PreSonus announce Eris Pro 4 monitor The compact PreSonus Eris Pro 4 version of their coaxial monitor design delivers a wide ‘sweet spot’ and maintains a symmetrical dispersion pattern, making it well-suited to use in multi-speaker immersive mixing rooms.

NAMM 2024: Up your Stylophone game with the CPM DS-2 analogue drone synthesizerNAMM 2024: Dubreq, creator of the iconic Stylophone, has unveiled the latest iteration of its famed pocket synth in the form of the CPM DS-2 analogue drone synthesizer.

READ MORE: NAMM 2024: Yamaha unveils SEQTRACK, an all-in-one music creation station for composing and performing anywhere

The first of Dubreq’s pro-audio Compact Portable Modular (CPM) range, the Stylophone DS-2 is a marked departure from the toy-like styling of the original.
Key features of the CPM DS-2 include two 3340 analogue oscillators, twin analogue sub-oscillators, and two analogue 3320 filters. Users can keep things musical by linking the pitch of the two analogue oscillators to ensure everything stays harmoniously in tune, or hard sync them for even wilder sounds.
The synthesizer also boasts a robust LFO section with 14 waveforms, two wave selectors, seven routing switches, and five depth attenuverters. Sonic vibes are further enhanced with the in-built vintage modulated delay as well as the option to add one of the eight vintage-inspired reverb algorithms.
Additional features include a built-in speaker, two stereo outputs, and a dozen modular patch points. Run sound sources from anything into the Aux input to take advantage of the included effects, creating a single hub for your music creations.
The DS-2 can be powered by mains or using AA-sized batteries, and Eurorack compatibility means that you can integrate the synth into your preferred modular system.
“The Stylophone CPM DS-2 Analog Drone Synthesizer is an ideal companion for those seeking innovation in sound creation in the studio, on stage or on the go,” said the company in a statement.
Priced at $259/ £209, the DS-2 is now available for pre-order on the Stylophone website.

The post NAMM 2024: Up your Stylophone game with the CPM DS-2 analogue drone synthesizer appeared first on MusicTech.

Is AI Music Taking Royalties From Musicians and Composers?This week, Ari is joined by Oleg Stavitsky, the CEO and Co-Founder of Endel.

At $159, RØDE’s NT1 Signature Series condenser microphone could be the ultimate studio all-rounder$159/£139, rode.com
Following the success of RØDE’s NT1 5th Generation, which incorporated a plethora of high-tech features, we now have the new NT1 Signature Series, a revamp of the classic and beloved analogue microphone.

READ MORE: Universal Audio’s SC-1 and Hemisphere eight-mics-in-one are tempting additions to any studio’s mic collection

