“A new benchmark for bass”: Baby Audio SubCulture supercharges your bass while keeping it in tune with your trackBaby Audio has launched SubCulture, an innovative new bass enhancement plugin that detects the pitch of incoming low-end signal and brings it to life while keeping it in tune with your project.
18 months in the making according to Baby Audio – which earlier this year unveiled its Grainferno plugin, aiming to “redefine granular synthesis – SubCulture could be the solution to give your basslines the energy you’ve been looking for.

READ MORE: Safari Audio expands its virtual synth collection with vintage Juno-style PolyRex

Designed to augment the low frequency content of an incoming monophonic audio signal, the enhanced low-end material generated by SubCulture is designed to stay in tune with the original audio signal – essentially offering you improved bass power while remaining musical.
At the core of the plugin are three bass enhancement engines: Sub Layer, Root Boost and Resonance.

Sub Layer adds a pitch-shifted sub-octave version of the input signal up to two octaves below the original. Root Boost is basically a pitch-tracking EQ band that adds up to 18 dB of boost or cut at the fundamental frequency of the input note.
And finally, the Resonance engine is a parallel filter network inspired by classic analogue designs. Baby Audio explains: “Optimised to work together in complementary dimensions, each processor plays a role to reinforce, enhance and extend the critical low frequency material in the signal.”
SubCulture also features saturation and compression sections based on analogue modelling – which can be harnessed to add “punch, harmonics and dynamics” to your basslines.
While SubCulture is aimed predominantly at producers looking to enhance their basslines, it can also be used creatively to augment any incoming audio signal, Baby Audio says.
SubCulture looks to offer a real playground for ground-up creativity, but it also launches with 177 custom presets from top producers and sound designers – including Craig Bauer, Dakota G and Eryck Bry – so you’ll have plenty of inspiration points to get started.
SubCulture is available now at an introductory price of $79 (normally $129). Learn more at Baby Audio.
The post “A new benchmark for bass”: Baby Audio SubCulture supercharges your bass while keeping it in tune with your track appeared first on MusicTech.

MIDI Innovations Awards 2026 Now in their sixth year the MIDI Innovations Awards are a joint venture between The MIDI Association, NAMM and Music Hackspace, and serve to shine some light on both commercial and non-commercial products that use MIDI in interesting ways.

Safari Audio expands its virtual synth collection with vintage Juno-style PolyRex
Alongside its slew of pedal plugins, Safari Audio is steadily expanding its selection of virtual synths. The company’s latest offering comes in the form of PolyRex, a plugin that captures the essence of vintage polysynths and injects it straight into your DAW.
While there are countless virtual models of the legendary Roland Juno-106, Safari Audio’s PolyRex takes a new stab at capturing the charms of the vintage synth. While emulating such an iconic sound can be a daunting task, the team approached it with a simple goal: making a synth that felt “immediate, fun, nostalgic, and filled with inspiring sounds”.

READ MORE: Tom Oberheim at 90: “I can never retire, first of all”

Rather than drowning behind an intimidating interface, PolyRex provides users with all the warmth and texture of the Juno in a simple, accessible form. Users can experiment with modulation options, an arpeggiator, and even take advantage of a built-in catalogue of chorus, delay or spring reverb effects to make the process feel less intimidating.

“With PolyRex, we wanted to capture the feeling that made us fall in love with vintage polysynths in the first place; it’s all about inspiring sounds, a simple workflow, and an instrument that invites you to keep playing,” Safari Audio explains.
Although there’s a focus on a simple workflow, that doesn’t mean PolyRex is lacking in features. In fact, the plugin has plenty of features to experiment with. Whether you’re keen to explore its vintage-inspired oscillator selection (including square and sub oscillators, as well as a noise generator and LFO pitch modulation), or add more movement through glide or pitch and LFO controls, there’s many ways to add texture and charm to your sound.

