A producer is remaking classic songs in the style of Runescape music – and we absolutely love itThere’s something to be said about Runescape soundtracks and their ability to take us back to the good ol’ days of endless woodcutting, boss battles, and burning shrimps on makeshift barbecues. Those whimsical tunes, with their MIDI magic and catchy melodies, have long cemented their place in the internet’s collective childhood memory.
Now, YouTuber Unpragmatic Covers has taken things one step further by remaking popular songs in the style of Runescape – with some jaw-droppingly good results that will absolutely blow your mind.

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From Blink-182 to Aphex Twin to Yiruma and even Pokémon theme songs, the idea of genre limits clearly doesn’t exist when it comes to these covers. And of course, the songs also come with Runescape-styled art covers to match.
The producer also details his approach behind some of the remakes, such as in the case of this ‘Smells Like Teen Spirit cover in OldSchool RuneScape soundfont’. Explaining their process in the comment section, the producer shares that “Everything was arranged and recorded from scratch using a MIDI keyboard and Logic Pro X”.

The guitar riff, specifically, is a “blend of the original and Righteousness from the RuneScape OST” that they had re-recorded on piano. And for you music nerds, “the original uses power chords and palm muting whereas my version alternates between a lower root note and a combination of the root and perfect fifth one octave up. The rhythm is different and the lower note is used to substitute palm muting, to prevent a robotic grating sound,” says the producer.
Check out the other tracks below. And for more from Unpragmatic Covers, head to their official YouTube channel.

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After its recent leak – the uber-compact Akai MPC Key 37 has officially landedThe Akai MPC Key 37 has finally landed. Yes, we’ve been expecting it ever since that sneaky leak right before NAMM, but Akai has now made the release official, and you can snag yours right away.

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As its name suggests, the MPC Key 37 is a compact version of Akai’s MPC Key 61. Featuring 37 full-size synth-action keys with aftertouch and 16 velocity-sensitive RGB pads, the keyboard boasts the same multi-core processing as its 61-key flagship sibling and the MPC X SE.
Despite its small footprint, the MPC Key 37 has the same 7” multi-touch screen featured in other Akai MPC models. It also comes with four 360-degree Q-Link knobs.
Elsewhere, the MPC Key 37 is loaded with 2GB of RAM and 32GB of internal storage, as well as more than 8GB of samples and drum kits and eight plugin instruments.
New customers will also receive a voucher to redeem one additional plugin from Akai’s premium collection. The premium collection features advanced instruments like Moog Model D and JURA, two synths hugely popular in the ’80s. There are also multi-effects insert plugins to utilise, including Flavor Pro, AIR Delay Pro, and Flex Beat.
Image: Akai Professional
In terms of connectivity, in addition to audio and MIDI I/O, the machine comes with USB-A and USB-B ports, four CV/Gate output jacks for sending up to eight CV or gate signals to modular systems, and an SD card slot. There’s also Bluetooth and Wi-Fi for fast, wireless updates, downloads, and authorisations of all MPC instrument and insert effect plugins.
Support for MPC Stems will also be included in future updates, says Akai. Meanwhile, each unit will come shipped with MPC2 Desktop Software for Mac/PC.
Senior Product Developer Dan Gill says: “MPC Key 37 picks up the baton and runs with the legacy of the MPC legend, providing integral control and expressive playing in an inviting layout that will fit into any studio setup. MPC Key 37 not only encapsulates the rich history of MPC but is also the first look into the future. We’re proud to announce the next chapter of sampling, MPC Stems support on MPC2 Desktop.”
Priced at $899, the MPC Key 37 is now available to order through authorised Akai Professional dealers worldwide.

Learn more at Akai Professional.
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MPC Key 37 joins Akai Pro's workstation range The new MPC Key 37 packs much of the functionality of its larger sibling into a more compact footprint.

Download FREE Sample Packs From The New Wavetick Platform
Producer Sharooz Raoofi recently launched the Wavetick platform, a “newly founded marketplace founded by artists for artists.” The website lets you sell and buy sounds, and it already has a wide range of samples for free download. Wavetick sells copyright-free tracks and sounds. The platform is open to anyone to sell, and Wavetick takes a [...]
View post: Download FREE Sample Packs From The New Wavetick Platform

PreSonus Eris Pro 8 packs a big, articulate sound for main monitoring and immersive masterpieces£355 / $499 each (street price), presonus.com
The Pro 8 studio monitor sits at the pinnacle of the recent Eris line shake-up from PreSonus, as the model with the largest woofer. In contrast to the near-field Eris Studio 5 we recently looked at, the Pro 8 is designed to be used in a main monitor pair (typically at a midfield distance), with immersive audio firmly in mind.