The main features of the 5th Generation are its proprietary Dual Connect output with both XLR and USB connectivity, 32-bit float digital output and onboard DSP. But the analogue circuitry was also upgraded to deliver lower noise and higher SPL handling capabilities.
Now, the NT1 Signature Series incorporates the analogue improvements without all the digi-tech, for those who choose to work in a more traditional style. And while we are talking traditional style, the classic silver or black aluminium casework has been joined by a range of vibrant, limited-edition colours, including red, green, purple, pink and blue.
RØDE CEO Damien Wilson told us, “We wanted to offer creators this new-and-improved NT1 with the original pure-analogue design of previous generations – plus the option to get one in your favourite colour to match your own unique aesthetic.”
RØDE NT1 Signature Series condenser microphone in red, photographed against a background of red jewels
Whichever colour option you go for, the mic comes with its own high-quality shockmount, pop shield and a decent XLR cable so it’s ready to plug straight into your mic preamp or interface.
Under the hood, the microphone features an HP6 large diaphragm (1-inch) gold-sputtered capsule, which made its debut appearance in the 4th Generation model. This improves the capsule found in earlier incarnations of the mic, having been precision-engineered to sub-micron tolerances.
Like all NT1s, it’s a cardioid-only design with a tight response, which excels in rejecting unwanted spillage from extraneous sounds. This type of response really comes into its own when used in the context of a multi-player backing track session, yet also provides precise focus when used for vocals, individual overdubs and voiceover work.
As a vocal mic, the new NT1 retains the classic sonic signature that has placed it at the forefront of budget condenser designs for three decades. Its rich and detailed character flatters most vocalists with added warmth and a glossy high-end sheen that evades some mics costing considerably more. In this respect, it’s a great choice when a decent outboard EQ isn’t available.
RØDE NT1 Signature Series condenser microphone in blue, photographed against a background of blue flowers
Our vintage Neumann U 67 tube mic has a glorious midrange, yet it’s rare for us to achieve a final sound without adding a touch of super-top from a 16kHz EQ boost on a Pultec EQP-1A. Just think of the cost of that package…
Because of the Signature Series NT1’s inherent super-top lift, many users will find that they can produce a wonderful vocal sound with only a suitable level of dynamic control and no tone shaping whatsoever.
Although the broad treble region may not be as neutral or transparent as more expensive designs, the latest model expresses a more vivid, less scooped tonal balance than NT1s of the past.
Also, the mic exhibits extremely low levels of self-noise (at 4dBA), which, alongside the digi-equipped 5th Generation model, makes the new Signature Series the world’s quietest studio condenser microphone, according to RØDE.
ASMR artist tapping their fingernails on a RØDE NT1 Signature Series condenser microphone in pink
Before pressing the NT1 into service on a studio session, we like to test the mic on an acoustic guitar, alongside our stalwart Neumann U 67 and AKG C414 B-ULS mics.
Of course, our regular condensers are far more costly designs. But despite all three mics expressing their own unique sonic character, you wouldn’t pinpoint the new NT1 as the budget option.
Listening to the pass recorded with the new NT1, the guitar sound has a lovely, even midrange with just a hint of added low-mid warmth. It’s a presentation that works particularly well with singer-songwriter performances, especially when blended with an intimate, close-mic’d vocal.
However, in a busier mix, some of that low-mid can be usefully dialled-out with EQ to reduce clutter and increase clarity. That said, the clarity expressed in this microphone is impressive not only at its price-point, but also in absolute terms.
RØDE NT1 Signature Series condenser microphone in green, photographed against a background of green leaves
In comparison with the aforementioned U 67 and C414 mics, the NT1 has a more pronounced top-end, lacking the darkly forward nature of the ’67 or woody midrange of the ’414. This is no bad thing in the context of most popular music and speech recordings. However, those who desire to capture sounds without added top-end sparkle might prefer something a tad more neutral.
Granted, this type of product isn’t aimed at those who make highly-critical classical or jazz recordings and, for most of us working in the broad church of pop, it pretty much covers all bases.
As with any mic, its ultimate sound is a product of its interaction with the preamp it’s used with. We prefer the tonal balance of the NT1 with a punchy solid state design, such as a classic Neve-style mic preamp, rather than our softer, more open valve designs.
It’s with our Hairball Audio Lola preamp that we first use the NT1 to capture a full drum kit sound with the mic placed a few feet in front of the kit just above the top head of the rack tom. This produces an incredibly natural mono kit sound on its own yet also works brilliantly mixed with close spot mics and overheads; a pair of NT1s would make for a killer stereo overhead pair, then.
RØDE NT1 Signature Series condenser microphone in purple, photographed against a background of purple feathers
And as the latest incarnation of the mic has higher SPL handling capability than previous models – and way higher than most delicate boutique mics – you can happily place it close to an electric guitar amplifier or loud horn section.
The NT1 has always been a true studio stalwart, able to capture just about any sound you choose. Now it does a similar trick with more authority and refinement, with a price tag that definitely won’t break the bank.
When it comes to the age-old engineer’s debate of ‘if you had to choose one mic to record absolutely everything…’, the new RØDE NT1 Signature Series has shot straight to the top of our shortlist.
Key features

Cardioid condenser
HP6 gold-sputtered capsule
Aluminium body
Comes with studio-grade shockmount, pop filter and XLR cable
Available in classic black or a range of limited edition colours – red, green, purple, pink and blue
10 year warranty

The post At $159, RØDE’s NT1 Signature Series condenser microphone could be the ultimate studio all-rounder appeared first on MusicTech.

Pianist Matt Wilde’s Prophet Rev2 provided the “secret sauce” for his debut albumIt’s time to shine a light on the piano. Who better to do it with than Matt Wilde? Hailing from Manchester, Wilde draws inspiration from diverse cultures to create an instrumental hip-hop-leaning jazz sound with rich harmonies and clean drums all centred around his impressive playing skills.