 
Compatible with all major DAWs, PolyRex comes as Safari Audio’s third virtual synth to date, joining the Cubby and Super Chunk. If you’re keen to add a Juno emulator to your arsenal, the PolyRex could be a good place to start – and, with it currently sitting at a 50% off introductory price at Plugin Boutique, it makes the product all-the-more enticing.
PolyRex is currently 50% off at Plugin Boutique, costing £35. For more information on PolyRex, head to Safari Audio.
The post Safari Audio expands its virtual synth collection with vintage Juno-style PolyRex appeared first on MusicTech.

Can Meaw Chain make “vibe mixing” a thing?$60, safariaudio.com
The secret to top-notch sonics rarely lies in a single plugin. Selecting multiple, complimentary audio effects and chaining them in sequence for maximum impact – this is the real art of mixing.
How you actually achieve this alchemy has always been slightly mysterious. Producers spend years perfecting a ‘signature’ vocal chain, and many mastering engineers closely guard what goes on their mix bus. For those just starting out, the whole thing can be overwhelming. Meaw Chain, the latest release from Safari Audio, sets out to change this. Armed with AI, it can analyse your audio and give you a suitable chain of plugins based on text prompts.
So, should we rejoice that a core part of music production has been made more accessible? Or is ‘vibe mixing’ a paint-by-numbers game, offering more novelty than utility?

READ MORE: Mastering The Mix’s Reference 3 tells you exactly how to fix your mix

This is actually the second AI creation from Safari Audio. The first foray, Meaw Assist, functions as an in-DAW chatbot that can listen to your track and offer production or mix advice. Meaw Chain builds on those foundations but adds a plugin wrapper, allowing it to host VST3, AU, and AAX formats.

Upon first use, I am greeted by a salmon pink interface and a short quiz intended to gauge my level of experience, the kind of projects I am working with, and what I’d like Meaw Chain to focus on: creative ideas and inspiration, technical feedback and fixes, or a bit of both. Next up is a quick scan of my installed plugins and then I’m off to the races.
In plain language I’m able to describe what kind of sound I’m looking for—in this case ‘dark but punchy drums’—and, with only a second or two of processing time, Meaw Chain presents me with a bespoke chain of audio effects matching my criteria. Happily, each generated chain is accompanied by a text explanation that details what changes have been made to the audio and why.
Results from my initial prompts are heavy handed to say the least, but I can’t pretend I’m not impressed by the seamlessness of the process and how easy it is to tweak the chain with a few follow-up requests. For even better results, Meaw Chain can analyse a track’s audio, allowing future prompts to be contextualised against this analysis.
Meaw Chain initial settings. Image: Press
Safari Audio is first and foremost a plugin maker, offering a respectable range of audio processing and effects which serve as a strong starting point to see what Meaw Chain can do. However, the developers have wisely chosen not to limit Meaw Chain to its own plugins, and, at time of writing, it supports 130 third-party plugins from makers such as Arturia, FabFilter, iZotope, SSL, Soundtoys, Universal Audio and more.
I will say that, left to its own devices, Meaw Chain has a tendency to prioritise plugins from the Safari Audio lineup in the chains it generates. You can, however, direct Meaw Chain to use or exclude individual plugins, or to draw only from certain developers, which is a nice touch.
But the real surprise is Meaw Chain’s ability to manipulate parameters within plugins from any developer. The chains that it generates aren’t using a plugin’s supplied presets, instead, parameters are dynamically changed to fit a prompt – meaning users can zero in on individual controls and ask for changes. Of course, you can also expand a plugin’s window and move a dial using the cursor, but, really, where’s the fun in that?
Meaw Chain inaccessible parameters. Image: Press
There are limitations to all this. A few times I ask for a specific parameter change only to be told that the parameter can not be accessed. At other times, Meaw Chain seems to get overlapping parameters confused. For example, a request to make my dark and punchy drum chain a bit brighter resulted in boosted high frequencies and a low pass filter.
It should also be said that Meaw Chain paints with a broad brush. The more specific and detailed you want to be, the less sense this workflow makes as repeated prompting is hardly more efficient than just doing things by hand.
However, if you just want to quickly try out ideas, it can be powerful. Each new plugin chain you generate is stored in your chat history, meaning you can build up a set of variations and then A/B them to compare results. Not only that but you can also access the full history of conversations you’ve had with Meaw Chain across any project or DAW – turning it effectively into an ever-evolving bank of presets that can be reused or tweaked to fit each new mix.
However, the more I consider what Meaw Chain is truly useful for, and who it’s useful for, the more thorny my questions get.
Meaw Chain drum bus chain. Image: Press
To make the most of Meaw Chain, I would argue that you need to have a decent store of third-party plugins – and therein lies a paradox. The people who will benefit the most from Meaw Chain are likely to be those still learning the finer points of music production — these users are also less likely to have invested in a wide selection of tools. On the other hand, if you are an experienced bedroom producer or a studio professional with lots of audio plugins at your disposal, then do you really need the kind of simplified mix assistance Meaw Chain offers?
That said, this is a fascinating and genuinely cool implementation of AI in a music production context. Yes, the results it gives you work better as starting points, and it doesn’t offer the kind of specificity needed to get a mix up to a professional standard, but as the number of third-party plugins Meaw Chain supports continues to grow, as its audio analysis increases in quality. As its ability to manipulate specific parameters attains higher fidelity, we might just see mixing via prompts become the new normal.
Meaw Chain mastering chain. Image: Press
Key features

