Spot Bitcoin ETFs see $358M outflow: Are investors abandoning BTC?Bitcoin price held above $85,000, but weakening spot BTC ETF flows and a disappointing end-of-year performance cast doubt on a December rally to $100,000.

Italian Blackened Atmospheric Death Metal Project Frostmorner Signs With WormholedeathAccording to news on Tuesday, "Italian blackened atmospheric death metal project Frostmorner is proud to announce its official signing with Wormholedeath. The collaboration will see the worldwide release of Frostmorner's debut album, Orbital Kaos, scheduled to drop on February 13, 2026."

"Founded by Mario and rooted in Sicily, Frostmorner began its journey in 2019. What started with the support of other musicians soon evolved into a fully solo project, allowing Mario to build a sound that reflects his vision without compromise. Over the years, Frostmorner has caught the attention of magazines, fanzines, and radio stations, opening the door to collaborations and conversations with artists across the extreme metal world."

“Orbital Kaos marks the first full-length chapter of Frostmorner and showcases the project’s foundation: a blend of blackened intensity, atmospheric layers, and death metal grit. The album pulls inspiration from Nile, Hypocrisy, Belphegor, and Death, while weaving in modern influences from Lorna Shore and Rings of Saturn. Its thematic core draws from a lifelong fascination with Lovecraft, mythology, space, and horror."

"The album’s title captures its essence. Each track stands on its own, shaped by its own narrative and energy, yet all orbit around the central concept of Kaos. The result is a record built on fragmentation, unpredictability, and tension: an audio universe where no two moments land in the same place."

The post Italian Blackened Atmospheric Death Metal Project Frostmorner Signs With Wormholedeath first appeared on Music Connection Magazine.

Get a free drum machine for Splice INSTRUMENT
Download our free drum machine preset for our new Splice INSTRUMENT plugin—grab these presets during the drop window and they’re yours to keep forever.

ACE Studio 2.0 from Timedomain The latest version of ACE Studio is now available, and comes kitted out with a whole host of new AI Voices and languages, additional AI Instruments, new Generative Kits, an improved workflow and seamless DAW integration.

Building A Granular Sampler SynthSynthesizing sounds from scratch is all well and good, you just use a bit of maths. However, the latest build from [Daisy] eschews such boring concepts as additive or subtractive synthesis, instead going for a sample-based approach.
This build is based around the Daisy Seed microcontroller platform. It was actually inspired by an earlier project to create a ribbon synth, which we covered previously. In this case, the ribbon potentiometer has been repurposed, being used to control the playback position of a lengthy recorded sample. In this build, the Daisy Seed is running its audio playback system at a rate of 48,000 samples per second. It’s capable of storing up to 192,000 samples in memory, so it has a total of 4 seconds of sample storage. The Daisy Seed uses an analog-to-digital input to record two seconds of audio into the sample buffer. It can then be replayed by placing a finger on the ribbon at various points. Playback is via granular synthesis, where small sections of the overall sample buffer are used to synthesize a new tone. The video explains how the granular synthesis algorithm is implemented using the Plugdata framework. Design files are available for those eager to replicate the build.
Once you start tinkering in the world of synthesis, it’s easy to fall down the rabbit hole. Video after the break.

Beggars Group has acquired majority ownership of XL Recordings, documents showUK-headquartered indie music company Beggars Group has been the majority owner of XL Recordings since October 2024
Source

Bandsintown’s High Notes Reveals the Artists, Genres & Cities That Led Live Music in 2025Bandsintown's 2025 High Notes recap is here. Learn which artists, stages, and cities made this year count! Plus, dive into your own personalized recap to discover what powered you through 2025.
The post Bandsintown’s High Notes Reveals the Artists, Genres & Cities That Led Live Music in 2025 appeared first on Hypebot.

Arturia announce Pigments 7 The latest version of Arturia’s flagship software synthesizer has just arrived, delivering an array of new features aimed at modern producers and sound designers.

