular circuit designs from the sixties. The Muse is different, of course, but does have a similar kind of voice architecture. We started calling it a ‘digitally modular’ synthesizer because of the capabilities of the mod matrix, the on-panel modulation routings, and the ability to store and recall presets. These are features that most people like, and for good reason. Having to patch everything on the Matriarch is fun, but you wouldn’t necessarily want to tour with it.”
Image: Simon Vinall for MusicTech
A digitally modular design is one of Muse’s most striking features; another is its embrace of probabilistic programming. Huang spent over six months playing on a pre-release model before producing a fantastic demo of its most powerful features – he had high praise for the instrument’s interface, and, in particular, its probabilistic sequencer.
“The inspiration I consistently find in the probability, parameter recording, and gesture recording features make it something I know I will keep returning to,” Huang says. “I’ve been making lots of music with it, including a single, HOLY, that’s already out. Most of the synth parts were created with Muse.
“I’m a big IDM nerd,” Huang continues. “So, I love the workflow of playing notes into the sequencer live, while bouncing between live and step-edited parameter recording, and dialling in probability over some of the steps. Never fails to produce sequences I love.”
Image: Simon Vinall for MusicTech
As one of the team members who worked directly on Muse’s sequencer, Miller says Moog’s motivation mainly came down to the fact that he and his peers “just love sequencers and spend a lot of time thinking about them.”
“Sequencers are such a personal thing,” Miller reflects. “Some people get really into sequencers that I would just never touch because they simply don’t work with my brain. On Muse, we took some of the things I really like about simple sequencers – the basic ability to just press record, put in notes, and play it back – and then combined that with these deep editing controls to get something that felt intuitive.
“We think Muse can really be the centrepiece in a studio,” continues Miller. “That’s something we really wanted to nail. So, we could have put a basic sequencer on there and it would have been fine, but diving in and making something really special just seemed a lot more fun.”
The Muse isn’t the first instrument from Moog that uses probability to powerful effect. The recently released semi-modular synth, Labyrinth, dives deep into generative music, and, alongside Muse, hints at a new strength in the company’s product line.
Image: Simon Vinall for MusicTech
“Both Muse and Labyrinth strike me as great new steps for Moog,” says Huang. “I like that these instruments are embracing more generative and probabilistic approaches to sequencing, but they still deliver on everything you’d look for in analogue synthesis.”
In a moment of serendipity, Miller says production of the two instruments dovetailed just as they were working on some of the core sequencer functions. “Development of Muse predates Labyrinth — which came about pretty quickly — but we were working on Muse’s sequencer and Labyrinth at roughly the same time, so there’s a lot of shared DNA there.”
“InMusic is ‘committed to Moog remaining in the city and community where Bob Moog chose to establish his legacy’”
Digital wizardry is all well and good, but what elevates Muse to a top-tier synthesizer is its rock-solid sonic foundations. The output is instantly iconic, and it’s no secret why – just about every module is directly inspired by an historical piece of Moog gear. The oscillators call back to the Minimoog Voyager, the frequency modulation takes its cues from the Moogerfooger MF-102, the 904-A provided the basis for Muse’s VCFs and the Moog 902 the VCAs. Even the mixer section is influenced by the classic Moog CP3.
“Muse is like a greatest hits of Moog circuits,” laughs Miller. “But then we’re taking those concepts and pushing them a lot further. The Voyager influenced the circuit design, the guts of Muse’s oscillators – that’s a very classic design, and it’s one that has served us very well – but here it’s been changed and extended. So, on the Voyager, you have one continuous knob for wave shape control, whereas Muse has three different controls; shaping between the triangle and sawtooth, the pulse width modulation, and then a mix between the pulse and triangle-sawtooth.”
Image: Simon Vinall for MusicTech
‘Refinement’ is a word that comes up repeatedly as Miller talks about the sound of Muse. All of the core elements draw upon a mechanical lineage traceable back to the company’s eponymous founder, Robert Moog. But, at the same time, he emphasises how important it was to move the sound forward and push the bar higher.