AI-assisted plugin chain builder
Chat-centred user interface generates plugin chains via text prompts
Hosts Safari Audio and third-party plugins
130 third-party plugins supported from major developers
VST3, AU and AAX formats

The post Can Meaw Chain make “vibe mixing” a thing? appeared first on MusicTech.

How Auntie Flo’s ‘Plants Can Dance’ compilation celebrates a new species of producersDJ and producer Brian D’Souza, also known as Auntie Flo, is behind a new compilation, Plants Can Dance, pulling together a number of music-makers with a shared vision: to use nature as a collaborative partner for their music.
Plants Can Dance by A State Of Flo
“I have a newfound respect for the natural world and hope this work inspires others to feel the same,” D’Souza says, who has showcased his own plant-based sonic experiments at British institutions such as the Tate and V&A.
“80 percent of us now live in cities and are mostly surrounded by concrete. I see this work as literally breaking through those concrete layers, uncovering a world that was previously hidden. By using sound as the point of entry, I’ve been able to re-tune my entire perspective on the living ecosystem that is all around us.”

READ MORE: Tom Oberheim at 90: “I can never retire, first of all”

The processes behind each electronic piece differ, from interpreting plant biodata into sound to translating wind patterns into compositions — with varied and engaging results. Modern Biology, Dr Helen Anahita Wilson, OMMA (founder of Playtronica) and Jason Singh are among the compilation’s cast.
“Through biosonification I can interpret the world of other living entities and share this with people in ways that traditional music making or performing hasn’t allowed,” says Jason, whose track Tsubaki features.
“By mimicking the natural world through my voice, I feel a deeper connection with both my internal and external environment. The more I explore, the more I find out that I know very little about nature and that there is so much to learn.”
Brian D’Souza. Image: Press
Plant experiments
If you’ve headed down to the Hideout venue in Hackney Wick of late, then you might have come across D’Souza and his fellow explorers at his Plants Can Dance events. It’s not the usual kind of music night – there’s arguably as much soil as there are synthesisers and modular equipment alongside discussion and workshops with everyone encouraged to contribute. The concept behind Plants can Dance initially stemmed from a commission D’Souza received for a project called ‘Dandelion’ at the UK’s Unboxed festival in 2021.
“The project was all about vertical farming and they positioned these boxes they called Cubes Of Perpetual Light around remote locations around Scotland, with a surround sound set up inside that you could immerse yourself in if you encountered them,” says D’Souza. “I made my piece using MIDI captures of herbs around my garden – sage, basil and rosemary using a PlantWave device and put together a piece.”
Field recording was initially D’Souza’s way into working with plants, a practice he has always undertaken via his phone. He was encouraged to amplify this part of his work via a course with Cabaret Voltaire’s field recording expert, Chris Watson.
“I spent thousands of pounds on a variety of mics and that got me deeper down the path of trying to capture the natural world through sound,” D’Souza explains. I then went on a week-long CAMP.Fr course on Ecoacoustics, which provided more inspiration and direction when it came to the purpose of using sound as a means of connecting with nature.”
“The simple act of listening deeply and intently was a revelation to me – and this heightened ability for attentive listening was made possible through the field recording techniques I’d learned.”
Helen Anahita Wilson. Image: Press
