Arturia’s AstroLab 37 review: Big sounds, small footprint$699 / €699, arturia.com
Upon its 2024 release, Arturia’s AstroLab was described by company co-founder Frédéric Brunas as “everything we’ve ever wanted to achieve.” Back then, I noted in my cover story for MusicTech that the story of the AstroLab, a keyboard that places presets from the Analog Lab software plugin into a computerless hardware setup, is really the story of Arturia.

READ MORE: Arturia’s AstroLab: The story of an instrument ten years in the making

The France-based developer was initially founded by Frédéric Brun and Gilles Pommereuil as a software-only company, but its offering soon diversified with hardware synths, controllers and more. AstroLab ties them back together.
Now comes the AstroLab 37, a far more modest offering than the original AstroLab, but with all the power when it comes to software. Over 1,800 presets across more than 40 instruments, onboard effects, ten sound-surfing preset buttons— it’s every bit as much AstroLab as its predecessors.
Arturia’s flagship software suite, V Collection, now stands at a whopping 45 instruments — Minimoogs, Mellotrons, Emulator IIs, the lot. Analog Lab pulls presets from across the V Collection range and condenses editing into Macros for quick, broad-strokes editing: Brightness, Timbre, Time and Movement.
Image: Press
Analog Lab is not a place for deep-diving; it’s a place for organising presets for quick recall and for optimising performance. In some ways, that might be enough for you to stop reading here, since this workflow won’t appeal to everybody. But if you’re the right type of player or producer, the AstroLab ecosystem might just be what you’ve been waiting for.
Since the release of the original, another AstroLab model sporting 88 keys has also joined the range. It almost goes without saying that the “future-proof” AstroLab 88 pushed the hardware side of AstroLab even further, maintaining the fundamentals of the workflow with a hammer-action keybed and updated CPU for extended polyphony.
Where can Arturia go from there? The answer is simply the other way: smaller. But rest assured — it’s no less impressive.
AstroLab 37 heralds the range’s diminutive side, proving the adaptability of the Lab ecosystem, from the smallest to the largest scale and from the most plumbed-in studio to the lightest of portable setups. I’ll go out on a limb and assume that while the original AstroLab may have assumed pilot duties, the plan was always to branch out in both directions from that 61-key starting point.
Image: Press
So what’s new? Well, the AstroLab 37 has to make tactical use of its size to prevent performers from feeling congested. It does this extremely well— in fact, it sports almost the entire panel feature set of its bigger siblings.
Build quality is astonishingly good for such a lightweight unit: Firm controls, wood-finish side panels and sturdy. I’m disappointed to find it can’t be bus-powered over USB when connected to a computer (even the titanic Arturia KeyLab 88 can be) but then again, this is not simply a MIDI controller.
The circular screen is still present in glorious technicolour, but the Screen Encoder is replaced by a smaller encoder beneath, which I prefer since it keeps the view of the screen clearer without my hand obscuring things. The eight encoders are here not endowed with light-up rings, but are still capacitive, meaning that just resting a finger on them shows their value onscreen, which is highly useful. As I found with the AstroLab 61, there is still some lag when changing presets, though not to the extent that it becomes truly disruptive.
As for the keyboard itself, for its size, it feels playable and remarkably spacious. However, not all of Arturia’s software instruments lend themselves to the same form factor. Augmented Piano depends on weighted keys, while synths like the Jup-8 V or SEM V need nothing of the sort to feel authentic. An organ equation like the B-3 V, meanwhile, will do well with semi-weighted keys. In this way, I can easily imagine resident users of Analog Lab using two or more AstroLab models at the same time; perhaps a double-tier stand with an AstroLab 88 below and a 37 on top, for keys and synths respectively.
Image: Press
Alternatively, the Lab ecosystem might take on an almost iCloud-like role when it comes to presets, with the same sounds accessible on two keyboards of vastly different form factors, meaning that players really can take their sounds with them, whatever the demands of the session: a large-scale gig or a pop-up songwriting session.
It’s interesting to note the timing of the AstroLab 37’s release. Recent months have seen the unveiling of many similar-sized keyboard instruments and controllers, from the microKorg 2 to Sequential’s Fourm and Telepathic Instruments’ Orchid— even Arturia’s own KeyStep Mk2. While these all occupy different roles, it indicates that more producers are looking for light-on-their-feet setups, which the AstroLab 37 caters to marvellously.
I will say, not least from the vocoder-ready microphone input on its rear, there is something distinctly microKorg-ish about the AstroLab37. And I don’t just mean the unfortunate fact that its— ahem— still un-deletable Artist Tribute presets remind me somewhat of the microKorg panel’s unnecessarily cheesy genre headings (don’t like Bruno Mars? Tough luck!)
Image: Press
But, of course, those Tribute presets, while they irk me, may inspire you. And they are by no means compulsory to use. On the subject of loading presets, the ease of use given by the AstroLab Connect app, which lets you browse and load presets wirelessly from your smartphone, is a boon, particularly in a live setting.
The AstroLab 37’s core currency, like the rest of the growing AstroLab range, is in its deployment of studio-crafted Analog Lab presets, and this it does excellently, with almost no palpable sense of sacrifice on account of its size. If anything, it might be the most impressive AstroLab yet.

