What is the future of synths? Korg, Newfangled Audio and Madrona Labs share their predictionsSynthesizers are an incredible mixture of physical instruments and electronics. While the physical side of things doesn’t change very much – the piano has remained relatively the same for centuries now – the technology inside is like a wild rollercoaster ride; twisting and turning, with new highs around every corner. Or at least it used to feel like this. The past decade or so has seen the evolution of synthesis slow down, with modifications replacing wholesale introductions.

READ MORE: On the borderline: The different synthesis styles of the world

While there have been a few modern developments, most of the synthesizers we enjoy today are based on old ideas. Analogue has been around since the middle of the 20th century, while sampling, FM synthesis and physical modelling came out of advancements made in the 1970s. Even virtual analogue, which has played such a large part in modern synthesizers, developed out of physical modelling.
But is this just the quiet before the storm? There is surely something new, some excitingly novel form of synthesis lurking just around the corner. AI seems like a likely candidate for the Next Big Thing – but then again, who knows?
If anyone does know, it’s the engineers and developers working on them: people like Korg Berlin CEO Tatsuya Takahashi and Korg Berlin’s Lukas Hartmann; Randy Jones of Madrona Labs; and Dan Gillespie from Newfangled Audio. They’re all engaged in pushing the envelope of synthesis.
Here’s what they had to say.
Musician making music with a synth at his desk. Image: Westend61/Getty Images
What is the future of synthesis?
Randy Jones, Owner and Systems Designer, Madrona Labs
“Since computers became music machines, we can think of all sounds as being out there in the possible space of data, somewhere. And so synthesis is really about finding them. Finding them, and connecting them in meaningful ways to controls for performance.
“There are a limitless number of ways to think about sound; new metaphors that can become tools for synthesis, and I think we’ll continue to see a big kind of opening up as people use computers and new analogue/digital hybrids to explore these possibilities.
“The idea for my newest synth, Sumu, came from a very specific experience: listening to a stream in the woods and thinking about how to make a sound like that. Or ‘What if the stream could sing?’ These kinds of ideas are available to anyone willing to be still for a moment and pay attention to nature. And with computers and sensors, we can take these abstract or even poetic ideas and design usable, human-centred systems around them. That’s the future I want to help build.”
A synth on a rack in a recording studio. Image: Jose Carlos Cerdeno Martinez/Getty Images
Lukas Hartmann, Hardware Developer, Korg Berlin
“I don’t know if I see any one future of synthesis. I guess it depends on how you look at it but, importantly, I don’t think you need future tech to make new and exciting sounds. I think that’s why making instruments is fun.”
Dan Gillespie, Founder, Newfangled Audio
“I don’t think anyone knows exactly, which is fantastic. I tend to view all musical instruments as a combination of an interface (the part the human interacts with) and a synthesizer (the part that makes the sound). Both are equally important. For instance, a piano and a harp both have a synthesizer comprised of resonating strings connected to a soundboard but they sound totally different because the interface is different. This way, I don’t think of a synthesizer as something that started with the invention of electronics but something fundamental to our humanity, ever-changing, but ever the same.”
Tatsuya Takahashi, CEO, Korg Berlin
“The future is bright. I feel it in my bones that the world is shifting away from the geekery, knobs, switches and more into what helps you make music – with or without all the bells and whistles.”

Do you think AI will be a part of the future of synthesis?
Dan Gillespie
“Absolutely. It’s been a big year for AI but it’s important to remember that AI is just the word we use for computers doing things that we thought only people could do. Because of this, once we get used to computers doing these things, we stop calling it AI, now it’s just technology.
That said, there are some new AI-branded technologies that have the capability to really transform how people make music.
“(A) recent AI trend has been audio-controlled synthesis. These are processes that take audio input, extract some control data, and use it to resynthesize a new sound. AI Drake is an example of this but similar projects exist which allow your voice to control other synthesizers. This analysis/resynthesis approach is not new to AI but neural networks are powerful here. I’d guess we’ll see more projects like this in the future.”
Randy Jones
“Sure, but let’s call it what it is: statistics – or if you like, machine learning. ‘Artificial Intelligence’ is a marketing term that was effective at getting military funding when it was first invented and more recently at boosting the share price of some startups. It obscures the truly neat new things that can be done with machine learning techniques.
“Synplant 2 is a great example of how to apply machine learning to make something cool, useful and new. What’s great about it is that Sonic Charge started with a nice synth engine and built the machine learning stuff around helping people use that. As the tools to do similar things become easier to use I’m sure we’ll see other remarkable new uses of machine learning to find sounds.”