Helen Anahita Wilson’s work is strictly in biophilic composition as opposed to biosonification, which involves capturing MIDI from organisms. Instead, her approach is to translate plant processes, then embed this data within her compositions to create music that tunes into an organism’s character.
“My way into this kind of plant-derived work – which I call biophilic music – was through working with medicinal plants and wanting to raise awareness of the natural derivation of certain pharmaceutical drugs,” Helen states. “I was, and still am, very interested in creating plant-derived biophilic music for healthcare settings.”
“My projects under the name PLANT VOX are also examples of using herbs and medicinal plants to create music which aims to create the same effect on the listener as if they had ingested those plants, i.e. listening to a piece of music that helps you get to sleep, made from plants that also have that same soporific quality.”
OMMA. Image: Press
Plants Can Dance
D’Souza’s interest in working with plants was accelerated by the COVID lockdown and solidified over several artistic commissions: Mushroom Music for the mycelium pavilion at Glastonbury and sonifying a show garden at the Chelsea Flower Show. Although he believed these nature-based projects would be one-offs, conversations and experiments continued to expand.
“Through my various projects, I started to meet musicians around the world who are on a similar journey to me – all with their own unique story to tell,” he says. “So the compilation is a way of bringing all these approaches together under one roof, which will hopefully inspire more to get into nature-inspired music. The lesson is, once you start putting yourself out there, you end up meeting other likeminded souls and that helps you grow a community, both locally and online.”
Jason Singh got on board through a mutual connection with D’Souza. With roots in the Punjab in North India, his great-grandmother was a Hakim, a plant-wisdom holder and healer who worked with plants from the forest to help people.
“Indian music is an ancient system where melody and rhythm is directly derived through nature via the seasons, time of day, colours, animals, insects and the planets,” he says. “I have been raised with this so the relationship has always been there, not as something experimental or academic but direct and experiential. I was raised on Indian ragas through Indian classical and folk music, and this flowed through me from an early age.”
Jason Singh. Image: Press
Initially, Jason started using specialist microphones and was influenced by the electronic music of artists like Mileece, Eberhard Schoener and Charles Dodge. As technology became cheaper and more open source, he purchased a MIDI Sprout device – this enabled him to connect plants to his hardware and powered his piece, Tsubaki.
“This is the Japanese word for Camellia, and was originally part of a long-form piece I created for an eight speaker sound installation at The Camellia House in Woolaton Park in Nottingham,” he states.
“People come from all over the world to see the Camellia bloom in late winter/early spring and I wanted to create a sound installation where not only could people experience the visual aesthetic of the flowers but also affect the mood and emotion of the space through the hidden music created by the plants themselves.”
“There was also a plant music concert where musicians played live with the Camellia. I reworked a section of the piece and my dear friend, cellist Liz Hanks, played a really emotional composition to accompany the Camellias composition.”
Jason used a MIDI Sprout device to capture the plant data, then played the MIDI files via Ableton.
“I did this through a range of pads, effects and bespoke plugins designed by Leafcutter John,” he states. “I also used Arturia’s Pigment synth as I really like the pad sounds in that software synth.”

