Pro-C 3: FabFilter upgrades its hugely popular flagship compressor plugin – here’s what’s newOver a decade on from the release of Pro-C 2, FabFilter has given its flagship compressor plugin a significant upgrade. With six new compression styles and the long-awaited introduction of character modes, Pro-C 3 welcomes in a new-age for the iconic compressor.
Pro-C 3’s most obvious upgrade comes in the form of its new compression styles. Alongside the eight styles of its predecessor, users can now experiment with an array of hardware-inspired algorithms, from Versatile’s vanilla compression, suitable for any material, to Smooth’s ultra-smooth algorithm perfect for low ratios and longer envelope timings.

READ MORE: Cubase 15, as reviewed by a Logic Pro user: “The most versatile DAW I’ve ever used”

Elsewhere, there’s also more “extreme” styles, such as the Upward algorithm or even TTM’s combination of downward and upward compression across bands. There’s also a warm opto-like tube compression style in the form of Op-El, while sonic richness can be attained thanks to the Vari-Mu algorithm.
Pro-C 3 also has a Character panel. In the past Pro-C 2 focused purely on compression, so the injection of three unique flavours of realistic analogue saturation will be a welcome upgrade for many. Users can experiment with Tube, Diode and Bright variations, which can then be tweaked and adjusted by, say, raising the Drive or switching between Pre and Post Compression.
The plug-in’s Side Chain EQ has also been improved, allowing users to precisely filter and equalise their sidechain input with ease. While Pro-C 2 limited the number of available EQ bands to three, Pro-C 3 doubles that. All six available bands can be set to any filter shape you desire, and every one can be independently switched to mid or side processing.

There are also a slew of intuitive new tools thrown in to make life easier, such as an Auto Threshold control to help with level-independent compressor triggering, as well as intelligent Auto Gain and Auto Release functions.
There’s also a new Host Sync tempo triggering tool for rhythmic compression, as well as an Adjustable Maximum Lookahead to balance your latency. FabFilter has also hiked up its max oversampling ceiling to 32x for clearer, cleaner playback.
There’s also a slew of aesthetic and organisational tweaks to make life easier. With new tagging and metadata abilities, it’s never been simpler to browse and navigate your way through your presets. Some buttons have also been rejigged for easier access, like the Bypass and MIDI functions.
Alongside all of that, Pro-C 3 also supports fully immersive audio, thanks to its customisable channel/stereo linking abilities. To make it simple, routing automatically adapts to the multi-channel demands of Dolby Atmos, which FabFilter notes will “open the plug-in up to a whole new world of production possibilities”.
FabFilter Pro-C 3 is available now, priced at £149 for new users, with an upgrade available for existing Pro-C 2 users at £72.
Head over to Plugin Boutique to get your copy, or learn more at FabFilter.
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From the makers of Melodyne comes Tonalic, a plugin that puts a real session musician “by your side”Celemony has introduced Tonalic, a new plugin that rethinks how producers work with guitars, bass, drums and percussion in the box.
Rather than relying on MIDI, loops or generative AI, Tonalic uses actual studio performances from world-class session players and adapts them to fit your music in real-time, creating an experience that feels like having a musician playing right inside your DAW.

READ MORE: The RMX-100 has been reborn – AlphaTheta welcomes next-gen effects processor RMX-IGNITE

At the heart of Tonalic is a brand-new engine developed by Celemony, built on the company’s famed Melodyne software. The result is a system that can intelligently “adapt performances by the finest studio musicians to any song” and “integrate them organically into any production”.
Forget about working with loops and samples. Instead, Tonalic introduces a new workflow based around small icons called Tonalics, which represent a song’s musical patterns. When dragged onto a Tonalic track, they instruct the engine where and how a part should be played – automatically adapting it to the song’s chords, tempo and groove.
Notably, the Tonalic regions themselves contain neither audio nor MIDI data. They act purely as performance instructions, guiding the engine to select the most suitable passages from the original recordings, and then adapt them to the current song. According to Celemony, this approach allows the results to remain tight and convincing, yet shot through with flashes of studio magic.

