Almudio releases 3D Panner, a FREE binaural spatial audio plugin
Almudio has released 3D Panner, a free early access spatial audio plugin for macOS and Windows. Developer Almog reached out about the release and shared some very interesting details about the project. 3D Panner was developed over seven months as his final project at BIMM University Manchester, with beta testing from lecturers and fellow students [...]
View post: Almudio releases 3D Panner, a FREE binaural spatial audio plugin

AES Show Nashville: Early Bird registration opens Those looking to attend AES Show Nashville 2026 can now take advantage of discounted Early Bird rates and secure one of the limited reduced-rate rooms at the venue before they sell out.

Beyerdynamic’s DT 270 Pro are the best monitoring headphones you can buy on a budget£89 / $130 / €99, beyerdynamic.com
Beyerdynamic’s Pro range of wired headphones is something of a studio staple, from the DT 770s at £159 all the way to the 1990s at around £540. Now, the German manufacturer has released its most compact and affordable Pro model to date, the DT 270 Pro. Priced at just £89—or $130 in the US—they are a closed-back model designed for recording and monitoring. But does that competitive price come with a bunch of compromises?

READ MORE: Sendy Audio Egret headphones are serious planars that happen to look the part

With so many wireless headphones on the market it’s worth noting why musicians and producers—or indeed any creators—would want to take the wired route, and why wireless doesn’t feature much in the pro audio world. Firstly there’s no battery to recharge. More importantly, the audio you hear is uncompressed and latency-free, which generally isn’t the case with wireless unless you have a specialised model that uses its own USB dongle. Essentially, wired is more convenient and conveys all available audio data when you’re working on tracks.
The 270s are incredibly light at just under 200 grams, with a mainly-plastic build that nonetheless feels sturdy. The cups fold flat for easier storage, though the headband doesn’t fold down like on some more expensive models. You get a soft carry pouch in the box and a coiled cable that can attach to either cup, which is a nice option to have. There’s a 6.3 mm adapter supplied and also a 3.5 mm to USB-C adapter, which is essential these days as so many devices have dropped the traditional headphone port.
Beyerdynamic recognises that people are as likely to be making music on a phone, iPad or computer as using an audio interface or mixing desk. There’s no DAC in the headphones so the USB adapter is a simple conversion from digital to analogue by your device. Their low impedance of 45 Ohms means they can be easily driven at full volume by lower power devices like smartphones.
Image: Press
These are technically over-ear headphones but the cups are definitely on the smaller side – certainly smaller than the brand’s DT 770s, which feel more encompassing. My ears are fairly average in size and the cups fit me fine; though my earlobes aren’t quite fully inside the cups, the pressure of the headband is not so great that it’s uncomfortable. Generally, long listening sessions are pleasant. If you have had issues with sizing of over-ears in the past however, it’s conceivable you might find these a little restrictive. Most people, though, are likely to find the size sufficient. They also feature velour pads—apparently unusual at this price point —as well as a padded headband, both of which make a positive difference to their comfort, especially over longer sessions.
The closed-back design makes the 270s ideal for tracking and monitoring. Open-backs tend to be more neutral but leak sound, unsuitable for recording with mics in the room. It’s also less important that headphones like this are super-accurate in the way that mixing or reference models need to be. As such, the 270s are best described as vibrant and immediate rather than neutral. That’s not a criticism – in fact when you’re tracking or monitoring you actually want the vibe of the music to come through, for energy and inspiration. The accuracy of perfecting the mix comes later, at another stage in the production process.
How to quantify ‘vibe’, though? There’s a ton of low end, especially considering their small size, with a low frequency response reaching down 5 Hz. It’s not overwhelming, and you’re not going to feel like the bass is taking over, but there’s power there for sure and when you switch to a mix-focused model later you’d be looking for a bit more restraint. At the top end there’s reproduction up to 24 kHz which isn’t as high as the 1770s (40 kHz) but feels crisp, and plenty in these smaller cups.
Mid range is prominent, almost on the edge of being too much at full volume, but without ever quite tipping over into harshness. Elements in that frequency range like vocals and guitars really cut through on these headphones – again, this is advantageous for recording as they tend to be lead lines of one sort or another and need to be clear and audible, even more so than when you’re mixing. Tested with a range of commercial tracks from 50s jazz right through to 2000s rock and contemporary electronic, the headphones burst with life – again they’re not neutral, reference models, so don’t expect that.
Image: Press
Another thing that stands out about the sound of these cans, apart from the energy and presence of their frequency reproduction, is the high level of separation they exhibit. Elements of a mix are very distinct; lead vocals cut through, as mentioned, but backing vocals and any kind of panned sounds are clearly identifiable too, much more so than on even a quality pair of wireless earbuds, for example. I wasn’t prepared for the separation to be this convincing on such an affordable model. This is a benefit when recording because you’re taking your playing and performance cues from other parts within the track and you need to be able to hear them clearly.
These are highly capable headphones for any creators of music, podcasts or video, offering punchy, loud and vibrant playback for recording and monitoring. The DT 770 Pros are more expensive at £130 but don’t come with the USB-C adapter and crucially are larger, making the 270s the perfect choice for more compact setups or working on the move. Don’t come here expecting neutral, super-accurate mixing headphones—AKG’s K371s might be somewhere to look for that—but what the 270s do, they do exceptionally well.
At this price, I can’t identify any real problems – a metal build would add to the weight, a hard case to the cost. If you’re in the market for an excellent workhorse pair of monitoring headphones to use with any device or in any location, the DT 270 Pro is the model to beat.
Image: Press
Key features