Helen’s approach is aimed at expressing the characteristics of the organisms rather than compiling an archive of plant recordings.
“I like to work with bioelectricity monitors, conductivity monitors such as PlantWave and the Pocket Scion, real audio recordings, and with botanical analyses and genetic data to record and find interesting little patterns which seem musical to me in some way,” she says.
“Once I spot something promising in the plant biodata that I can translate into rhythms and pitches, then I develop that fragment using techniques from Western and South Asian musics that can convey characteristics and behaviours of the plants involved,” Helen continues. “I always use Ableton for this kind of work. In Porcupine and the Outdoor Girls [her contribution to Plants Can Dance] I used data recordings and botanical information from the toxic Porcupine tomato and the edible Outdoor Girl tomato as the original source material for the composition.”
D’Souza track Hector’s Sunflower opens the compilation and was inspired by his son and the sunflower seeds he was gifted at school.
“It was fun to watch them flower and the sunflowers to grow over the course of last summer,” he explains. “I originally took some MIDI readings throughout various stages in its lifecycle but ended up not using them and instead recording a whole album in a day, which came out on Music To Watch Seeds Grow By in January.”
While the Plants Can Dance compilation is now released, D’Souza is keen for it to signpost the possibilities for anyone to work with plants.

“The idea is to make things as accessible as possible to help others feel inspired, most of the tech is open source and with a bit of time and knowledge can be adapted and built upon,” he says. “The scientific research is still very young and plenty of things we are yet to discover in terms of the deeper themes around plant sentience or even intelligence.”
Alongside the album, D’Souza is planning on launching a new app – Soniferous – while also updating his modular setup and gear.
“I’m a purist in terms of not running any kind of clock and not adding any human playing into my compositions. My role is to set up the patching ecosystem and then let the plant or organism do the work. The more performances I do, the less I do. My role is sometimes just to occasionally water the plants and hear how that sounds. I find audiences tend to appreciate that more.”
Find out more about Plants Can Dance at A State Of Flo | Brian d’Souza | Substack
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Global law firm launches MiCA compliance tool as crypto companies navigate new EU rulesReed Smith’s Aquarius platform automates regulatory filings and legal workflows as demand for MiCA compliance tools grows across Europe.

Satya Nadella has issued a shocking warning to companies using AIOf all the debates raging about the potential downsides of AI, there is one worry causing the most hand-wringing among AI enthusiasts in Silicon Valley — that the giant AI labs that sell proprietary models are somehow acting like Trojan horses.