Tatsuya Takahashi
“There will always be a place for resource-efficient content generation and AI looks to serve this sector for sure.
“As for the prospect of AI as a creative tool, I think the rebellion against it will be the more interesting driver for new music than its direct use. There is always going to be counter play to keep things interesting. Punks against the rockers. Impressionists against the academics. That kind of thing.”
Lukas Hartmann
“I absolutely think it will, and it already is. I reckon I see AI as more of an enabler – more than AI being the voice of an instrument maybe the most exciting thing about it is the instruments it can allow us to make. But let’s see!”
A poly synth alongside other equipment in a recording studio. Image: FilippoBacci/Getty Images
Have we reached the point where current synthesis methods such as analogue or FM are at their peak, with only room for small adjustments as with the guitar or piano?
Randy Jones
“Yes, some kinds of synths have definitely entered the realm of codified instruments. A few things like a Moog-y filtered mono voice or a lush stringy pad are part of the timbral vocabulary of composers now, and so probably, forever, we’ll see versions of those instruments that differentiate mainly on usability and other features.
“But there are always composers and sound designers at the cutting edge who love to incorporate new things and then, if there’s enough sustained musical activity around a weird new thing, it can become commonplace too.”
Lukas Hartmann
“Maybe? But there’s still a huge amount of people making and enjoying those. For the majority of people, a synthesizer probably isn’t defined by the technology inside it but much more by the music it allows them to make. For me, it’s more about connection and character, and guitar and piano surely excel in both of those categories. Let’s make more instruments like them!”
Musician making music with a synth in a recording studio. Image: South_agency/Getty Images
Dan Gillespie
“In the early 1700s, an Italian man named Bartolomeo Cristofori invented the gravicembalo col piano e forte, literally, the ‘harpsichord that can play soft and loud.’ We call this the first piano but it looked and sounded like a harpsichord. It took about 100 years and many false starts for the piano to morph into the instrument we know today. Steinway and Sons were still filing major piano patents in the 1930s.
“The point is that musical instrument development is better seen as an evolutionary process rather than a revolutionary one by which a new instrument is birthed from whole cloth. The good news is that musical instruments are probably evolving at a faster rate than ever before. In the past 20 years, wavetable synths have moved from a way to recreate acoustic sounds to their own instrument with their own unique sounds, and the cornerstone of several genres.
“Analogue modelling technology has also vastly improved over the last decade, enabling us to design ‘analogue synths’ that could never have been created in the real world. I view this as a new form of analogue design.
“Even on the interface side, MPE is a powerfully expressive protocol and the most successful way to control musical synthesis in a generation.”
Cables connected on an analogue synth. Image: hanohiki/Getty Images
Tatsuya Takahashi
“It would be amazing if synths reached the ubiquity of the guitar or piano. My job is done when someone dresses up as one of my designs at Halloween (and normal people get it). Seems we’re not there yet, so maybe we need to look outside of existing synthesis methods. We are doing that now with our acoustic synthesis research.
“But really, who cares about what the synthesis method is or whether the revisions are big or small? We’re just trying to make better instruments to make music with. End goal being a great Halloween costume, of course.”
The post What is the future of synths? Korg, Newfangled Audio and Madrona Labs share their predictions appeared first on MusicTech.

Is Music Marketing With TikTok Still ViableThis week, Ari is joined by Suzy Yoder, founder of YO SUZY, an agency specializing in short-form vertical content for musicians.

CES 2024: Everything revealed so far, from Nvidia to rabbit’s pocket AI to Kodiak’s autonomous semi truckOne of the year’s biggest tech events has kicked off in Las Vegas, and we’re here to bring all the reveals before the show floor opens.
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SOMA Laboratory introduce Metaconformer MIDI router Metaconformer makes it possible to combine multiple MIDI devices into a single instrument with custom split zones, layering and more.  

SOMA Laboratory introduce Metaconformer Metaconformer makes it possible to combine multiple MIDI devices into a single instrument with custom split zones, layering and more.  

Queens Of The Stone Age at the Kia ForumJosh Homme hit some of his finest high notes as Queens of the Stone Age's "The Endis Nero" tour wrapped up in 2023 in the man's home state of California. One of the lasttrue rock stars and artists, Homme & Co. delivered a show in all caps. As manyhardcore Queens fans did attest following the show at the Forum, it was the band at theheight of their creative and raw power.