Klevgrand ParrotFrom subtle beat variation or harmonic accents to glitchy mayhem, Parrot adds something unique and interesting to anything that you feed it with. This effect will help ignite your next dance-floor hit or add that extra je ne sais quoi of flavour to your mix. Whatever you feed the Parrot, it won't let you down. Parrot creates rhythmic patterns by sampling small slices of incoming audio, and repeating it in a sequenced loop. With control over loop length, pitch, variation, dynamics and filtering, the result can easily take off in any direction you want. Each slice becomes part of a loop that keeps reshaping itself as you adjust parameters, making patterns that feel alive. The sequencer reacts strongly to small changes, so even minor tweaks can introduce new pulses, stutters or harmonic shifts. Parrot can hold on to a steady rhythm, but it's just as comfortable dissolving into broken loops and glitchy textures that evolve over time. When synced to your DAW it slots neatly into structured productions, while the free‑run mode opens up a more exploratory, generative side. The smallest change can create a new pattern, almost like turning a kaleidoscope and watching the pieces fall into a fresh formation. As the loop repeats, the interplay between timing, pitch and modulation build a sense of movement that keeps the rhythm from feeling static. Filtering can push the sound forward or bury it in grainy motion, and dynamic shaping helps each step take on its own character. Over longer sessions, patterns can morph in ways that feel unexpected yet connected to the original source, gradually forming textures that sit somewhere between groove and ambience. From gentle movement to complete fragmentation, Parrot acts as a creative companion that constantly feeds new rhythmic ideas back to you, encouraging ongoing exploration and rewarding every small adjustment with a new possibility. Features Loop‑based live sampling with sequenced playback (step-sequencer with up to 16 steps). Per‑step pitch control and accent. Variable note values for evolving rhythms. Pan alternation following sequencer. Evolving filter section with multiple modes. Evolving volume curve. Separate dry-signal filter. DAW sync or free‑running mode. Humanizer for subtle timing variation. Mute/Solo during sampling. Lock parameters for save preset-switching. Nice preset collection. YouTube.com/watch?v=sDOyyVl_e7w YouTube.com/watch?v=xHef_xhxcgY Read More

This app lets you effortlessly send a DAW mix to your mobile device – and record ideas wherever inspiration strikesAs producers and mix engineers, we all know the fatigue that begins to set in after a long session in front of the screen.
It’s routinely recommended by the top professionals to take regular breaks while working with audio in order to keep our ears sharp. But these breaks are often when those golden moments of inspiration actually happen.
That’s why audio plugin brand FKFX has developed DawNote, a new app which allows users to send their current DAW mix to their mobile device, listen to it in real-world situations like walking or commuting, and even capture voice notes or melody ideas via the microphone whenever inspiration strikes.
These ideas are then synced back to the main DAW project, ready to be used directly within the DAW.

READ MORE: RAM shortage may drive up laptop prices – what does this mean for music producers?

Creativity is non-linear; you can be working for hours on crafting the perfect vocal melody in the studio, and then change your environment and come up with a better idea in 5 minutes while walking in the park.
DawNote seems like a pretty neat idea to capture those ideas that may otherwise have been lost to the ether, while offering features which make bringing those ideas into your main DAW project super easy.
The concept behind DawNote is simple: listening outside the studio offers a different perspective, and some ideas cannot be expressed efficiently with text alone,” FKFX says. “Tone, intention, and urgency are often better captured with voice.”

DawNote is currently scheduled for release in early 2026, with a free version available to discover the features.
You can sign up to the FKFX newsletter to receive updates surrounding the launch.
The post This app lets you effortlessly send a DAW mix to your mobile device – and record ideas wherever inspiration strikes appeared first on MusicTech.

Audio Engineer & Podcaster Bobby Owsinski’s 2026 Music PredictionsHypebot's Future Predictions series is back. Join us as we ask the music industry's expert analysts what they think might unfold in the world of music in 2026.
The post Audio Engineer & Podcaster Bobby Owsinski’s 2026 Music Predictions appeared first on Hypebot.

unAbleton releases Volture, a FREE distortion plugin for Windows
Developer unAbleton has released Volture, a free distortion plugin for Windows, available in 64-bit VST3 format only. Volture is a stompbox-style distortion with a bright yellow GUI that clearly nods toward classic overdrive pedals like the SD-1. And the interface looks like it was designed for a guitarist’s pedalboard. But at the same time, the [...]
View post: unAbleton releases Volture, a FREE distortion plugin for Windows

RAM shortage may drive up laptop prices – what does this mean for music producers?Amid a global shortage in DRAM (Dynamic Random Access Memory), laptops are likely to become more expensive, market researcher TrendForce warns, and existing spec sheets may end up being downgraded in order to keep supply chains consistent.
In a new analysis, TrendForce says the DRAM shortage and concurrent high demand is pushing prices way up, and could soon mean the average mid-range laptop will have just 8GB of RAM, as opposed to the higher specs currently found on mid-priced machines. 
It says computers with 16, 32 or 64GB of RAM will continue to be available, but at higher prices amid the period of high demand.