Key features

Over 1,800 presets
40+ instruments
37 slim keys with aftertouch
10 preset buttons for quick access and live usability
8 macro knobs
Built-in insert effects, delay & reverb
Vocoder with mono input

The post Arturia’s AstroLab 37 review: Big sounds, small footprint appeared first on MusicTech.

AllMusic Loves 2025Our editors share a wide variety of their personal favorite albums of 2025, featuring some of the year's biggest releases and a wealth of lesser-heard gems.

I hate that I love Riverside’s AI-driven “Rewind” for podcastersRiverside's year-end review is amusing, but it represents a creative culture that's increasingly entwined with AI.

Bob Moog Foundation To Honor Rock Legend Keith Emerson At 2026 NAMM ShowAccording to news on Monday, "The Bob Moog Foundation is proud to announce that it will honor the legendary keyboardist Keith Emerson at the 2026 NAMM Convention, which runs from January 22, 2026 to January 24, 2026. The Foundation will host a Keith Emerson Moog Modular System reissue, one of five ever produced, in its NAMM booth, in commemoration of the tenth anniversary of Emerson’s passing. Various musicians and technologists will be demonstrating the modular throughout the three days. The Foundation will also present a TEC Tracks panel, Celebrating the Legacy of Keith Emerson, on Friday at 4 pm."

"Moog Music’s Keith Emerson Modular System (KEMS) was announced in the spring of 2014 in collaboration with Keith Emerson," a statement reads. "Using original documentation as well as circuit board and art files for nearly every original Moog module, Moog engineers painstakingly recreated the original Keith Emerson Moog Modular System, which came to fame on countless stages around the world with Emerson featuring it with Emerson, Lake, and Palmer. The massive reissue systems originally sold for $150,000 each. The system being featured at NAMM is owned by Orange Coast Modular."

"A technical and historical presentation about the modular will be given at the Bob Moog Foundation NAMM booth by Moog historian Brian Kehew at noon on Friday and Saturday. Musical demonstrations will be given throughout the weekend by gifted modular synthesists Andrew Colyer, Lisa Bella Donna, Rachel Flowers, and Erik Norlander."

“The Bob Moog Foundation is deeply honored to be hosting the Keith Emerson Modular System in its booth at NAMM 2026,” noted Michelle Moog-Koussa, Executive Director of the Bob Moog Foundation. “It is impossible to overstate how important Keith was in bringing the Moog modular synthesizer into the rock genre. He ignited fan’s imaginations with his virtuosic playing, and left an indelible musical legacy.”

"Panelists on the Celebrating the Legacy of Keith Emerson discussion include: Mari Kawaguchi, Emerson’s fiancée, Brian Kehew, Rachel Flowers, Steve Porcaro (TOTO), and Rich Walborn, Emerson’s modular tech in the 1970s. Michelle Moog-Koussa, Executive Director of the Bob Moog Foundation, will moderate.  The panel will take place from 4 pm - 5 pm on Friday, January 23rd, in the Hilton’s California B room."

“As we enter the tenth year since Keith’s passing, having the replica of his modular Moog synthesizer on display at the Bob Moog Foundation’s NAMM booth feels profoundly meaningful – a tribute to Keith’s unique bond with Dr. Robert Moog and the ongoing work of the Bob Moog Foundation,” noted Mari Kawaguchi, Emerson’s fiancée. “What moves me most is that people will be able to experience the instrument up close, standing before the very creation that shaped Keith’s voice and forever changed modern music.”

"Keith Emerson (November 1944 – March 2016) was an English keyboardist, songwriter, composer, and record producer. His masterful use of keyboards marked his work in The Nice in the late 1960s. After leaving The Nice in 1970, he became a founding member of Emerson, Lake & Palmer (ELP), one of the early progressive rock supergroups. Soon thereafter he acquired a large Moog modular synthesizer, which he continued to build upon. The synthesizer became a hallmark of his virtuoso performances."The post Bob Moog Foundation To Honor Rock Legend Keith Emerson At 2026 NAMM Show first appeared on Music Connection Magazine.

