Very Loud Indeed Co. launch Serum Prime for Serum 2 Sound designers The Very Loud Indeed Co. have released Serum Prime, a new collection of 120 cinematic patches for Xfer Records’ Serum 2 synthesizer.

Best microphones for vocals in 2025: Dynamic, Condenser and Ribbon micsVocals are often the most recognisable part of a song — the human voice is, after all, our oldest musical instrument. Because we’re so attuned to its qualities, it’s also where listeners are most likely to pick up on poor recording or mixing mishaps.

READ MORE: Here’s my perfect vocal chain and the plugins that get me there

Creating the perfect vocal isn’t just about the performance. Choosing the best microphone for your needs is crucial, but with hundreds of models on the market, which one is right? We’ve been reviewing mics for over 20 years — here are some of our favourites for vocals, updated for 2025, so you can stock up your mic locker with the latest and greatest.
Choosing microphone types: dynamic, condenser or ribbon?
Most vocal microphones fall into one of three categories:

Dynamic mics are better at handling high sound pressure levels (SPL), and therefore pair well with loud singers. Their robust build also makes them ideal for live use, and they don’t require +48V phantom power to function.
Condenser mics are revered for their sensitivity and ability to capture high-frequency details, especially in large-diaphragm designs that flatter many vocal styles. They need phantom power, so make sure your interface can supply this.
Ribbon mics are a less common choice, offering a smoother, darker sound. They’re particularly good at taming harshness and can lend a vintage vibe to vocals, but their delicate aluminium ribbon is much more sensitive to plosives. Passive ribbons don’t need phantom power, but active ribbons do.

Matching the mic’s voicing to your singer can work wonders. For instance, a warm-sounding valve condenser can soften a bright soprano while a dynamic with a grittier tone might suit rapped vocals.
Think about where you’ll be recording, too. According to Abbey Road engineer Paul Pritchard, sometimes a dynamic mic like the Shure SM7B is a smarter choice in smaller rooms: “It’s got a built-in pop filter, you can physically get closer. And it’s slightly narrower in its polar pattern. Sometimes that eliminates a bit of the room sound, but what you gain there, you lose in microphone sensitivity.”
Which polar pattern do I need?
For vocal recording, cardioid and supercardioid polar patterns are most commonly used as they’re highly sensitive to sound coming from the front while attenuating sound from the sides and rear.
If you’re buying a microphone to record other instruments as well as voice, consider a model with multiple polar patterns you can switch between — an omni or figure-eight pattern can work well for drums, for example.
Best vocal mics at a glance:

Shure SM7B – Best dynamic for untreated rooms
Aston Stealth – Best do-it-all dynamic microphone
Neumann U87 Ai – Best studio classic or condenser all-rounder
AKG C414 XLII – Most flexible multi-pattern condenser
Lewitt LCT 440 Pure – Best budget condenser
Austrian Audio OC18 – Best mid-price large diaphragm condenser
Warm Audio WA-44 – Best ribbon mic for vocals
Neumann TLM 102 – Most affordable Neumann microphone
UA Sphere DLX – Best modelling microphone
Warm Audio WA-CX12 – Best valve microphone under £1k

Shure SM7B – Best dynamic mic for untreated rooms
Image: Shure
[products ids=”1zNRAWNSEfm6qBlgiA8iAc”]
The SM7 has been in production in one form or another since the 70s — and as far as dynamic mics go, it’s a popular one for vocal tracking. The SM7 (plus later SM7A and SM7B versions) has seen its share of famous users, including Michael Jackson and James Hetfield of Metallica, as well as many podcasters (ahem, Joe Rogan).
Its low sensitivity and built-in windscreen pair well with powerful vocalists and other loud sources where condensers might be overwhelmed. However, some cheaper audio interfaces may not supply enough mic input gain to get a workable level. A popular fix is to pair the SM7 with an external mic preamp such as a Cloudlifter or Monoprice SR Studio, or opt for the SM7dB version with integrated preamp.

Price: $439 / £349 / €389
Type: Dynamic
Frequency response: 50Hz to 20kHz
Polar pattern: Cardioid

Pros:

Excellent for untreated rooms thanks to low sensitivity and tight polar pattern
Handles loud vocals and instruments without distortion
Built-in windscreen reduces plosives and sibilance
Long and proven track record

Cons:

Requires a lot of clean gain
Less sensitive to subtle high-frequency detail

Aston Stealth – Best do-it-all dynamic microphone

This large-chassis dynamic could be the best vocal microphone for music makers who want more options in a single mic — so much so, we rated it 10/10 in our Aston Stealth microphone review.
It offers four switchable voices: two optimised for low and high vocal registers, one for tracking guitars (both acoustic and through a speaker cabinet), and a ‘dark’ voice that mimics the warming qualities associated with ribbon microphones.
The Stealth can be operated with or without phantom power, letting users decide between using the microphone’s built-in Class A mic preamp or an external one. Apart from that, the microphone also comes equipped with an internal Sorbothane shock mount system.