READ MORE: The PreSonus Eris Studio 5 monitor is an affordable fit for home studios

Here, the growing influence of Dolby Atmos manifests itself in the form of a two-way coaxial driver for pinpoint localisation accuracy and improved time alignment of frequencies recaching the listener — both crucial to an accurate immersive experience — plus there’s also mounting holes on the sides for wall and ceiling brackets (really welcome, as many other monitors require expensive mounting plates/brackets, or else some serious DIY tinkering to make it affordable).
The form factor is reminiscent of Tannoy’s classic coaxial (dual concentric) designs, which tend to be front-ported just like the PreSonus.
With its eight-inch woofer, 1.25-inch attached tweeter and 140 Watts of amplification, the Pro 8 is a hefty beast, weighing in just short of 10 kg per side. For those with concerns about such big monitors being slung from the ceiling or taking up too much space in side and rear surround positions, PreSonus has launched more dainty Pro 4 and Pro 6 variants that can be partnered with the Pro 8s, and there’s also a matching 10-inch active sub to complete the set.
PreSonus Eris Pro 8 monitors on a studio desk
What controls are on the PreSonus Eris Pro 8?
The Pro 8 has the same controls around the back as the Studio 5, namely variable gain, a low-cut filter, plus a fixed mid band and high shelf. Room boundary correction is present once again, but just like the Studio 5, there’s no desktop filter. It could be argued that such an omission is more excusable at this more premium end of the range, where a typical user may well have access to room equalisation software, but it’s frankly unfortunate that such a simple yet crucial facility isn’t there.
A single ProSonus Eris Pro 8 monitor
What does the PreSonus Eris Pro 8 sound like?
Given its eight-inch woofer, the Pro 8 gives a really solid bass extension, easily reading into the sub bass region but with plenty of articulation and not overly boomy — as with the Studio 5, front-facing ports help in this respect.
The overall impression could be described as flat and honest — mids and highs sit comfortably with the tight low end without being particularly hyped in any way to form a convincing whole, and the coaxial arrangement is great for stereo imaging (we missed this when switching back to our own Genelec two-ways).
There is a self noise issue similar to that we experienced with the Studio 5 — slight hum and hiss, but potentially not as noticeable in this case as these monitors would be placed further from the listening position.
A pair of PreSonus Eris Pro 8 monitors
Listen awhile
We take a long listen to the Pro 8s on our own mixes and a whole host of favourite reference tracks over a period of multiple weeks.
Turning to Jamie Woon’s synth-layered Sharpness, sub bass lines and kick come across confidently, whilst highs are suitably present without ever causing discomfort. With third-party software room equalisation disabled — and the Pro 8s on our desk — there’s a problematic, disappointing low-mid hump that leads to congestion in this pad-heavy range of the mix. With software EQ switched on, everything is tidied up and has its rightful place in the mix.
Once more, the jazzy number Little Fugue (Jacques Loussier Trio) deserves a mention in the listening section, with an absolutely epic combination of stick attack and check thump on the thundering floor tom hits in the opening section, and crisp under-snare detail to boot. The grand piano sounds full and natural and all the important details of the double bass line are revealed. Learning from our experiences, we do have some low mids notched out with software EQ, however.
A trio of PreSonus Eris Pro 8 monitors on a studio desk
Should I buy the PreSonus Eris Pro 8?
In main monitor duty, the Pro 8 is a highly capable and truthful speaker with plenty of bass extension and clarity. The lack of more detailed equalisation controls is unfortunate, but might not affect users that already have software equalisation running. The Pro 8 really comes into its own in surround and immersive set-ups, where the pinpoint localisation accuracy of its coaxial driver provides a tangible advantage alongside an integrated mounting option. That all said, it faces stiff competition from the Kali Audio IN-8, a three-way monitor with coaxial mid and bass speakers. If the street price of the PreSonus drops over time, this might become a closer race.
Key features

Active studio monitors
Coaxial design with 8-inch woofer and attached 1.25-inch tweeter
Front ported
35 Hz – 20 kHz frequency response
EQ customisation: High and Mid dials (-/+ 6 dB at 10 kHz and 1 kHz); Low Cut filter (80 Hz / 100 Hz); Acoustic Space switch (-2 dB / -4 dB)
Inputs: XLR, TRS jack and unbalanced RCA
Variable input gain
140 W amplifier (75 W woofer / 65 W tweeter)
Standby mode
Weight: 9.5 kg each

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Cake sought deals with Harley-Davidson, automakers before bankruptcyElectric motorcycle company Cake held talks with Harley-Davidson and other automakers in 2023 as it fought to stay alive, founder and CEO Stefan Ytterborn told TechCrunch in an interview Tuesday. The talks, which have not been previously reported, ultimately did not pan out for the Swedish startup, which slid into bankruptcy last week. Still, Ytterborn […]
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The Lion King at Segerstrom Center for the ArtsFor more than 20 years, the North American touring productions of The Lion King have beenseen by over 21 million theatergoers. Having already played more than 9,000 performances inover 90 cities across North America, The Lion King now returns to Costa Mesa, CA at theSegerstrom Center for the Arts.