“It’s a lot of little things,” Miller says. “For example, if you want a three-oscillator bass Minimoog-style patch, then you can totally do that on Muse. But, there are other possibilities. Muse’s modulation oscillator can be used as an audio oscillator and it’s much stronger, at audio rate, than the third oscillator on the Minimoog or the fifth oscillator on the Matriarch. This makes it both more useful as an audio oscillator and more capable for modulation duties.”
“We probably spent eight or nine months just working on the code for Muse’s delay.”
If there’s one element of Muse which takes a ‘if it ain’t broke, don’t fix it’ approach, it’s the bass. Lush, deep, and physical – it’s a sound you know, but one that still manages to surprise you. Asked how Moog seems to always be one step ahead when it comes to the low-end, Miller isn’t giving any secrets away but instead points to the company’s dedication to discrete circuitry.
“I’m not knocking synthesizers that use integrated circuits, because they sound very good – but, in the case of Muse, these are discrete designs. You can open it up, you look at the voice cards and there’s a bunch of resistors and capacitors and op-amps on there. These are the raw building blocks that can give you those very classic Moog sounds.”
Image: Simon Vinall for MusicTech
The heart of Muse may be proudly analogue, but there’s also a surprisingly deep digital delay section that adds a new layer of sound design potential. Inspired by late seventies and early eighties twelve-bit rack units, Miller says the team dedicated a significant amount of time to developing the module.
“We probably spent eight or nine months just working on the code for Muse’s delay,” he recalls. “We wanted to make something interesting, something flexible, almost a little instrument in its own right housed within Muse. Even more importantly, we wanted to make something tailored to suit the raw sound. Rather than simply adding a delay on top, it was important for this to be a harmonious thing that becomes part of the instrument.”
That attention to detail is evident, and audible, across all of Muse’s modules. What is also apparent is Moog’s willingness to evolve and adapt where needed, and the confidence to stick to their guns when necessary. Muse deftly balances past and present while leaving space for a spoonful of future; no mean feat in a market environment that seems to only get more competitive year on year.
Consider how tumultuous the past few years have been for Moog: After battling accusations of discrimination, a contentious unionisation movement, unpopular price increases, and a global chip shortage, Moog was then acquired by the global music brand, inMusic. Then, the company announced a 50 per cent reduction in its Asheville factory workforce, the closing of its Asheville store and even a relocation of its iconic Asheville HQ— so even further negative commentary circulated around the brand.
Image: Simon Vinall for MusicTech
In particular, the announcement that the company would end its stalwart practice of manufacturing synths in America was met with dismay from fans. Although a spokesperson assured MusicTech last year that InMusic is “committed to [Moog] remaining in the city and community where Bob Moog chose to establish his legacy,” fans worried about potential quality control issues, but also felt a sense of betrayal from a brand that had woven its public image with Americana, social responsibility, and the hippie ideals of the 60s and 70s.
In that context, Muse can be seen as a triumph — proof that Moog still makes world-class synthesizers — and as an acknowledgement of the changing realities of the pro audio business.
The company continues to design and prototype in the US, but Muse is made in Taiwan. However, by our assessment, this practice has not impacted the sound or quality of the instrument. And if you like that £2998/$3499 price tag then you also have to acknowledge that Muse would likely cost a lot more if it had been manufactured entirely in Asheville.
With a history that stretches back almost to the dawn of synthesis, it’s only natural that customers have certain assumptions and expectations regarding the sound, features, and build quality of any instrument bearing Robert Moog’s name. Miller says he and his colleagues are “very cognizant” of those expectations and of the legacy they’ve inherited – but he also sees modern, forward-thinking instruments like Muse as simply a “continuation” of the ethos that built the company in the first place.
“I think we’re honouring the legacy of Bob and making instruments that give people the sound of Moog,” Miller says thoughtfully. “At the same time, Bob was always innovating, and we want to continue that spirit and look towards the future.”
A company can be supported by a legacy, or be chained to it. Muse shows that Moog’s storied foundations aren’t an anchor – they’re a springboard.
The post “We’re honouring the legacy of Bob Moog; making instruments that give you his iconic sound” Moog talks Muse appeared first on MusicTech.