“The whole process is dynamic and automatic,” says Celemony. “Whatever direction the song takes, Tonalic notices, follows suit and takes musical decisions that invariably gel and sit well with the spirit and idea of the song. The results sound so organic and authentic you’d think the performer had played the material that way in the first place.”
The source material itself is extensive. Tonalic draws from over 7,000 performance patterns recorded by more than 30 session musicians in studios around the world. Contributors include rock and pop mainstays such as Tim Pierce and high-profile names like Foo Fighters bassist Nate Mendel and Skunk Anansie guitarist Martin “Ace” Kent. The library is also set to continue growing over time.
Tonalic is available in two editions – Tonalic studio and Tonalic arranger – both featuring identical content but differing function sets. The studio version adds deeper editing capabilities, allowing users to modify individual notes within performances, much like Melodyne.
The plugin integrates as a software instrument in all major DAWs, with particularly deep ARA-based integration in Presonus Studio One 7 and Fender Studio Pro 8.
Tonalic is available now via subscription or prepaid license, with pricing starting at $14.9/€14.9 per month. To celebrate the launch, Celemony is offering the first month for just $1/€1. Users can switch at any time between the prepaid and subscription license models, between the two editions.

Learn more at Tonalic.
The post From the makers of Melodyne comes Tonalic, a plugin that puts a real session musician “by your side” appeared first on MusicTech.

Slate Digital’s ML-2A brings a full virtual mic locker to stereo recordingSlate Digital has unveiled the ML-2A, the latest evolution of its modelling microphone lineup. The new release delivers a factory-matched pair of small-diaphragm cardioid condenser microphones designed to work seamlessly with Slate’s Virtual Microphone System (VMS), giving users access to a wide range of vintage and modern mic models straight out of the box.
Built as a refinement of the original ML-2, the ML-2A features upgraded hardware, improved dynamic range and enhanced sonic detail, making it suitable for precise instrument capture in both mono and stereo applications. Each pair ships factory-matched and includes a mounting bar for accurate stereo setups.

READ MORE: AKG’s C-Series: new professional condenser mics are for musicians and content creators

As with Slate Digital’s ML-1A and earlier ML-2 systems, the ML-2A relies on the VMS plugin to emulate the sound of multiple microphones. Once paired with the software, the ML-2A effectively becomes a flexible “mic locker”, allowing you to audition and swap microphone models during the mixing process to find the perfect sound for each project. Zero-latency processing also makes real-time monitoring a breeze for modern producers.
Designed for demanding recording environments, the ML-2A is built to handle extreme sound pressure levels of up to 156 dB SPL. A built-in -20 dB pad allows the microphones to take on close-miked drums, loud guitar cabinets and other high-impact sources without distortion, while the onboard 80 Hz low-cut filter helps tame unwanted low-end rumble at the source.
Credit: Slate Digital
The included VMS plugin currently features 27 microphone models, spanning a broad range of studio staples. These include dynamic mics such as the S-57 and S-421, ribbon models like the S-121, small-diaphragm condensers including the S-451 and S-222, and large-diaphragm condensers such as the S-414 and S-67. Users can blend models, adjust proximity effect and add colour or vintage saturation via Slate’s Virtual Preamps Collection for a completely in-the-box front-end recording workflow.
Importantly, Slate Digital is now shipping every ML-2A with its full set of mic models included. There’s no longer a need to purchase additional mic packs separately. Buyers will also receive a three-month subscription to the Slate Digital Complete Access Bundle, which includes over 150 plugins from Slate Digital, SSL and Harrison Audio.
“With the ML-2A, we set out to redefine and enhance what the original ML-2 offered,” says Chad Carrier, Slate Digital’s VP of Products. “Optimised for both mono and stereo instrument recording, it’s powerful, versatile and perfect for producers and engineers who want access to the ultimate mic locker.”
The ML-2A is available now for $399/€399/£299 excluding tax. See it in person at its global debut at the 2026 NAMM Show (22-24 January), at the Slate Digital booth (18303).
 