READ MORE: “Without that synth, I wouldn’t have my sound”: Demi Riquisimo shines a light on essential hardware

In 2023, Wilde proudly released his debut album, Hello World, with Band on the Wall Recordings. It’s a delightful, heartfelt 11-track release including collaborations with a trumpeter, a drummer, a saxophonist and a bassist all working in tandem. So, we find out how Wilde processes his piano, which piano he uses and what tips he might have for upcoming musicians and producers.
Hello World by Matt Wilde
Hey, Matt! Your debut album… how does it feel?
Honestly, it feels surreal to finally hold the LP! It’s one thing to conceptualise and work on an album, but to see it come to life, to hold it physically, is a whole different experience.
Matt Wilde’s studio set-up
Who are your favourite/most inspiring producers and/or pianists?
My musical inspiration comes from a mix of producers and pianists. On the production side, I’ve always been a huge fan of J Dilla, Pete Rock, Madlib, and MF Doom. Their unique styles and approaches to music have influenced me.
As for pianists, I grew up listening to Bill Evans, Herbie Hancock, Ahmad Jamal, and Chick Corea. Each of them has a distinct style which continually inspires my approach to the piano.
What piano do you use?
I use a Yamaha U1 upright piano. It’s a nostalgic choice; I grew up with a Yamaha upright at home and love its touch and tone. Its forward-facing strings bring intimacy to my music, adding warmth and authenticity to my productions.
Matt Wilde‘s Yamaha U1 upright piano
What other gear was used for your album?
For this album, I used a Rhodes MK1 and a Prophet Rev2. The Rhodes MK1 was a lockdown project; I bought and restored it which was tough, but super cool to get hands-on and see how it works from the inside out (literally!).
Matt Wilde’s Rhodes MK1
And the Sequential Prophet Rev2, that’s my go-to for all the synth magic! From counter melodies to dreamy pads and strings, and some syncopated rhythmic stuff. They’re the secret sauce that made the album feel complete.
Matt Wilde’s Sequential Prophet Rev2
Tell us a bit about where you make music.
I’m based in my home studio in Manchester, UK. The studio is on the smaller side, which has been great for maintaining a clutter-free and purposeful environment. Over the years, I’ve experimented with a variety of gear, mostly keyboards and hardware, buying and selling to find what works for me. Now, I’ve settled on a collection of gear that I find inspiring and use every day. It’s a space where each piece of equipment has its own significance, helping me craft music efficiently and creatively.
Close-up of Matt Wilde’s studio desk set-up
How do you use your creative space?
My creative space is where most of my tracks begin life, often starting as sketches on the piano to flesh out harmony and melody. The compact nature of my studio means everything I need is within arm’s reach, which helps keep the creative process fluid and uninterrupted. While I do a lot here, for larger recordings like drums, I step out to professional studios such as Airtight Studios for extra space, equipment and quality. This blend of in-house groundwork and external recording is the perfect balance for my workflow.
Matt Wilde’s Ableton Push 3 standalone
What processing went into your piano sounds?
I have a pair of Soyuz 013 FET mics that live on my upright. I record them into a Universal Audio Apollo x4, usually tracking through a Neve 1073 pre. I also record the piano with the felt rail as it makes the tone slightly warmer!
My basic chain usually goes something like this:
Preamp > EQ > saturation > compression
Soyuz 013 FET mic
Who did you collaborate with for the album and how did you work together?
For this album, I had the amazing opportunity to collaborate with Band on the Wall Recordings, a label from the iconic music venue in Manchester. It feels like a full circle moment for me, as I used to attend music workshops there run by Brighter Sound during my younger years. Those sessions, where I honed my skills in playing and recording with Ableton Live under the guidance of some incredible mentors, played a big part in my musical journey.
The record itself was a collaborative effort with some incredibly talented musicians. We had Aaron Wood on trumpet, Oscar Ogden on drums, CARRTOONS on bass, Parthenope on sax, among others. The recording process was a mix of remote and in-person sessions, which brought a unique dynamic to the creation of the album. It was a great experience to see these musicians breathe life into the records with their unique styles and expertise.
Close-up of the Rhodes logo on the MK1
What is your dream piece of gear and why?
A dream piece of equipment for me would be the new Rhodes MK8. It’s not just about its stunning looks and sound, but also the fact that they’re made in Leeds, just down the road, which adds a personal touch. Maybe one day I’ll get my hands on one. Additionally, I’d love to invest in some classic analogue gear like the Neve 1073, API 2500, and LA-2A.
If you were left on a desert island, what one item would you take with you to make music with forever?
Assuming there’s a magical power supply on this desert island (hey, we can dream, right?), I’d go for the Ableton Push 3 standalone. It’s compact, versatile, and totally self-contained. I could easily carry it around the island, setting up my studio under palm trees or by the shore. Plus, it beats trying to haul my piano through the sand — that would be a sight!
Nostalgia by Matt Wilde
What is your top piece of production advice?
My top piece of production advice is to trust your ears and your instincts. Try to play or create what you hear in your mind. It’s important to be patient with yourself in this process. Avoid judging what you produce and let others give you feedback. The key is to keep the creative channel open, allowing your ideas to flow naturally without self-judgment. This way you can be creative whilst also developing a unique and authentic sound.
Head to Matt Wilde’s website to find out more.
The post Pianist Matt Wilde’s Prophet Rev2 provided the “secret sauce” for his debut album appeared first on MusicTech.