Moog Muse doesn’t need nostalgia — it’s an outstanding synth for the new generation£2998/$3499, moogmusic.com
Having a legacy like Moog’s is a double-edged sword. The more beloved the brand, the higher the expectations. And the more iconic the sound, the harder it is to change things up.
So when the North Carolina company set out to build a new bi-timbral polyphonic flagship, it must’ve known it was walking a tightrope. It has to have that Moog sound, it has to suit multiple playing styles, it has to be ready for both studio and stage, and it has to stand out in an increasingly crowded field.
Luckily, the Muse not only walks that line – it dances along it.

READ MORE: “We’re honouring the legacy of Bob Moog; making instruments that give you his iconic sound” Moog talks Muse

A brief history of Muse
The sound of Muse is firmly rooted in Moog’s storied past. Working across its different modules – oscillators, filters, envelopes – is like taking a tour through some of the best gear the company has ever produced.
Two analogue oscillators, inspired by 1997’s Minimoog Voyager, form the beating heart of the instrument. The sound is immediately rich and full, with options to blend between triangle, sawtooth, and square wave with variable pulse width. Using these, and little else, you can quickly bang out deep bass tones and vibrant leads that you’d usually associate with the Moog name.
There’s also bi-directional FM (frequency modulation) between the two oscillators. This, too, is inspired by a classic piece of gear – the Moogerfooger MF-102, released in 1998 – and enables everything from beautifully clear bell tones to truly harsh and chaotic ear candy.
Another handy addition is Muse’s modulation oscillator. On one level, it’s the primary hub for quick and easy LFO modulation, with dedicated assignment buttons and depth knobs for the oscillator’s pitch and pulse width, the filters, and the VCA. But this isn’t just an ordinary LFO; it can also be used to produce audio-rate modulation, or as a third oscillator. Pressing the Audio button extends its frequency range all the way up to 20Hz and, with keyboard tracking mode and a selection of waveforms to choose from, you can fatten up the texture even further.
Image: Simon Vinall for MusicTech
To hear the modulation oscillator at audio-rate, or to hear anything for that matter, head to the mixer panel. It’s a simple thing, but having all your audio signals in one place is incredibly useful, and, in addition to the oscillators, FM, and modulation oscillator, there’s also a noise generator and an overload circuit to provide soft analogue clipping.
The filter module is outstanding, with two discrete Moog Ladder filters at a 24dB-per-octave slope. Taking inspiration from the classic 904-A module of 1966, the filters are supremely satisfying to use, with rich harmonics that get wonderfully crunchy once you start to drive the incoming signal. The first filter also boasts a switchable high-pass mode and, with the ability to link the two filters, you can do tasty band, notch, and formant filtering. There’s also keyboard tracking, and the ability to run these filters in sequence, parallel, or stereo.
Moog Muse is bi-timbral, so all of the above settings can be independently set for timbre A and B. Switching between the two timbres is instant and you can split them across the keyboard or stack them for amazingly deep and complex sounds. Muse has eight voices to work with and, while this is plenty when working with a single timbre, once you stack or split the timbres then voice stealing is something you’ll become aware of.
Image: Simon Vinall for MusicTech
Moog Muse’s arpeggiator and sequencer
The sound palate may be like a warm hug from an old friend, but this is not an instrument that rests on nostalgia alone. Once you start to dig into the arpeggiator and sequencer, the modulation matrix, and the additional parameter settings, it becomes clear that Muse not only meets the current moment, but outlines a path to the future.
Muse’s arpeggiator and chord memory functions are excellent, but the sequencer, in particular, deserves special praise. Where Arturia’s new PolyBrute 12 caught some criticism for its underwhelming sequencer, Muse’s counter offer is packed with deeply-considered features for stage and studio. There are 64 steps with up to eight notes being stored per step, and notes can be entered manually, recorded in live, or overdubbed. Once you have your sequence, every aspect of it, right down to the micro-timing between notes, is opened up for editing and tweaking via Muse’s small, centrally-positioned OLED screen. There’s also a parameter recording function that allows for detailed sound design of each individual step, or on-the-fly sculpting during live performance.
If there’s one downside here, it’s the sequencer presets. On the one hand, sequences are globally available – meaning that you can write a sequence on one patch and then use it elsewhere, which is fantastic. However, the included factory presets for the sequencer are a mixed bag. Loading up a combined patch-plus-sequence preset might get you something that sounds great, or, at worst, you’ll get a pattern that sounds like it was arbitrarily slapped on top of a patch rather than written specifically for it. It’s not a huge problem, but it does stand out in comparison to the patch presets themselves, which are generally excellent.
On its own, the sequencer is highly functional, but it’s the new Probabilistic features that set it apart. These days, the word ‘generative’ is often a red flag for a cash grab, but Moog has thankfully packed Muse full of genuinely useful, undeniably cool probability functions. For starters, you can set the gate probability for each step – meaning a step may or may not trigger — but you can also set probability for the note values themselves. In practice, this means each step can trigger random notes within a preset melodic scale and within a set number of semitones. But that’s not all: if your sequence is made up of chords, then the note probability function will instead trigger a chord inversion or alternate chord voicing.