Semedo Audio semedo PURESEMEDO PURE Clean. Control. Restore. Semedo PURE is a modern audio plug-in built around one intelligent cleanup engine instead of a rack of separate tools. It listens to the signal, tells the difference between what is getting in the way and what is being buried underneath it, and lets you dial in exactly how much of each to fix - all from one focused workflow. Where a traditional chain forces you to reach for a de-esser, a dynamic EQ, a resonance suppressor and a noise reducer separately, Semedo PURE runs one adaptive engine that reacts to whatever the material actually needs: harsh resonances, sibilance, boxiness, mud, room build-up, background noise or masked detail. You are not switching between five specialised tools - you are pointing one smart engine at the problem and telling it how hard to work. Semedo PURE is made for everyday mixing and mastering. Use it gently for transparent cleanup, or push it harder when a recording needs real correction. WHAT SEMEDO PURE IS FOR. Semedo PURE is built to improve audio that sounds harsh, cloudy, noisy, dull, muddy or unbalanced. Use it when a vocal has painful high frequencies, when drums sound too sharp, when guitars or synths build up harshness, when a bass or low end feels muddy, when a room recording has too much unwanted build-up, or when a full mix needs a cleaner and smoother final polish. It is not only a noise remover and it is not only an EQ. Semedo PURE works more musically: it listens to the signal, reduces the areas that are getting in the way, brings hidden detail back into focus, and lets you balance cleanup and recovery from one simple workflow. MAIN Features. One Engine, Every Kind of Problem Instead of separate tools for separate symptoms, Semedo PURE runs a single content-aware engine across the full spectrum. Whether the issue shows up as a harsh resonance, sibilance, a boxy midrange, low-end mud or a noisy room tone, the same intelligent process finds it and reacts - so the plug-in stays simple even when the material is not. Tame The Tame side focuses on cleanup. It reduces unwanted resonances, noise build-up, harshness, mud and unstable frequency areas. This helps make the sound smoother, cleaner and easier to mix without making it feel lifeless. Recover The Recover side helps bring useful musical detail back into the sound. It can restore presence, clarity and forwardness when important parts of the signal are masked or hidden - useful for vocals, instruments and full mixes that need more definition without simply adding harsh EQ boost. Balance Control The Balance control lets you move between more cleanup and more recovery. Turn it toward Tame when the sound needs more control and reduction of harsh or messy areas. Turn it toward Recover when the sound needs more presence, detail and musical forwardness. Noise and Room Build-Up Reduction Semedo PURE reduces unwanted background build-up, room tone and broadband noise with a soft, gradual response rather than a hard noise gate. This makes it useful on vocals, samples, recordings, instrument tracks and older or imperfect audio. Smooth Preset and Quality Changes Preset changes, quality changes and speed changes transition smoothly, so you can switch settings while working without hearing clicks or jumps. Factory Presets Semedo PURE includes a collection of factory presets to help you start quickly, covering common real-world tasks such as vocal cleanup, instrument control, mix balancing and detail recovery. Modern Visual Feedback The plug-in shows exactly what the engine is doing in real time - a live curve of where it is taming and where it is recovering, laid directly over the input and output spectrum. You do not just hear the change, you can see where it is happening. WHERE TO USE SEMEDO PURE. Vocals Reduce harshness, sibilance, boxiness, nasal tones, room build-up and background noise. Helps vocals sit more clearly in the mix while staying natural. Drums Control sharp cymbals, aggressive hi-hats, harsh snare tones, room resonances and muddy drum bus build-up without losing energy. Bass and Low End Clean up low-end mud, unwanted rumble and frequency build-up that can make a mix feel heavy or unclear. Guitars and Synths Reduce harsh mids, sharp resonances and crowded frequency areas, making layered sounds easier to place in the mix. Samples and Loops Clean old samples, noisy loops and harsh recordings before further processing. Mix Bus Apply gently on the mix bus to smooth harshness and reduce build-up without changing the balance of the mix too aggressively. Mastering Use it when the final track needs more polish, less harshness and better control before release. WHY USE SEMEDO PURE. Semedo PURE is made to save time. Instead of reaching for a different tool every time a new kind of problem shows up, you use one plug-in that recognises the problem and reacts to it - then lets you choose how much to clean up and how much detail to bring back. It is designed to stay musical. The goal is not to strip everything out of the audio, but to reduce what is getting in the way of a professional sound. The result is cleaner audio that still feels like the original performance. Formats AND SYSTEM REQUIREMENTS. Semedo PURE is available as VST3 and AU (Audio Unit) for Windows and macOS, plus a Standalone application on both platforms. Read More