Samsung’s Galaxy S24 unveil: How to watch and what to expectI can’t recall if there was ever a true lull in the weeks between CES and MWC, or whether this is the sort of thing we tell ourselves to cushion the blow of a hardware season that now spans 11.5 months of the year. Whatever the case, the days of big companies saving big news […]
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Observations on Universal Music Group’s 2024 restructuring programThe 'why', the 'where', and the 'how many' of the music biz's biggest story of the moment under the microscope
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Daniel Ek says he’s ‘probably the least powerful person in Spotify,’ and 3 other things we learned from his recent Norges Bank interviewEk also commented on what AI will mean for Spotify subscribers during his interview on the In Good Company podcast hosted by Norges Bank Investment Management (NBIM) CEO Nicolai Tangen
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Jim Irsay Collection Shrine Auditorium & Expo Hall in Downtown Los Angeles, CA January 11th.The greatest private memorabilia collection to be on public display; The Jim Irsay collection came to the Shrine Auditorium & Expo Hall in Downtown Los Angeles, CA January 11th. The Jim Irsay Collection owned by its namesake is the owner of the Indianapolis Colts and brings together historic documents and possessions of U.S. Presidents and U.S. History artifacts such as George Washington, Abraham Lincoln, Harry Truman, John F. Kennedy, a copy of the Declaration of Independence which one less than 60 in existence of the 200 made starting in 1820, a John Wilkes Booth wanted poster, musical instruments owned by the Beatles, Eric Clapton, Elton John, Bob Dylan, Prine, Kurt Cobain, Johnny Cash, Jerry Garcia, and more, sports memorabilia including Jackie Robinson’s bat, Muhammed Ali’s belt from “The Rumble in the Jungle”, and hollywood memorabilia including Al Pacino’s script for Scarface, one of the Wilson volleyballs from Castaway, and Sylvester Stallone’s training boots for Rocky and his script, there was also tech memorabilia including an early Apple manual signed by Steve Jobs. The one item Irsay considers “the most culturally significant piece of the 20th century”  would be the original working manuscript for the 12-step program for Alcoholics Anonymous because of his and his family struggles and the millions of lives it has helped saved. This was the first time the event has taken place in Los Angeles. To simply put it these are the type of artifacts you would see at the Smithsonian and Rock N Roll Hall of Fame. 

The best part of all, the collection was free to view with just an RSVP with Evenbrite and included an All-Star concert. The exhibit was held in the Expo Hall first starting with U.S. history followed by the original scroll of Jack Kerouac’s novel “On The Road” which is 20 feet in length, then instruments and the closing part was sports, hollywood, and tech. 

By 4 P.M. there were already close to 200 fans waiting to get into the Shrine. It was no surprise between the collection and concert the venue would be at capacity. Outside the Shrine Auditorium entrance a car once belonging to author Hunter S. Thompson and another was the car retired Colts running back Edgerrin James was driven in for his induction into the Pro Football Hall of Fame. The music began around 8:30 P.M. Sadly, Irsay, who never misses a Colts game or one of his events, was hospitalized with a respiratory infection just a few days before the event. Also before the concert, it was announced Stephen Stills would not be there. 