There’s even a Coin Toss feature that allows you to record an entire new 64-step sequence and then randomly switch between the two sequences on a step-by-step basis. These features open up a huge range of possibilities for producers and composers who want to add some generative music to their studio workflow, or even live performers who want to add the element of unpredictability to a jam.
Muse’s layout
All of that might sound complicated, but, in practice, Muse is surprisingly easy to set up and play with. This is a testament to the instrument’s layout and design, which prioritises creative flow and tactile controls without skimping on deeper-level parameters.
The modulation and routing workflow is a prime example. Muse features two dedicated LFO’s, a pitch LFO with a modulation depth fine-tuned for vibrato, and two loopable envelope generators. Each one features an Assign button for quick mapping – simply press a modulator’s assign button, move the desired dial or slider, and the connection is made.
However, if you want to get more specific with your mappings, there’s a dedicated menu to define control sources for your modulation. You can also add mathematical functions, such as slew time and cubic waveshaping, to drastically transform how the modulator affects its destination.
Image: Simon Vinall for MusicTech
Musing deeper
You can go deeper across many elements of the Muse. Each module features a small triangle button in the top right corner that exposes a More menu, and it’s here that Muse’s more complex capabilities are revealed.
Take the digital delay module – by default, its Character dial will act as a DJ mixer-style filter. But, in the More menu, this can be set to control a multi-tap delay for rhythmic timings, to shape the style of diffusion into a chorus-like sound, or to control all three parameters simultaneously. You can change the bit depth, pitch-shift the delayed signals, and drastically increase the delay time to get washes of sound. The options are deep enough that a happy afternoon could be spent exploring just the delay section alone.
Should you get the Moog Muse?
All that said, there are moments when you feel its limitations. The Muse doesn’t have the expansive sound design capabilities of an analogue digital hybrid like the UDO Super Gemini, or the innovative performance features or Full-Touch MIDI Polyphonic Expression of the PolyBrute 12. It doesn’t even have a polyphonic aftertouch keybed or a USB-C port – something that feels like a missed opportunity.
Make no mistake, Muse is a synth for the new era, but Moog has, perhaps wisely, chosen not to go all in on the latest innovations. Instead it’s clearly focused its efforts and production budget on what matters most: the sound.
Ultimately, this is an instrument that you will want to play. With its considered feature set, tactile control surfaces, and an oh-so-premium analogue sound, Muse has an addictive quality that keeps you coming back for more, and more, and more.
Image: Simon Vinall for MusicTech
Key features

Bi-timbral analogue sound engine
Eight polyphonic voices
Dual voltage-controlled oscillators per voice
Dual voltage-controlled Moog filters
Analogue ring modulator
Analogue modulation Ooscillator
Arpeggiator and sequencer
224 preset patches per timbre, totalling 448 unique patch sounds.
Bright OLED panel for presets, global settings, module specific settings
CV in/out, clock in/out and MIDI in/out/thru
Size: 99 x 42 x 11 cm
Weight: 14.55 kg

The post Moog Muse doesn’t need nostalgia — it’s an outstanding synth for the new generation appeared first on MusicTech.