Using Your Own RBMK Reactor Control Center At HomeTo give people the most intimate RBMK experience, the [Chornobyl Family] has been working tirelessly at not only replicating the original RBMK reactor control room and its SKALA industrial control system’s controls, but also to create a version that you could tinker with at home if you ever fancied getting your own RBMK operator license. This starts with the operator console, with its use demonstrated in a recent video including a range of common commands.
In this video the entering of codes on the console to interact with the system is detailed, including the logic behind it. In the absence of large displays to display many parameters and such, this way the operator could ‘talk’ with the control system, including obtaining current sensors readings and the setting and changing of setpoints. From the same console you can also select and run programs, which is useful for automating tasks, like monitoring coolant flows.
In the second video not only the construction of the control panel is covered, but also a visual representation of the simulated reactor core which is displayed on a connected monitor. Although not a part of the original SKALA system as such, a much larger version existed as a wall-sized physical version inside the control room, so it’s definitely more home-simulator friendly.
We previously covered this SKALA system that controls RBMK reactors, as well as the 1990s modernization of the Chornobyl Nuclear Power Plant.

Grammy Camp Los Angeles Returns This WeekGrammy Camp Los Angeles is taking place this week, starting Sunday, July 12 and running through to Saturday, July 18.

According to a statement, "The Grammy Museum's® Grammy Camp® Los Angeles is a seven-day, non-residential intensive program for high school students with strong proficiency in multiple areas of music and the music industry, including music business, production, songwriting, and instrumental or vocal performance. Students are placed into cohorts where every subject area is represented, creating a collaborative environment that mirrors real-world music industry settings. In cohort-based teams, you'll collaborate across music business, production, songwriting, and performance—learning through the lens of artistry, entrepreneurship, and a DIY mindset. With the freedom to focus on your strengths while exploring new skills, you'll develop the versatility, creativity, and industry insight needed to build a sustainable career in today's music world."

"Grammy Camp gives students the opportunity to explore music in a way that feels connected to the real world," Arin Canbolat, Vice President of Education, Grammy Museum, told MC. "As they build skills in songwriting, production, performance, and music business, they also learn how collaboration and creativity show up in the professional world. What makes the program so powerful is the access students have to Grammy-winning and Grammy-nominated artists and industry professionals, who help students see the many ways a passion for music can become a lifelong pursuit."

Faculty, according to the statement, includes: Chase Jackson, multi-instrumentalist and producer; Jason Goldman, Grammy-winning, multi-platinum music producer, songwriter, composer/arranger, and engineer; JJ Kirkpatrick, internationally acclaimed multi-instrumentalist; Natasha Pasternak songwriter, composer, musician, producer, performer, and professor; Ryan McDiarmid, drummer, recording artist, and educator; Haleigh Bowers, songwriter and faculty member at USC; YULI, Grammy-nominated, platinum selling producer, songwriter, composer, violinist and violist. Guest artists include Grammy-nominated artist WILLOW (pictured) and Latin Grammy-nominated singer-songwriter Sofia Reyes."