Over-ear, closed-back headphones
Jack and USB-C connectivity
5 Hz – 24 kHz frequency response
194g weight
45 Ohms impedance
Velour pads, padded headband
Coiled cable
Connect cable using either cup
Soft carry case

The post Beyerdynamic’s DT 270 Pro are the best monitoring headphones you can buy on a budget appeared first on MusicTech.

12 Madonna Albums That Defin​e Pe​ak Madon​naOn July 3rd, she relea‍sed Confessions II, a full-circle sequel to 2005's Confessions on a Dance Floor that reunites he⁠r with p‍roducer‍ Stuart Pri‍c⁠e for another‍ night⁠ on the dance floor. Acr‍oss more tha⁠n four d‍e‌cades, M‍adonna has never‌ settle⁠d into‍ one ver‌sion of hers‍elf, which is exactly why "peak Madonna" i‍sn't a‍ sing‌le soun‍d —‌ it'‍s a recurring event‍. Here are 12 albums that c⁠ap⁠ture⁠ Madonna at her most Madonna.

Elon Musk praises Mythos/Fable, promises not to ‘cut off’ AnthropicShould Anthropic trust Elon Musk to host its models? With about $40 billion in revenue at stake, Musk insists that the company can.

Coinbase chief legal officer to transition to advisory role on July 31The soon-to-be former chief legal officer did not announce the details of his next move but said that he would continue working with the Board of Coinbase National Trust Company.

Overpowered RC car + Gimbal Cam = The Greatest Chase Vehicle We’ve Ever SeenModern cinema relies very heavily on quadrotor drones, because they make for very smooth, very easy to position platforms. From slow pans to chase shots, drones are great– if your shots can be taken at a high enough altitude. Close to the ground, things get a bit dodgier. That’s where [Transistor Man]’s camera chase vehicle comes in— it’s a rover, so it excels close to the ground. In fact, it can’t go anywhere else, except perhaps if provided with a jump. It’s got a hefty gimbal to hold the camera steady on any terrain, a decade-old surplus radio to provide full HD FPV to the remote driver, and a powerful 1/5th scale radio control rally chassis to make it all go. Plus googly eyes, because everything is better with googly eyes.
It looks like an enormous amount of fun to drive, but more importantly it provides smooth, cinematic shots from the professional Sony camera held in the gimbal. One big takeaway is that when 3D printing something that will bounce around this much, you can’t rely on pure strength– flexible filaments are your friend. Just about everything printed ended up remade in TPU if it didn’t start that way. The other takeaway is that we’ve reached enough of a technological plateau that if you scrounge around, you can build something to take a top-of-the-line footage with decade-old castoffs, like the gimbal and radio used in this project, which is a great thing for hobbyists and small studios.
If you can’t find surplus, you could always DIY a gimbal. We’re not filmmakers, but we find ourselves wondering how shots made with this rover would compare to a camera slider.