New Twitch DJ Program: Everything You Need To KnowThe new Twitch DJ program offers groundbreaking opportunities to expand reach, make money, and engage with audiences. Here's what you need to know to leverage this platform effectively.
The post New Twitch DJ Program: Everything You Need To Know appeared first on Hypebot.

Somerville Sounds releases FREE Antiquarian Echoes Ambient Guitar Plugin
Somerville Sounds releases Antiquarian Echoes, a FREE ambient guitar instrument for macOS and Windows. Antiquarian Echoes is the latest addition to the Somerville Sounds Prototype lineup. If you aren’t familiar with the Prototype series, it is a small collection of free plugins, including The Meyer Choir, Rubber Bridge Plucks, and Antiquarian Echoes. Unlike paid products [...]
View post: Somerville Sounds releases FREE Antiquarian Echoes Ambient Guitar Plugin

Grotbox: secondary reference monitor Subdust Ltd have announced the launch of a new compact active monitor designed to serve as a secondary, limited-bandwidth, reference speaker. 

Morgan Stanley discloses $188M in BlackRock Bitcoin ETF holdingsThe investment firm disclosed to the SEC that it held more than 5.5 million shares of the iShares Bitcoin Trust in the second quarter of 2024.

Biden tells creators they have something traditional media does not: ‘You’re trusted’At the first ever White House Creator Economy Conference, the most popular man to drop by was not a TikTok superstar or a YouTube sensation. It was President Joe Biden, who emphasized social media creators’ role in shaping public opinion. “Until about three, four months ago, I didn’t pay very much attention, following you guys,” […]
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Handheld Oscilloscope Meter ReviewedWe live in a time where there’s virtually no excuse not to have some kind of oscilloscope. As [IMSAI Guy] shows in a recent video, for what you might expect to pay for a decent meter, you can now get one that includes a scope. There are several options out there but it is hard to know how much to spend to get the best possible product. The Zoyi ZT-702S that he looks at costs under $80. But is it worth it?
Scopes that connect to your PC are often very inexpensive. You can also find little toy scopes that use a microcontroller and a little LCD screen. Even though the specs on these are usually appalling, they will still let you visualize what’s happening in a circuit. Sure, you want an expensive bench scope with lots of channels sometimes, but often, you just need to see a signal in broad strokes. Having a scope and a meter together is very handy.

The little meter claims 10 MHz bandwidth and 48 megasamples per second in scope mode. The meter claims true RMS and 9999 counts. The internal battery charges from USB-C. As you might expect, the meter portion works well enough for a basic meter. The scope reacts well up to 5 MHz. It isn’t necessarily the best scope in the world, but for $80 it seemed quite adequate. The probe compensation wasn’t able to quite make a square wave square, but you still got the idea.
As commenters on the video pointed out, there is a newer model that has two channels (at a slightly higher price tag). They also point out that there are dozens of similar devices at different price points, and everyone has their favorite.
If you have hobby-level cash, we’d suggest a higher-end scope meter like an OWON or Hantek since the professional brands are still very expensive. We wonder what the designer of 1983’s Pocket-O-Scope would think of these modern devices.

Tencent Music’s ‘Super VIP’ tier costs 5 times as much as a regular subscription. Spotify could learn a lot from it.If Spotify is wondering what features to include in its new "Super-Premium" tier, it may want to look at China's Tencent Music Entertainment
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Key Songs in the Life Of… Lylette PizarroLylette Pizarro, founder of Influence Media Partners, selects the magnificent seven songs that tell the story of her life and career to date
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