Learn more at Slate Digital.
The post Slate Digital’s ML-2A brings a full virtual mic locker to stereo recording appeared first on MusicTech.

Josh Baker on why workflow, AI tools and delegation are as important as the musicJosh Baker has just had one of those years all DJs dream about. Bigger rooms conquered, more tickets sold, and stages shut down, all while piling on the Avios. It’s enough to leave the supremely confident house DJ, producer, and entrepreneur in a daze.
But standing on the Amnesia Ibiza Terrace at nine in the morning, about to go back-to-back with Luciano, he wasn’t contemplating milestones or momentum. He’d slept properly. He’d been to the gym. He’d had a coffee and even a beer. Then he walked into one of the most mythologised arenas in electronic music to play alongside someone he calls “one of the greatest to ever do it”.

READ MORE: “Everything will die”: How music gear is harming the environment

“It was insane. I was really nervous, and the first half an hour went quite slowly because I was overthinking each selection, but once I got into it, it was one of those sets where we really gelled,” says Baker via video call.
It’s a moment that captures the contradiction at the centre of the 30-year-old’s current phase. On the surface, everything looks rosy: chart records, headline slots, festival chaos. But in Baker’s Upside Down, he’s busily rebuilding how he works before the machine outruns him. “I always knew this crazy moment would come, but to this scale, I didn’t even think it was possible a few years ago; it’s just the way the scene has grown over the past 12 months.”
A Parklife 2025 appearance should have been the Mancunian’s victorious home-city set, but instead became a flashpoint as overcrowding forced the stage to be shut down. “Too many people came. It was the right thing to do, but it felt so surreal,” acknowledges Baker. The comeback came weeks later at Creamfields, where he faced a different kind of pressure. For the first time, Baker wasn’t just turning up with USBs. He was bringing time-coded visuals, a custom intro, and production demanding absolute precision.
Image: Press
“I spent a lot of time and money on that show, but never thought about things like someone pressing play for the first song when there’s nobody on stage,” recalls Baker. “We were backstage having a few beers, and I’d had this special intro made for an extended version of my track Come Closer. We asked the sound guy to press play, but without going into my USB on the deck, I couldn’t remember what the folder was called with the file in… Bearing in mind you have ‘version 1’, ‘version 8’, ‘version 54’ of every single track you’ve ever made. In the end, my mate Seb had to crouch down to do it for me.”
For Baker, it forced a deeper shift. The visuals were linked directly to his music, which meant he had to play his own tracks. A lot of them. “I wasn’t used to playing so many, and you get nervous for whatever reason. We’d had perhaps six custom visuals made, and I could play them any time during the set, but it meant that unless I played them, we’d wasted money.” The result was a set that’s now passed 1.6 million YouTube streams, and a DJ no longer solely reliant on other people’s records.
For years, Baker resisted certain production shortcuts. Not out of purism, but habit. He had his samples, his methods, his way of working but that changed in a single studio session. “I was under no desire to use tools like Splice, and then I did a session with Prospa, and they just pulled it up,” says Baker. “I was like, ‘What, you guys use Splice?’ Is this where it’s at?”
Suddenly, dragging years-old sample folders between laptops felt like friction. The same applied to AI-assisted tools and on-trend hardware. “I’m now using LANDR for mastering, which I wasn’t before, and I’ve just bought this piece of kit…” Baker swivels his camera and proudly holds a Telepathic Instruments Orchid aloft.
Image: Press
“I barely go to the actual studio anymore because I’m usually travelling, but the sickest bassline I’ve ever written was on a Minimoog Model D Reissue for Dr Feel Right, so over Christmas, I put together a little setup at my parents’ house with the Orchid and a few synths to keep that essence of hardware in my production.”
For someone used to the studio environment, admitting “the conditions had to be perfect”, it’s Baker’s way of remote working to fit around his hectic schedule – create ideas on the fly and bank them until he’s found the right hardware and vocalist to lay the finishing touches.”
As alluded to, Baker is adamant electronic music is in a healthy state right now, adding: “Every Friday, I keep saying to people there’s a new release which would have been tune of the year five years ago.” No pressure, then, on new single, Feel This Way, out January 16 with Silva Bumpa and vocalist Paige Cavell, which sees Baker sidestep from house into a slightly different dance music genre. “I’ve always liked UK garage and Silva Bumpa’s from that world, but I was playing a lot of his songs” says Baker. “If you’re playing someone’s tracks a lot, it makes sense to get in the studio, and I feel with this one, with such experienced vocalists and songwriters, it’s all come together.”
Baker admits his background isn’t in songwriting, and everything he’s released so far has been “unorthodox in terms of arrangement”. Until two years ago, he routinely tested ideas on TikTok, letting feedback loops shape what survived. That’s no longer the case. “You can never really predict how things kick on,” adds Baker. “Over time, I’m trying to tease things less. I want to put stuff out based on how I feel and not get my vision blurred by what could be perceived as good or bad on the internet.”
Image: Press
Behind the scenes, Baker is attempting to solve a different kind of problem: how to scale without burning out. That includes balancing DJ and production duties with running his label, You&Me, his growing Baker’s Dozen imprint, and the small matter of his educational music startup, Syntho.
“The hardest thing to keep on top of is still being the person who has the vision and the final say, but having the time and headspace to dedicate to it,” says Baker. “I wish I could let someone else design the visuals, finish the mixdown, or decide what the set’s going to be, but I know that it’s my eye and my ear that ultimately make me who I am as an artist.
“I’m looking for a creative director who can help formulate my ideas. To continue to grow at the level I’m at now, it requires more time, but we can’t add more hours in the day, so I need more people.”
Central to this is hiring a headline-grabbing new CEO for Syntho, in the shape of former Music Intelligence VP at SoundCloud and founder of Musiio, Hazel Savage. “We got talking on WhatsApp towards the end of 2024. I said, ‘Here are the numbers we did last year,’ and I think she was quite surprised. She straight up said, ‘This business is worth a lot of money,’ given the traction it’s already got, and wanted to know more.”