The Jim Irsay Collection band included guitarists Kenny Wayne Shepherd, Tom Bukovac who recorded on over 700 albums, Danni Nucci (also actor in Titanic), and Mike Wanchic (John Mellencamp), Drummer Kenny Aronoff (John Mellencamp/ John Fogerty), bassist Mike Mills (R.E.M.), blues harmonica legend Billy Branch, vocalist Carmella Ramsey (Reba McEntire/ John Hiatt), and keyboardist Michael Ramos (John Mellencamp). Joining what was already an All-Star band would be a few music icons who have each performed with the band. The band would perform Shepherd’s “Down for Love.” Shepherd introduced the first guest a guitarist that influenced Jimi Hendrix. It would be none other than one of the last living Blues giants Buddy Guy. Guy had performed a headline set at the Hollywood Bowl this past summer but due to doctor’s orders was unable to perform at Eric Clapton’s Crossroads festival in September. Guy performed two songs with the band, then the band would perform four songs before the next guest. Mils would sing lead on “(Don’t Go Back) to Rockville” and “Superman”

Shepherd introduced the next guest which was actually an iconic instrument. This would be David Gilmour’s most famous guitar with Pink Floyd, the ‘Black Strat’ auctioned off at Christies in 2019 along with a number of other important Gilmour owned guitars. The guitar was purchased by Irsay for $3.9 million. In 2022, that price was beaten with Kurt Cobain’s Fender Jaguar from the “Smells Like Teen Spirit” video purchased for $4.5 million. Both guitars were on display. The band along with Irsay performed at Farm Aid 2023 and the ‘Black Strat’ was used by Shepherd on  “Have a Cigar” sung by Nucci and “Comfortably Numb” sung by Bukovac. To top if off the performance included a Pink Floyd style laser show. 

The next guest would be one of half of the Wilson sisters of Heart, one of the greatest voices in Rock N’ Roll,  Ann Wilson. Wilson was set to perform three songs including Led Zeppelin’s “Rock N’ Roll” which was cut from the set. Wilson performed a cover of The Who’s “Love Reign Over Me” and Heart’s “Barracuda.” Heart performed their first shows in four years this past December. In 2022 Wilson performed several shows along with Jeff Beck and ZZ Top.  Wilson performed “Barracuda” with the band at Farm Aid last year. 

 The third guest would be REO Speedwagon’s Kevin Cronin who joked about having to perform after Ann Willson. Cronin joined the band for four REO Speedwagon classics and Branch added a harmonica solo to “Roll With the Changes.’ Second to last would be J. Geils Band frontman Peter Wolf performing five songs with the band. Closing the show would be none other than ZZ Top’s Billy Gibbons for “Sharp Dressed Man,” “La Grange,” and a cover of Freddie King’s “Going Down.”  After the concert ended, the band along with Cronin, Wolf, and Gibbons took a bow. 

Setlist:

Down for Love- Kenny Wayne Shepherd

Damn Right I Got The Blues- Buddy Guy

I’ve Got to Use My Imagination/ She’s 19 Years Old- Buddy Guy

I Can’t Hold You Out/ Watch Yourself- Elmore James (Kenny Wayne Shepherd)

Blue On Black- Kenny Wayne Shepherd

(Don’t Go Back to) Rockville- R.E.M. (Mike Mills)

Superman- The Clique  (Mike Mills)

Have a Cigar- Pink Floyd (Kenny Wayne Shepherd w/ David Gilmour’s ‘Black Strat’)

Comfortably Numb- Pink Floyd (Kenny Wayne Shepherd w/ David Gilmour’s ‘Black Strat’)

Love Reign Over Me- The Who (Ann Wilson)

Barracuda- Heart (Ann Wilson)

Take it on the Run- REO Speedwagon (Kevin Cronin)

Keep On Loving You- REO Speedwagon (Kevin Cronin)

Riding the Storm Out- REO Speedwagon (Kevin Cronin)

Roll With the Changes- REO Speedwagon (Kevin Cronin)