Giant Neopixel Is Just Like The Regular Kind, Only BiggerNeopixels and other forms of addressable LEDs have taken the maker world by storm. They make it trivial to add a ton of controllable, glowing LEDs to any project. [Arnov Sharma] has made a great tribute to the WS2812B LED by building the NeoPixel Giant Edition.
The build is simply a recreation of the standard 5mm x 5mm WS2812B, only scaled up to 150 mm x 150 mm. It uses a WS2811 chip inside to make it behave in the same way from a logical perspective, and this controller is hooked up to nine standard RGB LEDs switched with MOSFETs to ensure they can deliver the requisite light output. The components are all assembled on a white PCB in much the same layout as the tiny parts of a WS2812B, which is then installed inside a 3D-printed housing made in white PLA. Large metal terminals were added to the housing, just like a WS2812B, and the lens was then created using a large dose of clear epoxy.
The result is a fully functional, addressable LED that is approximately 30 times larger than the original. You can even daisy-chain them, just like the real thing. We’ve covered all kinds of projects using addressable LEDs over the years, from glowing cubes to fancy nature installations. If you’ve got your own glowable project that the world needs to see, make sure you notify the tips line!

Ollie Wards departs as TikTok’s Director of Music for Australia and New ZealandWards' adieu follows hot on the heels of Charlotte Stahl's departure as head of Music Partnerships for the EMEA region
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Electro-Harmonix Big Muff Pi 2The Big Muff Pi 2 is an analog fuzz pedal from Electro-Harmonix that resurrects a never-before-released dual op-amp circuit designed by Big Muff creator Bob Myer in the late 1970s. Discovered as a hand-drawn schematic, this design features two dual op-amps, providing a distinct voicing that separates it from the classic transistor-based and later Op-Amp Big Muff models. This pedal is intended for guitarists, bassists, and sound designers seeking a Big Muff variant with a sharper edge and a notably pronounced low-end and midrange frequency response. Its clipping is less refined than other models, delivering a uniquely aggressive texture and high output volume while maintaining the signature, long sustain of the Big Muff line. The unit is housed in a compact nano-sized chassis and features a modern, soft true bypass footswitch with both latching and momentary action modes for versatile performance. Key Features Circuit: Analog Dual Op-Amp Fuzz based on a previously unreleased 1970s schematic. Tone: Characterized by high output, enhanced low-end, and less-refined clipping for an aggressive texture. Controls: Dedicated knobs for Sustain (gain/distortion), Tone (variable filter), and Vol (output level). Bypass: Features silent true bypass switching via a mechanical relay. Footswitch: Offers user-selectable latching or momentary footswitch operation. Chassis: Nano-sized die-cast enclosure with custom artwork. https://youtu.be/SO0bn9O0jQQ?si=yzxARXvq9dQ6FgMK Read More

Shinju on sound design in Serum, the art of imperfections, and more
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FL Studio is coming to your browser as FL Studio WebImage-Line CEO Constantin Koenche has announced FL Studio Web, a browser-based version of the beloved DAW, FL Studio — better known to many as FruityLoops.
FL Studio Web isn’t a complete port of FL Studio desktop, but it boasts the same workflow, FL Cloud integration, stock FL Studio plugins, and a strikingly similar GUI. Koenche says the DAW is designed as both a “gateway into music production” and a powerful on-the-go companion for experienced users. In practice, that means that you can start a track in the browser, save the project, and access it later at FL Studio desktop, complete with the full suite of Image-Line plugins. At least, that’s the theory — MusicTech hasn’t been given early access to FL Studio Web, nor is it readily accessible.

READ MORE: “FL Studio’s duty is to get more people to stick with music-making”: CEO Constantin Koehncke on FL Studio 2025 and beyond

FL Studio Web is currently in public beta with a waitlist now open to new and existing users. Koenche adds that the app will be built “with [the FL Studio] community. As an early tester, your feedback will shape the future of FL Studio Web.”
Details are scarce, but on LinkedIn, Koenche and Robert Linke (chief product & technology officer at Image-Line) both mention that FL Studio Web is a bid to lower the “barrier to entry” for new music makers.
“We’ve taken the iconic FL Studio workflow and streamlined it for the web, allowing anyone to start creating instantly – no downloads, no complex setups,” says Koenche. He continues to explain the full ecosystem compatibility of FL Studio Web, the instant access to FL Cloud and native FL Studio plugins, and an “interactive onboarding” process that gets new users making music “in minutes.