Baker says Savage is a huge music fan who brings a wealth of experience, people management skills and financial nous to the business – areas Baker admits to neglecting.
For all the obvious drive, he is careful not to over-promise about his 2026 prospects, but try keeping your feet on the ground when bookings include Coachella in the US, headline slots at Reading & Leeds, Creamfields, and one other UK festival to be announced, plus the small matter of an Ibiza residency still to be revealed.
For now, Baker is midway through touring Australia, Thailand and Bali, but with his diary blocked out to work on new material when he returns. “I’m going to dedicate a lot of time in February and March to writing, not trying to set too many expectations, and see how far I can push myself creatively.”
Cocky or confident? Josh Baker is both. When he talks, there’s no false humility that usually accompanies personal accomplishments. No talk of luck, no hedging of bets, no pretence it was a fluke – just a laser-guided belief he belongs. Forget slowing down; he’s learning how not to take a break.
The post Josh Baker on why workflow, AI tools and delegation are as important as the music appeared first on MusicTech.

FILM - TV - THEATER - GAMES: PROPS AND OPPSPROPS

There’s a lot in store for Sierra Madre Playhouse’s 2026 season, Small Stage, Big World, during which the intimate venue will showcase more than 90 diverse programs across theater, dance, music, jazz, and film, plus new and anticipated additions including opera, comedy, and an author series. Highlights include artist residencies with violinist Martin Chalifour and Brightwork Newmusic, groundbreaking premieres such as George Sarah’s live chamber music score for Sergei Eisenstein’s silent film Battleship Potemkin, and partnerships with East West Players and Bob Baker Marionette Theater. Featuring international voices, innovative collaborations and family events, the Playhouse is celebrating art that connects communities across borders and generations. Learn about all the varied offerings and new additions at sierramadreplayhouse.org/calendar, and contact Libby Huebner at libby@adlibpr.com for more information.