Hard Driven Man- J. Geils Band (Peter Wolf)

Just Can’t Wait- J. Geils Band (Peter Wolf)

Centerfold- J. Geils Band (Peter Wolf)

Love Stinks- J. Geils Band (Peter Wolf)

Lookin’ for Love- The Valentinos (Peter Wolf)

Sharp Dressed Man- ZZ Top (Billy Gibbons)

La Grange- ZZ Top (Billy Gibbons) 

Going Down- Freddie King (Billy Gibbons)

The post Jim Irsay Collection Shrine Auditorium & Expo Hall in Downtown Los Angeles, CA January 11th. first appeared on Music Connection Magazine.

Forget Taylor Swift; these stats will shape 2024 for 99% of musiciansA new Luminate Year End Music Report is rightfully making headlines with its findings. Eye-catching stats like “Taylor Swift Made Up 1.7% of Total U.S. Music Market in 2023” make. Continue reading
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Mackie launch DLZ Creator XS, ProFXv3+ & MobileMix Mackies latest releases include a compact podcasting workstation, live streaming mixers, a portable PA solution and an all-in-one unit aimed at game streamers. 

This music venue in Rotterdam is “first club worldwide” to have moving DJ boothA music venue in Rotterdam is believed to be the first club worldwide to host a moving DJ booth.
The booth has been in operation at Toffler since its opening weekend in November 2011, but has recently garnered new attention due to a popular video shared on Instagram.

READ MORE: CES 2024: This device teaches your dog to play the piano

The moving booth allows for more space to be created as the club fills up throughout the night. It also means that even if it is not full to capacity, it will still feel just as busy as the space can be kept on a smaller scale.
After the Reel of Toffler’s moving booth caught our eye on Instagram (thanks to @techno.germany), MusicTech reached out to Toffler to find out more. A spokesperson for the club revealed that the booth has been operating “seamlessly” since its opening, and that it works via a hydraulic system.
“The DJ booth and the light and sound system at Club Toffler in Rotterdam (NL) have the unique ability to move back and forth during the night. In the early evening, the club has an intimate atmosphere, but as the dance floor fills up, the club physically extends, creating more space and intensifying the lighting,” they say.
“The hydraulic system, designed specifically for the venue, is a global premiere. It allows the club, located in an old underpass in Rotterdam’s central business district (Weena), to adjust its size by moving the back wall and the DJ booth based on the number of visitors.”
The movement of the booth “is nearly imperceptible” according to the Toffler spokesperson, due to its low speed throughout the night. The DJ booth also accommodates a variety of DJ equipment, from CDJs to Technics.
“The DJ booth is practically at the same height as the dance floor, ensuring that attendees at the front always have a direct view of the DJ,” they later add. “This feature helps the club remain lively throughout the night, maintaining a ‘living room’ ambiance.”
Check it out in the video below:

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A post shared by 𝙏𝙚𝙘𝙝𝙣𝙤 𝙂𝙚𝙧𝙢𝙖𝙣𝙮 ® (@techno.germany)

Find out more about Toffler.
The post This music venue in Rotterdam is “first club worldwide” to have moving DJ booth appeared first on MusicTech.