WHEN: Sunday, July 12 - Saturday, July 18, 2026 PDT

WHERE: WESTLAKE RECORDING STUDIOS

7265 Santa Monica Blvd.

West Hollywood, CA 90046

2026 Los Angeles Grammy Camp Selectees (In Alpha Order by First Name)

Andrew Carlson — Solana Beach, CA

Andrew Tran—Round Rock, TX

Anjali Haaf—San Diego, CA

Asha Dreher—Berkeley, CA

Ava Valianti—Newbury, MA

Ayoade Oladimejij—Greenbelt, MD

Basel Hall—Los Angeles, CA

Baxter Zrob—San Francisco, CA

Bellalina Young—Las Vegas, NV

Brandon Pham—Foothill Ranch, CA

Cabell Williams—Fredericksburg, VA

Calibrooke Myers—Burbank, CA

Campbell Carey—South Pasadena, CA

Carolina Chase Butler—Pasadena, CA

Charlotte Milstein—La Jolla, CA

Chase Gardenhire—Carlsbad, CA

Christopher Wilson—West Hills, CA

Devanjana Rajesh—Irvine, CA

Deven Dhanidina—Irvine, CA

Edie Yvonne—Laguna Hills, CA

Ella Wu—Laguna Hills, CA

Emma Berg—Hillsborough, CA

Emma Nevell—Santa Ana, CA

Emmy Gerth—Washington, IL

Erik Holterman—Hillsborough, CA

Genevieve Bracher—Rutherford, CA

Grady Prance—Peachtree City, GA

Haley Le—Los Angeles, CA

Hudson Brandt—Foster City, CA

Hudson Toney—Mission Viejo, CA

Ian Chenne—Bellevue, WA

Izzy Burris—Carlsbad, CA

Jenner Yaep—North Tustin, CA

Jillian Ritter—Swansea, IL

Joseph Bradic—Los Angeles, CA

Julia Castro—Los Angeles, CA

Kamaiya Whitaker—Compton, CA

Knox Yoon—Encino, CA

Leia Perez—Houston, TX

Leon Schiefele—St. Pete, FL

Londyn Knight—Carson, CA

Lucas Noe—Venice, CA

Lucie Johnson—Burbank, CA

Lucy Rowley—Phoenix, AZ

Maira Srivastava—Palo Alto, CA

Mansen Li—Interlochen, MI

Maxwell Stein—Chicago, IL

Mia McEwen—Miami, FL

Noam Ben-Efraim—San Diego, CA

Oscar Ellsworth—Los Angeles, CA

Parker Beck—Studio City, CA

Parker Winzenried—Los Angeles, CA

Petra Betti—San Anselmo, CA

Phoenix Ferrari—Los Angeles, CA

Raquel Reyes—Sherman Oaks, CA

Ray Lally—West Hills, CA

Rayan Karoui—Phoenix, AZ

Rylie Tyson—Houston, TX

Sawyer Mitchell—San Marcos, CA

Seven McIntosh—Los Angeles, CA

Sienna Kay—Fair Haven, NJ

Sol Vega Storace—Woodland Hills, CA

Sophie Seaver—New Canaan, CT

Sparkle Shabazz—Woodland Hills, CA

Takahiro Yoshida—Kirkland, WA

Trisha Jha—Cerritos, CA

Tvisha Garodia—Castro Valley, CA

Veronica Horosz—Kentfield, CA

William Dearborn—La Canada, CA

Yoyoka Soma—South El Monte, CA

For more information, visit  www.grammymuseum.org

WILLOW photo by Five TowersThe post Grammy Camp Los Angeles Returns This Week first appeared on Music Connection Magazine.

The 2026 Chroma Drive: Our New DJ USB Drive (with no cap to lose)Our new 2026 Chroma Drive for DJs covers both the USB-C and USB-A ends, and comes in five colors.
The post The 2026 Chroma Drive: Our New DJ USB Drive (with no cap to lose) appeared first on DJ TechTools.

Meta scraps AI Muse Image feature that scraped Instagram accounts, following CAA backlashUnder the opt-out design, the public Instagram account of any adult artist could be referenced by other users to generate AI images unless the artist switched the feature off
Source

Bjango releases FREE Double Freak frequency follower plugin
Bjango has released Double Freak, a free dual oscillator frequency follower plugin for macOS and Windows. Double Freak is one of the several entries I really liked in this year’s KVR Developer Challenge. I will cover a few more challenge entries separately (James also checked some of them out here and here), but this one [...]
View post: Bjango releases FREE Double Freak frequency follower plugin

Gamechanger Audio launch the Plus Pedal II Built around an entirely new engine, the Plus Pedal II introduces an intelligent automatic layering function, advanced performance controls and expanded connectivity, all of which the company say extend its capabilities to a wider range of instruments and performance contexts.

HoRNet Spikes transient shaper plugin is FREE for a limited time
HoRNet Plugins is offering HoRNet Spikes, a transient shaper/processor for macOS and Windows, as a free download for a limited time. The offer ends on July 16, 2026. To get Spikes for free, add them to your cart on the HoRNet website and use the coupon code SPIKESFREE at checkout. The plugin is usually priced [...]
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