READ MORE: FL Studio is coming to your browser as FL Studio Web

Why is this important for music producers? Depending on the demands of your workflow, you’ll likely be running a significant number of tracks with numerous plugins and virtual instruments all at once. 
RAM is essentially your machine’s short-term memory which allows its CPU to access data quickly. Put simply, the more RAM your machine has, the faster and more smoothly it will carry out tasks. Being a creative endeavour, this is all important for music production; we all know how frustrating it can be to have technological limitations interrupt our creative flow.
8GB of RAM is generally recommended as the minimum for music production. Beginners or less advanced producers may find it’s all they need to put together beats, record instruments and put together their mixes, but producers working with more complex sessions may discover they run into performance issues.
So per TrendForce’s analysis, if you’re a producer looking to ensure your laptop doesn’t technologically inhibit your creative flow, you might soon find yourself paying more for models with 16GB of RAM and beyond.
“While prices may stay stable for now, medium- and long-term adjustments, such as lowering specifications or raising prices, are inevitable,” the company states. “TrendForce forecasts more significant price fluctuations in the PC market by the second quarter of 2026.
“TrendForce highlights that cutting down on specifications or postponing upgrades has become an essential cost-saving measure for smartphone and laptop manufacturers. This is especially true for DRAM, which makes up the largest portion of memory expenses.”
So if you’re loosely eyeing up a laptop upgrade, you might be better off making that purchase sooner rather than later.
The post RAM shortage may drive up laptop prices – what does this mean for music producers? appeared first on MusicTech.

Soundtoys is giving away Little Plate for FREE until December 18
Soundtoys offers the Little Plate plate reverb plugin for free until December 18th as part of the 12 Days of Soundtoys promotion. The free offer on Little MicroShift (my absolutely favorite Soundtoys plugin from the Little lineup) just expired, but the next freebie is equally sweet. If you’ve ever wanted the lush sound of a [...]
View post: Soundtoys is giving away Little Plate for FREE until December 18

Are there too many synthesizers?In late October, some Sweetwater customers received notification that their pre-orders of the Behringer Pro-16 and VCS 3 were suddenly being cancelled. This came after the company exhibited a prototype of the Pro-16 — an emulation of the Sequential Circuits Prophet-5 with 16 voices — at its booth at NAMM earlier this year.

READ MORE: Track Record: Shure CEO Christine Schyvinck on the company’s 100th anniversary