Even when Queens goes a little more stylistically slick, as they did on their previousalbum, "Villains," it's not all polish and sheen, especially live. One of the highlights ofany Queens shows, which this writer attended three of this year, is discoveringnewfound love for many of their tracks, thanks to the helluva live experience. "Villains ofCircumstance," made for such a disturbed, moving moment as Queens were drenchedin darkness. The melancholia behind the thunder was volcanic. A redundant reminderQueens can pull at the heartstrings when desired. As for the tracks off the new album“In Times No Roman,” such as the pained lyrics of “Time & Place,” continue to grow likeflowers under an acid-powered sun in a live setting.

Thunderous is exactly how to describe the work of dapper guitarist Troy Van Leeuwen,triple threat Dean Fertita (keyboards, guitar, backing vocals), mega-fingered bassistand energizer bunny Michael Shuman, and the mild-melter drummer, Jon Theodore.Talk about a group of singular artists playing together in such extreme harmony. Whenthese guys are all on stage together and let it rip – most notably in “God is in the Radio,”in which Theodore’s solo drums out the rest of the world – it’s a hard-charging, no-brakes pumped 100-minute or so experience.

If it isn’t clear by now, Queens goes hard. What’s been particularly wonderful about thistour, though, which reached another peak on a wild night in Glasgow, Scotland, was thepeace and love behind the chaos of it all. Josh Homme pontificating about love? Beinghere and now? Well, the tour was called “The End is Nero” for a reason, and duringthese apocalyptic days and daze, Homme’s "let’s love each other, man" attitude provesinfectious. If the end is truly near, at least Queens of the Stone Age are providing thesoundtrack.

Queens Of The Stone Age

qotsa.com

FM-Film & Music Artist Platform The organisation behind the annual Film Music Contest have announced the launch of a new networking platform dedicated to artists, companies and institutions working in the world of music and film.

Sir Lucian Grainge: After ‘artist-centric’ royalties, UMG’s ‘next focus’ is ‘superfan experiences and products’UMG is 'already in advanced discussions with [its] platform partners regarding this phase and will have more to announce in the coming months,' said Grainge in his New Year note to UMG staff
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Dubreq launches pitch-only version of the ThereminDubreq, known for creating the Stylophone, has designed its own budget-friendly version of the ground-breaking Theremin synthesizer.
The Stylophone Theremin is a portable, touch-sensitive synth inspired by the original 1920s tech designed by Leon Theremin; much like the original, Dubreq’s take on the Theremin will detect a user’s movement, meaning artists will be able to physically flesh out their desired sound, which an antenna will pick up.

READ MORE: CES 2024: JBL unveils new range of true wireless earphones plus portable speakers for travel and parties

However, the piece is not intended to be a perfect clone of the original Theremin. The Stylophone Theremin will only boast a single-antenna, rather than the classic pairing of a pitch and volume (VCA) antenna. This means that a user’s movement will only be able to control the pitch, while the removal of the volume antenna should result in it being easier to learn and play.
Credit: Dubreq
Every effort has been made to make the tech easier for modern creatives to use. While the motion sensitivity will allow for wild, wobbling retro Theremin magic, there is also a control panel to adjust and fine-tune sounds. With a slider for precise notes, and the ability to have vibrato and delay effects, as well as drone and trigger notes, the Stylophone Theremin aims to have an incredibly accessible interface.
The synth also has a built-in speaker as well as a headphone input socket, as well have having the option to be mounted on a microphone stand.
On the official pre-order page, Dubreq writes: “wave your hand around its antenna, move its slider from side to side, and go over the edge with mad modulation, wobbly vibrato, and crunchy echoing delay for crazy, quirky, sci-fi sound creation!”
Pre-order on the Stylophone website. Pricing will be approximately $110/€100/£90.

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Smashing Pumpkins are holding Open Auditions to find a new GuitaristThe Smashing Pumpkins are looking for a new guitarist, and anyone – as in anyone who thinks they can share the stage with Billy Corgan – is welcome to apply.. Continue reading
The post Smashing Pumpkins are holding Open Auditions to find a new Guitarist appeared first on Hypebot.

Record Store Day sets 2024 dateThe next Record Store Day will be on Saturday, April 20th. “Be sure to save that date on your calendars for the largest single-day music event in the world, taking. Continue reading
The post Record Store Day sets 2024 date appeared first on Hypebot.

QUICK HITS: Roxi to launch in US with Sinclair • MBW Entrepreneur Of The Year • EastCoast EntertainmentMusic video platform ROXi has partnered with station owner Sinclair to create the first interactive over-the-air broadcast channels in the US. Initially, three interactive music TV channels will launch in. Continue reading
The post QUICK HITS: Roxi to launch in US with Sinclair • MBW Entrepreneur Of The Year • EastCoast Entertainment appeared first on Hypebot.