Spitfire Audio expand low-cost Originals range The latest Originals offerings deliver everything from delicate, breath-textured brass and woodwinds to a virtuosic solo cello and an otherworldly instrument built from chromatically tuned glass rods. 

Reviewing Telepathic Instruments’ Orchid: The synth from the mind of Tame Impala
Expert producer and DJ Devon Johnson unboxes Telepathic Instruments' Orchid and demos its various creative use cases and unique chord generation technology.

Believe restructures global organization to ‘accelerate artist development strategy’Romain Becker named Group COO, Elsa Bahamonde Bourgain to lead combined Artist Services and Label & Artist Solutions
Source

Hollywood Audio Design War MachineWAR MACHINE. Cinematic Trailer Music Creator. WAR MACHINE is a powerful cinematic trailer music creator for Kontakt, designed to help composers, producers, filmmakers, and content creators build massive trailer cues and cinematic productions in minutes. Featuring 32 complete cinematic trailer song sets packed with professionally edited loops, melodic phrases, rhythmic pulses, drums, basses, hybrid elements, atmospheric textures, impacts, risers, transitions, and more, WAR MACHINE delivers instant inspiration without slowing down your creative workflow. Whether you're producing cinematic trailers, film and television scores, video game music, action sequences, YouTube content, podcasts, or multimedia projects, WAR MACHINE gives you the freedom to mix, layer, rearrange, and create powerful new compositions in real time. With over 2.9 GB of premium audio content, every performance has been carefully edited for seamless playback and maximum flexibility. Each of the 32 song sets includes multiple musical sections and elements mapped across the keyboard, allowing you to instantly create, perform, and build complete cinematic productions inside Kontakt. Features. 32 complete Cinematic Trailer Song Sets. Over 2.9 GB of premium audio content. Hundreds of professionally edited loops, phrases, pulses, drums, basses, atmospheres, impacts, risers, transitions, and more: Real-time cinematic song construction. Instantly layer, mix, and rearrange musical sections. Professionally edited for maximum flexibility. Drag-and-drop WAV source material included. Key and original BPM reference chart included for all 32 song sets. Perfect for Film, TV, Games, Trailers, YouTube, Podcasts, and Multimedia. Royalty-Free for commercial productions. https://soundcloud.com/hollywood-audio-design/sets/war-machine?si=2bfa9a8c484f4ba8a8d36b7f11154a94&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing *Requires Kontakt 7.7.3+. NOT compatible with the FREE Kontakt Player*. **Also Includes full WAV file libraries**. • Over 2.9 GB Of Included Cinematic Trailer Audio Content Kontakt Instruments + HD WAV Source Files. https://www.hollywoodaudiodesign.com/ Read More

Marshall unveils new Auracast-enabled Action IV and Stanmore IV Bluetooth speakersIconic guitar amp and consumer audio company Marshall has unveiled its new Bluetooth Acton IV and Stanmore IV speakers, which deliver a revamped soundstage with more even frequency response.
They also feature Dynamic Loudness, which activates limiters when volume increases to ensure nothing gets distorted. Whether you’re rocking out or putting on a techno dance party, the music will be crystal clear.
“Since first launching in 2012, Marshall’s home speakers have evolved while remaining  true to our heritage. These always-in-place speakers form the foundation of any home setup,” says Simona Berbec, Product Manager at Marshall Group.