The 16th Annual Hollywood Music in Media Awards once again celebrated music in film, television, and video games and the artists and creators behind them. Winners included "Dream As One" from Avatar: Fire and Ash, written by Miley Cyrus, Mark Ronson, Andrew Wyatt, and Simon Franglen, in addition to "Highest 2 Lowest" from Highest 2 Lowest, written by Aiyana-Lee Anderson and Nicole Daciana Anderson, and "Dear Me" from Diane Warren: Relentless, written by Diane Warren. The event featured special performances by nominees including Miles Caton (Sinners), Aiyana-Lee (Highest 2 Lowest), Aryana Sayeed and Jeff Beal (Rulebreakers), and Diane Warren (Diane Warren: Relentless).View the complete list of winners and nominees at hmmawards.com/2025-hmma-nominations, and contact Rebekah Alperin at ralperin@costacomm.com for more information.

Graceland—the Memphis, TN home and estate of the late Elvis Presley—will host the first advanced U.S. screenings of Baz Luhrmann’s EPiC: Elvis Presley in Concerton January 8, 2026—Elvis’s birthday—offering two free showings at 5 p.m. and 8 p.m. in the TCB Showroom. The 2025 documentary film blends long-lost footage from Elvis’s 1970s Las Vegas residency with rare 16mm and 8mm archival material and newly unearthed recordings of Elvis sharing his own story. It follows Luhrmann’s 2022 biographical film Elvis about the King of Rock and Roll. The screenings are part of the 2026 Elvis Birthday Celebration. Learn more at graceland.com/elvis-news/posts/baz-luhrmanns-epic-elvis-presley-in-concert-graceland-premiere-screenings.

OPPS

The 6th annual International Conference on Audio for Virtual and Augmented Reality and Immersive Games—an event by the Audio Engineering Society focused on audio for extended reality and interactive gaming—has issued a call for proposals open until March 24. They are seeking professionals involved in audio for virtual and augmented reality, immersive audio, and gaming to participate in workshops, tutorials, and masterclasses. The event will be June 30-July 3. More information can be found at aes2.org.

The New Century Dance Project has issued a call for choreographic fellows with a submission deadline of Jan. 12. The fellowship, which is part of the 2026 festival slated for July 24–August 2 in Santa Fe, is open to upper-level collegiate (Junior and above) through established career professionals. Learn more and submit your work at newcenturydanceproject.org/call-for-choreographic-fellows.

February 6 is the deadline for submissions (you must also register by January 31) for the Indie Film Music Contest. The competition, which offers cash prizes, focuses on musical storytelling without regard for sound quality to give beginners a fair chance to compete. More information and submission guidelines can be found at indiefilmmusiccontest.com.The post FILM - TV - THEATER - GAMES: PROPS AND OPPS first appeared on Music Connection Magazine.

Bitcoin rally collapses at $97K as funding rate stalls, retail traders sit outBitcoin failed to hold $97,000 as its funding rate stalled and retail traders watched from the sidelines. Will TradFi reignite the rally to $100,000?

The AI lab revolving door spins ever fasterAI labs just can't get their employees to stay put. Yesterday’s big AI news was the abrupt and seemingly acrimonious departure of three top executives at Mira Murati’s Thinking Machines lab.

Building an Escape Room Lockbox with the ESP32 Cheap Yellow Display (CYD)Here’s something fun from [Chad Kapper] over on HackMakeMod: Escape Room Lockbox with the Cheap Yellow Display.
You may have heard of the “cheap yellow display” (CYD), so-called due to the board’s typical color. It’s a dodgy cheapo board with, among other things, TFT display, touchscreen, and ESP32 built-in. You can learn more about the CYD over here: Getting Started with ESP32 Cheap Yellow Display Board – CYD (ESP32-2432S028R).
In this build eight AA batteries are used to deliver 12 volts to operate a solenoid controlling a latch and 5 volts for the microcontroller. The encasing is clear in order to entice players in an escape-room style sitting. The custom software is included down the bottom of the project page and it is also available from arduino.cc, if that’s your bag.
Of course we’ve done plenty of other ESP32 TFT projects before, such as Piko – Your ESP32 Powered Fitness Buddy and ESP32 Brings New Features To Classic Geiger Circuit.