NAMM 2024: The hottest rumours and latest announcements from this year’s showNow that Christmas and New Year are out of the way, a far more important date in the calendar – NAMM 2024 – is right around the corner. Yep, one of the world’s biggest musical instrument and technology trade shows is returning to the Anaheim Convention Center between 25-28 January, and we’re buzzed, if you can’t already tell.
‘But MusicTech, it doesn’t start for another week, why should we care?’ we hear you say. Well, while the show officially kicks off on Thursday 25 January, the biggest brands in music have already begun announcing new products in a bid to get some of your valuable attention ahead of the big weekend.
As such, you – the musicians and producers these products are targeted at – may very well be prone to information fatigue in the wake of the sheer volume of product announcements that’ll arrive in the coming days. But that’s why we’re here.
We’re here to filter out the info you don’t need, and bring you the biggest and most noteworthy product launches – and hottest rumours – from this year’s NAMM show. Let’s dive in.
Yamaha SEQTRACK
Credit: Yamaha
Yamaha has unveiled the SEQTRACK, an all-in-one device for all your production needs, with a staggering selection of tools in a portable format. Features include a step sequencer, drum machine, sampler, two AWM2 synthesizers, a reface DX-style FM synthesizer, plus a microphone, speaker, rechargeable battery and even an accompanying app.
Producers have already noted visual similarities between the SEQTRACK and Teenage Engineering’s OP-1 and OP-Z, but at only £447.60/€478.80/$599, it’s markedly more wallet-friendly.
Read more about the Yamaha SEQTRACK
NAMM 2024: MOTU’s 828 audio interface receives “complete redesign”
Credit: MOTU
The 828 has been a favourite in professional studios since the first model was launched in 2001, thanks to its connectivity options, reliable performance, and industry-standard compatibility. Since then, we’ve witnessed MK2 and MK3 versions launched, followed by the Thunderbolt-compatible 828x and the 828es, which draws on MOTU’s own AVB (audio video bridging) technology.
Now, just in time for NAMM 2024, MOTU has gifted us with a “complete redesign” of the 828. It looks to be a complete refresh, hence the simple ‘828’ name, as opposed to being the 828 MK4 or another version.
Read more about the MOTU 828
Dtronics DT-303 is an FX box built to beef up 303 basslines
Credit: Dtronics
Dtronics has launched the DT-303, a compact little device that has one goal: to beef up 303 basslines. That’s the Roland TB-303 and Dinsync RE 303.
Tiny but deadly, the small pedal consists of three knobs that will hyper-charge and distort the 303’s sound, allowing you to fine-tune the level of distortion, filter and volume.
Read more about the Dtronics DT-303
The post NAMM 2024: The hottest rumours and latest announcements from this year’s show appeared first on MusicTech.

NAMM 2024: Yamaha unveils SEQTRACK, an all-in-one music creation station for composing and performing anywhereNAMM 2024: Yamaha has unveiled the SEQTRACK, a compact one-stop shop for all your production needs, with a staggering selection of tools in a portable format.
Equipped with a step sequencer, drum machine, sampler, two AWM2 synthesizers, a reface DX-style FM synthesizer, plus a microphone, speaker, rechargeable battery and even an accompanying app, the SEQTRACK positions itself as an all-in-one solution for producers on the go.

READ MORE: NAMM 2024: Dtronics DT-303 is an FX box built to beef up 303 basslines

The SEQTRACK is essentially split into three sections: the drum machine sits on the left, the synth and sample is in the middle, and the section on the right is in charge of sound design and effects, with pitch, volume, pan, attack, decay and filter knobs.
The drum section consists of seven tracks – kick, snare, clap, two hi-hats and two percussion sounds – which can be programmed from the devices 2,000-sound sample library, or with custom samples, which the user can record using the built-in microphone.
Additionally, users can switch all three sections between mono, poly and chord modes, while the seven keys can be played in a standard keyboard mode or with the addition of an arpeggiator.

While the SEQTRACK sound library already consists of over 2,000 sounds and virtual instruments, that’s set to expand with each new sound pack released in the future.
As mentioned previously, the SEQTRACK comes with an accompanying app, which will allow even further, more intricate adjustments to take place. This free app will also include an intuitive visualiser, allowing users to create stunning visuals to compliment their tracks.
With its lack of screen display, some have already noted visual similarities between the SEQTRACK and the Teenage Engineering’s existing OP-Z and OP-1 boxes. The SEQTRACK is markedly more affordable, though, something Yamaha was no doubt aware of when designing a new product for this niche.
In terms of availability, the SEQTRACK comes in either bright orange and grey, or a cool grey and black.
Yamaha will be showing off the SEQTRAK at this year’s NAMM Show in Anaheim, California from 25th-28th January at booth 300DE. The SEQTRACK is set to cost £447.60/€478.80/$599.
For more info, head to Yamaha.
The post NAMM 2024: Yamaha unveils SEQTRACK, an all-in-one music creation station for composing and performing anywhere appeared first on MusicTech.

5 Music Marketing Mistakes (most) Musicians make & How to avoid themThere are a few common marketing mistakes that might be keeping musicians from reaching success. Here are a few examples of how to improve any current strategies. by Chris Robley. Continue reading
The post 5 Music Marketing Mistakes (most) Musicians make & How to avoid them appeared first on Hypebot.