Users on a Reddit post about the cancellations guessed that this may be due to market saturation, with too many unpurchased instruments cluttering up warehouses and stock shelves. And with global tariffs, inflation and other economic woes hitting buyers hard in the purse, it wouldn’t be surprising if things had reached a breaking point, users said.
So what’s going on? Are there really too many synthesizers being released? We speak with Moog, Erica Synths, Black Corporation, and Molten Modular, synthesizer manufacturers of varying size, reach and price point, to find out.
A shift in buyer behaviour
First, the good news. “I wouldn’t describe today’s synthesizer market as oversaturated,” says Joe Richardson, the president of Moog Music and COO of InMusic. “What we’re really seeing is a shift in buyer behaviour.”
“With so much information available, buyers are taking more time to understand what sets instruments apart.” Joe argues that customers are weighing their options more than in the past, for example, “evaluating how analogue integrates into digital workflows, considering which effects matter most, and what premium each of these capabilities justifies.” In other words, they’re choosing with more intention.
And there’s never been more variety to pick from. “We’ve never had such a choice of synthesizers as we do now,” says Girts Ozolins, founder of Erica Synths. The price is also much lower than ever, putting previously unattainable instruments within the reach of workaday musicians. For example, “you can find the latest samplers at reasonable prices,” he points out. “Imagine getting a Fairlight 40 or 50 years ago when it came out. For 99.9% musicians, that was an inaccessible dream.”
“This abundance of choice can create buyer paralysis,” notes Joe, “but it also drives healthier innovation. The companies pushing forward, those delivering new ideas, inspired workflows, and genuine musical value, will define the next chapter.”
Competition creates innovation
Innovation is a common talking point. When asked if there are too many synthesizers on the market now, Girts responds: “Define ‘too many.’” Having grown up in the former Soviet Union, he has a unique perspective on the subject.
“If we ask the question, ‘Are there too many synthesizers?’ that means that we must consider some regulating body that will tell us specifically that we need this amount of synthesizers.” Rather, because we have a free market, manufacturers must create new innovations to survive.”
“This leads to a kind of arms race,” he continues, “and synthesizer manufacturers are forced to innovate to get something more unique.”
To illustrate, Girts points out the sheer variety of synthesizers available now compared to the 1970s and 1980s, when development was largely technologically driven. “For instance,” he says, “subtractive synthesizers emerged, and then all of a sudden, a lot of companies started their own subtractive synthesizer development with very few exceptions.” The challenge now, for manufacturers and engineers, Girts says, “is to actually come up with some substantial innovations in sound generation techniques, and unique user interfaces, or weird synthesizers, because the basics are covered.”
Joe points out that Moog’s recent Messenger has been successful precisely because of its innovations. “It was designed to be accessible,” he says, “yet it introduced genuinely new creative tools, like its wavefolding oscillator, expanded FM capabilities, Res Bass lift, and generative arpeggiator. These innovations resonated strongly. Artists and producers immediately adopted it into their setups.”
Holes in the market and new markets
Bob Rogue, the business manager at Black Corporation, is also positive in his outlook about the state of synthesizers. “A saturated market doesn’t exist,” he says. “There are still holes in the market.” Stating that there will always be someone who wants to buy whatever’s being made right now, he points to non-standard synthesizers and novelty as places where the market still has room to expand, such as “different formats like 5U or Eurorack, or making something weird like a 12U.”
Bob also points to Erica Synths’ Bullfrog, the semi-educational hybrid tabletop synthesizer made in conjunction with Richie Hawtin, as an example. “It’s not doing anything new from a synthesis standpoint, but it looks weird.” And that can be enough.
Another element to consider is the opening up of new markets. While 35% of synthesizer sales still happen in North America, emerging markets are already changing that. “Asia is a huge market that’s going up right now, especially in electronic music,” Bob points out. “India is blowing up, Korea is blowing up. Even Thailand’s got a techno scene. All these places are starting to inspire more interest in people wanting to make music.”
Retreat of the clones
One area where there may be saturation, however, is in clones of classic synths. “There are people making clones of things that don’t need to be cloned,” opines Bob. This may be where the Pro-16 ran into trouble. With many Prophet soundalikes already on the market in both hardware and plugin forms, Behringer may have decided that one more was unnecessary.
“We’re feeling the decline in enthusiasm because it’s all become so familiar,” says Robin Vincent of Eurorack channel, Molten Modular. “A lot of people have satisfied themselves with an abundance of synths and sounds, and in some ways that mission is complete.” Through brands like Behringer and others, he says, “people can have all the synths they ever dreamed of, but there’s a finite number of those nostalgic enthusiasts, and I think that Behringer is starting to feel that they’ve hit that number already and are going to end up with warehouses full of old synths.”
The state of Eurorack
Eurorack and modular synths have seen an explosive growth in the past decade. However, as with remakes, the market for new modules is now slowing down. “We were very much spoiled when Eurorack was growing exponentially,” laments Girts. “You could actually put out anything, and it would sell. We were lucky that we could surf on this wave of insane growth. Now [that] it’s slowing down, it’s getting more challenging.”
Bob of Black Corporation sees cloning within Eurorack as an area that’s experiencing less growth particularly. “People are less nerdy [about wanting something to sound exactly like the original now]. As the market of modular stuff grows, the sound-nerd specific group is not growing as fast. There are so many different factors to consider.”
On the other hand, Robin sees fluctuations in Eurorack sales as having reached a kind of equilibrium now. “There was a bump a couple of years ago when it felt like a huge chunk of people just thought ‘sod it’ and sold all their modular to get something more immediately useful like a Digitakt. But I think a more sensible level has been found that’s buoyant enough to keep the industry ticking over. It’s more holistic.”
Where do we go from here?
When asked about the challenges that synthesizer manufacturers are facing in 2025, Girts identifies creativity and accounting. “Creativity for developing a synth that will find its market, and accounting to get it to production. The more companies emerge, the more challenging it is to find the right customer.”
Joe also mentions creativity. “These are the deeper questions about how to design better instruments, anticipate the needs of modern musicians, and turn new ideas into innovative products. Our engineers and instrument designers rally around these opportunities and pressure-test ideas until they become truly great. Our strength has always come from transforming constraints into invention and pushing our craft forward.”
For Robin, the biggest challenge lies in a different direction: “The difficulty we have right now is access.” With traditional places for musicians to try before they buy, like music shops closing, and trade shows few and far between, he’s pushing for a more local approach. “The answer has to be more grassroots, more community-led,” Robin says. With that in mind, he’s started a monthly event in Norwich, UK, called Synth Picnic where people can try synths out and, if they wish, also buy. “I hope that it will inspire and attract new people into hardware synthesis and modular,” he says.
“More Moog synthesizers are being sold today than before,” notes Joe, highlighting just how healthy the market currently is. Ultimately, the message seems to be that there is still room for more synthesizers in the market, just as long as they can match the changing needs of customers.
“The companies pushing forward, those delivering new ideas, inspired workflows, and genuine musical value, will define the next chapter,” Joe says. “The synthesizer market isn’t oversaturated; it’s evolving.”
The post Are there too many synthesizers? appeared first on MusicTech.