Black Octopus Sound Ethereal Vocal Samples by RoniitBlack Octopus Sound and Roniit have released Ethereal Vocal Samples - a collection of vocal samples - ideal for a wide range of electronic musical styles. What's inside: 100% Royalty Free. 24-bit high quality wavs. Cleared for: Spotify, Youtube, Soundcloud, Record Label Releases. 0.71 Total GB Unzipped. 239 Total Sounds. 62 Vocal FX One Shots. 51 Vocal Hook Loops. 29 Vocal Adlib Loops. 25 Vocal Spoken Word One Shot. 22 Vocal Harmony Loops. 10 Vocal FX Loops. 9 Vocal Stack Loops. 8 Vocal Adlib One Shots. 8 Vocal Chant One Shots. 6 FX Foley One Shots. 4 Vocal Choir Loops. 3 Vocal Phrase One Shots. 2 Vocal Atmosphere Loops. Read More

Australia’s recorded music royalty rates for radio play to rise by 38% after tribunal rulingThe country's recorded music industry says it will push to end Australia's 1% cap on recording royalties paid by radio
Source

NoiseWorks Audio release NoiseAssist VoiceAssist combines six intelligent voice-focused processes into a single ARA-capable plug-in, and promises to a faster, more integrated approach to vocal and dialogue editing.

The RMX-100 has been reborn – AlphaTheta welcomes next-gen effects processor RMX-IGNITEBack in 2012, the release of the RMX-100 quickly left its mark on the DJ scene. Its ability to shape sound and process effects in real time was a game changer, amounting to a top-class reputation as a favourite amongst DJs and producers across the globe. Now, the effects unit has been reimagined for the next generation of DJs: enter the RMX-IGNITE.
Designed by AlphaTheta, the RMX-IGNITE breathes new life into the original RMX-100 unit. Loaded with a slew of new effects, an enhanced sampler section, 3-Band FX, the RMX-IGNITE is set to let your creativity run wild – and, thanks to its array of clear, large knobs and levers, its an intuitive way of physically ‘feeling out’ and producing a cracking live track.

READ MORE: Tonverk is Elektron’s most versatile sampler yet

The RMX-IGNITE is preloaded with 20 samples, which can all be processed live without the need for any computers or DAWs. If you’re keen to load on more samples, you can do so with the unit’s Sample Manager software, which allows you to load samples via a USB drive.
The PRO DJ LINK network also allows you to synch samples to your unit remotely, as well as allowing you to synch your BPM to your arsenal of other DJ gear.
In terms of your samples, each can be easily loaded to four trigger pad buttons, which can be played individually or layered to your tastes. Samples can also be tweaked via a Sampler Colour FX knob, which can add a pinch of character, with options ranging from Echo and Swing to Space and Delay.