FL Studio Web is set to join a small number of growing browser-based DAWs, including BandLab, OpenDAW, Moises and Soundtrap. However, this marks the first time a legacy DAW developer brings its desktop product to the web in a meaningful way.
In an interview with MusicTech earlier this year, Koenche alluded to transitioning FL Studio into a cross-platform experience.
“Why should music making, as a whole, be different from graphic design or word processing or gaming, where you pick up from where you left off on different devices?” he said, adding: “We think a lot about the commonalities between gaming and music making in terms of experience and the joyfulness of learning while you’re playing…There are a lot of analogies in our community — words like ‘cheat code’ are used a lot in relation to FL Studio. We see a lot of overlap and commonalities in how people interact with music-making software and specifically FL Studio.”
“We just want to be wherever somebody’s thinking about creating music; it’s about being wherever your users might be.”
You can join the waitlist for FL Studio Web now.
Editor’s note: BandLab and MusicTech are both owned by Caldecott Music Group.
 
The post FL Studio is coming to your browser as FL Studio Web appeared first on MusicTech.

LASE by Loïc Desjardins Music Loïc Desjardins Music have announced the launch of a handy new Mac application that provides Logic Pro users with more comprehensive control over their Articulation Sets. 

IK Multimedia drops huge AmpliTube 5 CS December promo with 6 freebies
IK Multimedia has kicked off its December AmpliTube 5 CS giveaway, and it’s a huge one, with six guitar gear module giveaways. IK’s AmpliTube 5 CS is a free guitar and bass workstation, and a 64-bit exclusive release for macOS and Windows.  The gear freebies for December 2025 are the Fender ’65 Deluxe Reverb head, [...]
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MIT Report Reveals Live Music’s Carbon Footprint: How Artists, Venues, and Fans Can Cut EmissionsThe concert and touring industry has long talked about sustainability. Thanks to an extensive MIT study there is now real data on live music's carbon footprint and where artists, venues and fans can cut emissions.
The post MIT Report Reveals Live Music’s Carbon Footprint: How Artists, Venues, and Fans Can Cut Emissions appeared first on Hypebot.

Billy Corgan to be awarded 2025 TEC Innovation Award for his “his transformative impact on modern, guitar-driven music” at next year’s NAMM ShowBilly Corgan of The Smashing Pumpkins will be awarded the 2025 TEC Innovation Award at The NAMM Show next year.
The 41st Annual NAMM Technical Excellence & Creativity (TEC) Awards will take place on the evening of Thursday, 22 January, during The NAMM Show in Anaheim, California. Corgan has been selected as the award recipient due to his “transformative impact on modern, guitar-driven music and his forward-thinking approach to tone shaping and sonic architecture.”

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The TEC Innovation Award recognises visionary contributions that shape the future of music, sound, and creative production. His work on The Pumpkin’s classic records Siamese Dream and Mellon Collie and the Infinite Sadness are noted as stellar examples of his craft, as well as the band’s more recent releases ATUM: A Rock Opera in Three Acts, and Aghori Mhori Mei.
Beyond his work within the band, Corgan’s solo catalogue includes four albums TheFutureEmbrace (2005), Aegea (2014), Ogilala (2017), and Cotillions (2019). He’s also worked with artists such as Tony Iommi of Black Sabbath, New Order, Code Orange, and more, as well as having scored music for films such as Ransom, Stigmata, and Spun.
He hosts his own podcast, The Magnificent Others, and even recently partnered with the Lyric Opera of Chicago for the world premiere of A Night of Mellon Collie and Infinite Sadness: an operatic reimagining of the classic Pumpkins double album.

John Mlynczak, NAMM President and CEO, says: “Billy’s fearless approach to production, imaginative pedal chains, analogue exploration, intricate layering and boundary-breaking studio techniques have influenced countless creators. His deep commitment to innovation and artistic evolution places him among the most distinctive and influential musical architects of the last three decades.”
Find out more about the TEC Awards, or register for the 2026 NAMM Show. 
The post Billy Corgan to be awarded 2025 TEC Innovation Award for his “his transformative impact on modern, guitar-driven music” at next year’s NAMM Show appeared first on MusicTech.

How To Create A Fans First Concert IndustryCan the concert and ticketing industry be disrupted in ways that benefits fans? Self-described "fandom analyst" Monia Ali of Fandom Exile offers some thoughtful and provocative suggestions on how to create a fans first concert industry.
The post How To Create A Fans First Concert Industry appeared first on Hypebot.

AmenBreak VST offers a generous FREE edition and a hands-on approach to break mangling
Infinite Digits has released AmenBreak VST, a performance-based beat slicer and sample mangler for macOS, Windows, and Linux, with a generous free version that’s well worth your time. I appreciate it when a paid plugin comes with a free edition that isn’t crippled or constantly nagging you to upgrade, and AmenBreak VST gets this part [...]
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