READ MORE: FL Studio 2026 has arrived: here’s everything you need to know

Logistically and aesthetically, these two speakers are a great choice. The RCA and AUX cable ports are in the bottom so the speakers can line up snugly against the wall, within a bookshelf, or anywhere right angles make for the best fit. Plus, these cables open connectivity for record players and all manner of analog audio sources.
Then for the look and feel, the speakers maintain the classic Marshall design, flaunting the unmistakable cursive logo against a salt-and-pepper amp mesh with a brass control dashboard featuring precise knobs for volume, bass, and treble. The Marshall app opens even more audio options with an expanded EQ and audio placement optimisation.
And if you ever decide you want to make a stack of Bluetooth speakers (like a true Marshall enthusiast), Auracast technology allows multiple Acton IVs and Stanmore IVs to play music from the same source. Acton IIIs and Stanmore IIIs are compatible as well.
“Acton and Stanmore [are] chosen time and again for their iconic design, premium build quality, rich, powerful sound, and intuitive tactile controls,” Berbec continues. “With our fourth generation, the focus has been on protecting and strengthening these core qualities, building on what people love rather than reinventing it.”
The Acton IV and Stanmore IV are available now in black and cream colors. The Acton IV starts at $329.99, and the Stanmore IV starts at $429.99. For more information, head to Marshall.
The post Marshall unveils new Auracast-enabled Action IV and Stanmore IV Bluetooth speakers appeared first on MusicTech.

Numark launches two new controllers perfect for anyone who wants to start DJingLongstanding maker of DJ gear Numark has just released two controllers that anyone can use to launch their DJ career: the Party Mix III and MixTrack Go.
The Party Mix III presents all the core functions of any DJ setup, such as jog wheels, a three-band EQ, and three faders, one for each channel and a crossfader. To dial in your mixing skills, try the sync button (don’t let any haters tell you not to use it, especially when you’re starting out), and when you’re ready to try beatmatching by ear, it has beat align indicators as well.

READ MORE: FL Studio 2026 has arrived: here’s everything you need to know

Starting out here can familiarise you with the basics of mixing two tracks together while also offering functions that open the opportunity for some serious creativity. The Instrumental and Acapella buttons use modern tech to isolate the vocals and the backing track, allowing for seamless mashups. Just make sure you’re also in key!
And as another cool detail, the Party Mix III has three LEDs built in that will project a beat-matched light show while you’re spinning. It’s literally the only thing you need for a full production.
Credit: Numark
“The Party Mix has always been the controller that gets people hooked on DJing, and Party Mix III takes that tradition to a whole new level,” says Jake Hill, Senior Marketing Manager – DJ Brands at Numark.
The MixTrack Go is the smaller version, designed for mobile use. Unfortunately, it doesn’t have the light show, but it still offers enough to practice those transitions for when it’s time to try a bigger setup.
“MixTrack Go is for the DJ who wants to mix anywhere from their home studio to the back of an Uber,” Hill continues. “Both of these controllers bring modern DJ tools like Stems control and Bluetooth MIDI control to price points where more people than ever can pick them up and start playing.”
Both models come with three DJ software options: Serato DJ Lite, Algoriddim djay (iOS, Android), and Algoriddim djay Pro (Mac, PC). They’re also compatible with Serato DJ Pro and VirtualDJ if you have a license for them. Plus, they have Bluetooth connectivity to run on smartphones, tablets, and any other mobile device.
The Party Mix III is available for $149 / €139.99 / £119.99, and the MixTrack Go is $99 USD / €99.99 / £79.99. For more information, head to Numark.
The post Numark launches two new controllers perfect for anyone who wants to start DJing appeared first on MusicTech.

Tonal Forms releases DADO – Lilac Alloy, a FREE Kontakt Player instrument
Tonal Forms has released DADO – Lilac Alloy, a free Kontakt Player instrument available through Native Instruments. Developer Francesco Sabatini reached out about this one via email, and it was one of the best emails I received in a while. Francesco is a lead product designer at Native Instruments, where he works on Kontakt instruments, [...]
View post: Tonal Forms releases DADO – Lilac Alloy, a FREE Kontakt Player instrument

LANDR expand Fair Trade AI programme LANDR have just announced the next phase of their Fair Trade AI programme, a pioneering opt-in music-licensing programme aimed at independent artists.