There’s also a slew of Sample Roll triggers to adjust the rhythmic and timing intervals of your samples. The unit also has a new Groove Roll feature, which can also add a little extra spice to your samples.
In terms of the effects on offer, there are six unique Lever FX to play with: Echo, Juggle, Reverb, Reverse, Solo and Stretch. Then, the Lever FX section allows you to flick between your set effects via its three unique levers.
There are also six Isolate FX abilities, which can be applied to your low, mid and high frequencies. There’s Drive, Ducker, Echo, Filter, Rhythm and Tape Reverb options, which should allow room for plenty of experimentation.
In terms of the RMX-IGNITE’s 3-Band FX section, there are two types of effects available to play with: Lever FX and Isolate FX. Either can be applied to your high, mid and low frequency bands, as well as easily being able to combine with the six effect types on offer.
You can apply each to the high, mid, and low frequency bands independently, and freely combine up to 6 types of effects. With sub-parameter knobs for tonal adjustment, you can shape track progressions and deliver rich, expressive performances.
Credit: AlphaTheta
Elsewhere, the RMX-IGNITE also has a Release Echo, which can be triggered with the push of a very large, glowing button. It allows you to reset your sound smoothly, with an echo tail leading you back to your baseline original track.
In terms of connectivity, the unit supports digital send/return connections with the DJM-A9 and DJM-V10 mixers. This can be done via a single USB cable to the MULTI I/O terminal. The unit is also kitted out with the latest DSP and high-grade audio converters, which AlphaTheta assures will provide “professional-level” sound quality thanks to the unit’s 96 kHz/64-bit DSP processing.
The RMX-IGNITE is available now for £1,039, which includes 3 months of Loopcloud.
The post The RMX-100 has been reborn – AlphaTheta welcomes next-gen effects processor RMX-IGNITE appeared first on MusicTech.

AKG’s C-Series: new professional condenser mics aimed musicians and content creatorsNAMM 2026: AKG has announced its new C-Series of professional condenser microphones, aimed at “today’s musicians and content creators”.
Designed for musicians, podcasters, YouTubers and streamers, the new C-Series comprises three microphone models, the C104, C114 and C151, each with a precision-engineered, transformerless FET circuit for an “ultra-low noise floor and expansive dynamic range”.

READ MORE: Is the Akai MPC One+ still worth buying in 2026?

Each mic in the series also boasts a broad frequency response, ensuring the “faithful preservation” of a range of sonic elements, from musical instrumental parts and vocals to speech content for podcasts and other content.
In terms of the differences between each of the three mics, the C104 is a large diaphragm cardioid condenser, the C114 is a multi-pattern condenser and the C151 is a small diaphragm cardioid condenser mic.
C-Series mics are designed for seamless setup and ease of use, with a user-friendly design aimed at content creators who simply want to plug in and get recording. 
The series also features sustainability at the heart of its design; with the body of each mic crafted from 100% recycled PIR metal, and each element, from packaging to accessories, “thoughtfully engineered for minimal environmental impact”.
Credit: AKG
For most content creators, how things look on video is everything, and so AKG has taken care to ensure its new C-Series mics “look as striking on camera as they sound during playback”, incorporating a contemporary aesthetic while paying tribute to its design legacy.
“When we set out to create the new AKG C-Series microphones, our goal was simple: let’s design a mic that creators would reach for every day – not just because it sounds incredible, but because it makes the process easier, smoother, and more inspiring,” says Philip Feinman, Product Manager, Recording and Broadcast at HARMAN Professional Solutions, AKG’s parent company. 
“We listened closely to what musicians and content creators truly need, and we’re proud to deliver a microphone lineup that becomes a natural extension of the creative process.” 
“AKG has a rich tradition in design innovation for microphones, headphones, and audio products,” adds Chris Hansen, Director, Recording and Broadcast at HARMAN.
“Our passion to lead helps drive our efforts to deliver world-class products and solutions for our customers, partners, and the global community of creative artists and individuals.”
You can find out more about the new C-Series line of professional condenser microphones at AKG.
The post AKG’s C-Series: new professional condenser mics aimed musicians and content creators appeared first on MusicTech.

DsgDnB offers multiple FREE plugins for macOS, Windows, and Linux
DsgDnB, a musician and developer with several interesting projects on the go, is currently offering multiple free plugins for macOS, Windows, and Linux. Current projects include PresetShare (a synth preset-sharing platform and music community) and producing drum & bass music under the name DSG and as part of various collectives. You can find more information [...]
View post: DsgDnB offers multiple FREE plugins for macOS, Windows, and Linux

6 Ways Bandsintown’s New Marketplace Helps Artists Level UpBandsintown for Artists features over 30 integrations and partner tools to help indie artists grow, amplify their visibility, and connect closer to fans.
The post 6 Ways Bandsintown’s New Marketplace Helps Artists Level Up appeared first on Hypebot.