The production features Peter Hargrave as “Scar,” Gerald Ramsey as “Mufasa,” Mukelisiwe Goba as “Rafiki,” Nick Cordileone as “Timon,” Nick LaMedica as “Zazu,” John E. Brady as “Pumbaa,” Darian Sanders as “Simba,” Khalifa White as “Nala,” Forest VanDyke as “Banzai,” Martina Sykes as “Shenzi” and Robbie Swift as “Ed,” with “Young Simba” alternating between Mason Lawson and Julian Villela and the role of “Young Nala” alternates between Jaxyn Damasco and Aniya Simone.

Photo-by-Matthew-Murphy

Now spanning three decades since the original 1994 animated film, the legacy of The Lion King--story, music, performances, adaptations--transcends generations. What is so unique to experiencing the Lion King musical live and in-person, is that the audience is transported to the Sahara and Pride Rock through the scale of its sets, beauty and artisanship in the costumes, and especially the authenticity of the African inspiration with additions of traditional songs chanted in Swahili.

From Rafiki's opening call to usher in "The Circle of Life," the theater welcomes the animals: puppeteered gazelles, antelopes, flying birds, stilt-driven giraffes and the multi-manned (though the cast is largely balanced and diverse) elephants, all entering from every aisle to see the presentation of protagonist Simba. If lucky enough, try to select a seat near an aisle to fully appreciate the details of the animal characters who will sing and interact as they make their way to and from the stage. The humanity under the masks is what keeps The Lion King compelling and timeless.

Photo-by-Deen-van-Meer

Photo-by-Joan-Marcus

In Costa Mesa, The Lion King will play Tuesdays through Fridays at 7:30 PM, Saturdays at2:00 PM and 7:30 PM, and Sundays at 1:00 PM and 6:30 PM.

Tickets are available at the Segerstrom Center for the Arts Box Office, by calling (714) 556-2787 Monday-Friday 10 AM to 5 PM, or at SCFTA.org.

Photo-by-Matthew-Murphy

MOTU UltraLite-mk5 gains Wi-Fi access & control room features MOTU have announced the release of a firmware update and new ‘Gen 5’ driver that equips their popular UltraLite-mk5 audio interface with significant new features.

Spotify’s spat with Apple, its new deal with Joe Rogan and further cost-cutting: 3 things we learned on the company’s latest earnings callSpotify would be experimenting with a variety of payment models, were it not for the Apple Store’s so-called “app tax,” Spotify co-founder and CEO Daniel Ek said on the company’s latest earnings call. Asked whether Spotify was looking to move beyond its “all-you-can-eat” pricing model – i.e., a monthly flat fee for access to the … Continued
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Four big music takeaways from Spotify’s Q4 earnings callWhile Spotify’s Q4 earnings call focused more on podcasts, audiobooks, and bottom-line numbers than music, there were still some critical music-related takeaways. MORE: Spotify passes 602 Million Monthly Active Users. Continue reading
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The music sync industry is headed for an iceberg. It needs an upgrade.Sync veteran Tom Stingemore on why his industry is operating inefficiently and needs to change
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Spotify passes 602 Million Monthly Active UsersSpotify added 28 million Monthly Active Users (MAUs), including 10 million paid users, in the last three months, the second-largest-ever Q4 gain. Spotify stock was up as much as 7%. Continue reading
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Luminate acquires Artist ID database QuansicMusic and entertainment data provider Luminate, whose clients include Billboard and its popular Charts, has acquired Quansic, a global music artist identification service. France-based Quansic says it has the world’s. Continue reading
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Spitfire Audio launch Crystal Bowls by Aska Matsumiya Crystal Bowls by Aska Matsumiya combines recordings of the high-purity quartz bowls played with traditional and modern techniques.

Wait for the drop: An organ playing a 639-year-long piece of music has changed chordAn organ playing the longest and slowest piece of music in the world has changed chord for the first time in two years.
Legendary avant-garde musician John Cage composed the piece, titled As Slow as Possible, and it plays on a specially-built organ at the Burchardi Church in the town of Halberstadt in Germany in 2001. It won’t finish playing until 2640, 616 years away – to give an idea of how far away that is, 1408 was 616 years ago and Henry IV ruled England.

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Since 2001, the piece has had just 16 chord changes. It began with 18 months of silence, and the first notes were only made in 2003. Before yesterday (5 February) the last time the chord changed was exactly two years before, on 5 February 2022. It’s been reported that people booked tickets years in advance to hear the chord change in person. To make the change, volunteers inserted another pipe into the mechanical organ.
The organ was designed using an electronic wind machine to push air into the pipes, with sand bags pressing down the keys to create a drone-like sound.
According to the website of the project, the next chord change is expected to be on 5 August 2026.
The piece’s score comprises eight pages of music, and it’s designed to be played on either the piano or the organ. While it’s meant to be played as slowly as possible, Cage never specified an exact tempo. While this current performance will still be going on centuries after anyone involved is around, the piece lasted just under half an hour when it premiered in 1987.
However, performances that followed would last longer – one 2009 performance from organist Diane Luchese lasted 14 hours and 56 minutes. Long, certainly, but still not quite the six centuries it’s taking to play it at the moment. It was born from a meeting of musicians and philosophers after Cage’s death in 1992.
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