“Innocent” Four Tet “shocked” by career success, says Logic1000UK producer Four Tet still has a humble sense of “innocence” and is “shocked at his life”, says fellow producer and DJ, Logic1000.

READ MORE: Photographer fined after Fatboy Slim nearly hit by drone

In a recent cover interview for NME, Logic1000 says Coachella 2023 co-headliner Four Tet – real name Kieran Hebden – has made her realise how much she loves her job as an artist. According to her, he’s surprisingly “shocked” at the opportunities his career has given him even after 27 years in the game.
“We were sitting in Pret before a show and he mentioned how shocked he was at his life, and what his career had enabled him to do and experience,” she tells NME. “This is someone who has been in the industry for so long and still had this innocence of someone who couldn’t believe what position he was in. He had this bright-eyed, not jaded disposition and that really stuck with me even if I didn’t realise it at the time.”
Mother by Logic1000
Now set to release her debut album, Mother, in March, Logic1000 – real name Samantha Poulter – goes on to say how it was Hebden’s reality check that partly re-invigorated her, saying she now feels “blessed” to be where she is.
“For so long I was in survival mode and so negative about everything and now I understand where [Kieran] is coming from,” she says. “This whole life and career is such a blessing to have this opportunity; there are so many great things about this job that I didn’t realise but do now.”
“I realised in therapy that this is actually my dream job: to perform as a musician. For many years I repressed that and told myself that I didn’t deserve it. It renewed me – I had that innocence again about how cool this life is.”
Also in the interview, Logic1000 reveals how giving birth to her daughter Genie provided new “confidence” to make music.
“When I entered motherhood I was like, ‘If I can create a baby, I can create something else that’s pretty awesome’. It felt like I finally had confidence in myself,” she says.
Listen to Logic1000’s music via Bandcamp.
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‘XP Music Futures showcased how strong the music industry in the MENA region can become.’Saudi Arabia recently played host to the third edition of XP Music Futures, a three-day industry conference held in Riyadh
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Best DJ plugins of 2024: Free software and apps for DJingMixing your favourite music has become incredibly accessible in recent times. Rather than requiring savings for turntables and a mixer, you can initiate your DJing journey right from your laptop without any cost. There’s plenty of freeware out there that equips you with professional features, whether you’re planning on testing out a few tracks to mix before a big gig or need an app to use with your new DJ controller. Some software is even capable of connecting streaming services, isolating stems in a track and video mixing.

READ MORE: Best freeware for music-making: Top free apps, DAWs, plug-ins, instruments and more

We’ve rounded up the best free software for DJing on both Windows and macOS that will have you mixing in no time and for no cost at all.
The best free software for DJs at a glance:

Atomix VirtualDJ
Beatport DJ
Serato DJ Lite
Rekordbox (Free plan)
Mixxx
Mixvibes CrossDJ Free
UltraMixer
WeDJ

Atomix VirtualDJ

With over 100 million downloads, VirtualDJ is a superb choice for beginners and experienced DJs alike. The free software boasts state-of-the-art stem separation, streaming platform integration, customisation and essential mixing tools. You’ll have access to a bank of effects, a sampler and a library management system for quick searching, smart folders, playlists and more. The downside is that you’ll need to pay for a VirtualDJ License if you plan on using a DJ controller.
Pros
+ Stem separation and ModernEQ for creative mixing
+ Access to millions of songs on SoundCloud, Deezer, Beatport and Tidal
+ Customisable interface with multiple decks
+ Video mixing capabilities
Cons
– No controller support with a free license
Download: Atomix
BeatportDJ

BeatportDJ is a cloud- and browser-based DJ app. That means you simply subscribe to Beatport account and get mixing from your browser. It has all of the expected features, such as four-channel mixing, looping and effects, but you can also Create and discover shared playlists from Beatport LINK’s vast catalogue, drag and drop in music, take the party to your mobile device with the Beatport DJ app, and even play B2B in real-time with friends from anywhere in the world using Party Mode. You can use it for free in Preview Mode, or pay a monthly subscription to unlock a plethora of features.
Pros
+ All online – no need for installations
+ Access music from Beatport LINK
+ Party Mode lets you mix B2B with friends remotely
+ Create and share playlists
+ Connect to DJ and MIDI controllers
+ AI-powered automix function
Cons
– All music you use must be purchased from Beatport
– Requires a subscription for full use of features
Download: stream.beatport.com
Serato DJ Lite

Serato DJ Lite is the stripped-back version of the brand’s leading DJ software, used by some of the best DJs in the world. This version has incredibly limited features unless you’ve got a DJ controller that comes with a Serato DJ Lite unlock. But, you can stream and mix music from SoundCloud, Tidal, Beatport and Beatsource, provided you’re subscribed to those services. If you’re looking to get a feel for the very basics of DJing, Serato DJ Lite will prove useful.
Pros
+ Fair amount of features to get started with DJing, including cue and loop points to jump and sample slots
+ Streaming from Beatport, SoundCloud, Tidal and Beatsource
+ Livestreaming capabilities
Cons
– You’ll need supported hardware to access filters, EQ, and effects
– Can be difficult to navigate without Performance Mode
Download: Serato
Rekordbox (Free plan)
Rekordbox
Rekordbox is a robust piece of DJ software built for professionals. For that reason, the full-feature and hardware-compatible version of Rekordbox can cost an arm and a leg (the Professional plan costs $30/month). Even with the free version of Rekordbox, however, although you can only use it by itself and without a controller, you can mix your music on an interface that, because Rekordbox is owned by Pioneer DJ, has a similar look and feel to CDJs.
Pros
+ Brilliant music library management
+ Seamless compatibility with Pioneer DJ equipment
+ Basic DJ performance features included
Cons
– Limited features compared to the paid version
– No hardware compatibility
– Dependency on Pioneer DJ equipment for optimal performance
Download: Rekordbox
Mixxx

Mixxx goes above and beyond as a free application, giving you four decks to mix with sync, looping, pitch and key controls, and quantisation. You can also use up to 64 sampler decks to pepper sounds over your mixes. Happily, you can connect a range of DJ controllers to Mixxx, and even use timecode vinyl and CDs without having to pay the price of high-end DJ software. Some basic features are noticeably absent, but if you’ve picked up a second-hand DJ controller, you’ll want to try out Mixxx.
Pros
+ Built-in mapping for a range of DJ controllers and timecode support
+ Four decks of mixing
+ Effects chains for linking multiple effects
+ Easy broadcasting
Cons
– Missing some basic features
– BPM detection is not always on point
Download: Mixxx
MixVibes CrossDJ Free

MixVibes’ CrossDJ Free is ideal if you’re passionate about mixing in key, thanks to its instant key suggestion tool. CrossDJ comes in the form of three versions, with the free edition being surprisingly capable. It provides two decks, three effects, and two fully-featured video decks with transitions, camera integration, and more. With over 80 mapped controllers from brands such as Numark and Pioneer DJ, it can stream tracks from SoundCloud, and access smart playlists based on BPM and more. A Match section helps track compatibility and shows your play history.
Pros
+ Two music decks and two video decks
+ SoundCloud streaming
+ Smart playlists and Match feature useful for all levels of DJ
+ Compatible with plenty of controllers
Cons
– Limited performance features in free version
– Have to upgrade to record mixes
– GUI could be more intuitive
Download: Mixvibes
UltraMixer

UltraMixer is for DJs that love triggering samples throughout a set. Its customisable layout moves the mixing section to the bottom of the screen and has a browser underneath each of its two decks. The central mixing section can be swapped out for two AudioSamplers, video samples, notes, and more. However, the free demo version of UltraMixer Pro Entertain has a 60-minute time limit and only offers three effects. It supports over 80 DJ controllers, so you can try new controllers before purchasing more comprehensive software.
Pros
+ Good software for learning the absolute basics
+ Customisable layout
+ Support for over 80 DJ controllers
+ Video, streaming and broadcasting support
Cons
– Free version needs rebooting after 60 mins of use
– Limited effects section
– GUI might be too different to other pro DJ software for some users
Download: UltraMixer
WeDJ

Pioneer DJ’s free WeDJ app is aimed at entry-level DJs mixing on the fly or plugging in to a controller without fuss. It has all the nuts and bolts – a two-channel mixer, effects, looping – but gives you instant access to music from streaming services Soundcloud Go+ and Beatport. WeDJ delivers for people looking for a portable, hand-held mixing solution. Plus, if you’re looking to learn the fundamentals of mixing, its helpful tutorials and pop hints come in handy.
Pros
+ Portable, handheld mixing
+ Signature Pioneer DJ design
+ Performance effects controls
+ Access to Soundcloud Go+ and Beatport
+ Useful tutorials and pop hints
Cons
– Clunky effects for pro setups
– Somewhat basic features
Download: pioneerdj.com
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