Price: $269 / £262 / €298
Type: Dynamic
Frequency response: 20Hz to 20kHz
Polar pattern: Cardioid

Pros:

Four switchable voicings makes this mic highly versatility
Built-in Class A preamp for clean gain powered by +48V
Internal shock mount system reduces handling and mechanical noise
Built in the UK, yet highly affordable

Cons:

Larger chassis is rather bulky
Lacks airiness compared to condensers

Neumann U87 Ai – Best classic studio condenser
Image: Neumann
[products ids=”205GDfbqzud6yDBM3tTbUh”]
The Neumann U87 is so ubiquitous we couldn’t possibly leave it off this list. It’s been endearingly referred to as ‘every engineer’s second favourite microphone’ because it’s such an able all-rounder. No matter what you point the U87 at — singer, guitar, congas, even bassoon — it just seems to handle it beautifully. And for the price, it absolutely should.
This classic studio condenser is made even more versatile by a few extra tricks: three polar patterns (cardioid, omni and figure-eight); a -10dB pad for capturing louder sources; and a low-cut for curbing proximity-induced low-mid boost in cardioid and figure-eight modes.

Price: $3,750 / £2,555 / €2,899
Type: Large-diaphragm condenser
Frequency response: 20Hz to 20kHz
Polar patterns: Cardioid, omnidirectional, figure-eight

Pros:

Exceptionally versatile, consistently handling a wide range of sources with impressive quality
Three polar patterns for flexible recording scenarios
High SPL handling thanks to the built-in pad
High-pass filter reduces proximity effect and low-end rumble

Cons:

Very expensive, beyond the budget of many home producers
Highly detailed sound may expose flaws in untreated recording environments

AKG C414 XLII – Most flexible multi-pattern condenser
Image: AKG
[products ids=”62dO04mH0ml4aMWMO3TQdN”]
Launched in 1971, AKG’s C414 remains a true studio workhorse and comes in two modern editions. The C414 XLS provides a flatter frequency response and is suited to a wide range of sources. But for recording vocals, the C414 XLII’s capsule design — based on the esteemed AKG C12 — introduces a 3kHz presence boost that often flatters female performers.
The C414 makes it easy to capture clean audio on the way in. Both versions offer five polar patterns (nine if you include the blended options), and three pad settings at -6, -12, and -18 dB. There’s also a particularly handy high-pass filter for rolling off low-end rumble or mitigating environmental noise below 40Hz, 80Hz, or 160Hz.
Read our full AKG C414 XLII review.

Price: $1,299 / £859 / €999
Type: Multi-pattern FET condenser
Frequency response: 20Hz to 20kHz
Polar patterns: Omni, Wide cardioid, cardioid, hypercardioid, figure-eight, plus blended settings

Pros:

Highly versatile — not just a vocal mic
Blend between polar patterns for up to nine options
Pleasant 3k boost in XLII model is ideal for vocals
Built-in pads and high-pass filters

Cons:

Bright tonal character may not flatter all vocalists
Newer models reportedly less durable

Lewitt LCT 440 Pure – Best budget condenser

[products ids=”4K7ZZwCWJYiPuhTMUWc1dM”]
If you’re looking for an entrypoint to vocal recording, or the LCT 440 Pure is an affordable large-diaphragm condenser. Sporting a fixed cardioid pickup pattern, this mic excels at capturing vocals thanks to its rich, flattering sound that much surpasses its low cost.
What’s appreciated too is that the LCT 440 Pure comes with some handy accessories, including a shockmount, a magnetic pop filter and a leather carrying bag — another major boon for a mic in this price range. Read our Lewitt LCT 440 Pure review for the full lowdown, plus details on its even cheaper sibling, the LCT 240 Pro.

Price: $299 / £235 / €269
Type: Large-diaphragm condenser
Frequency response: 20Hz to 20kHz
Polar patterns: Cardioid

Pros:

Rich, full-bodied sound with flattering highs
Large-diaphragm capsule delivers excellent signal-to-noise
Balanced tonality that’s easy to EQ
Highly affordable, and includes premium accessories

Cons:

Fixed cardioid pattern limits flexibility
Lacks onboard pad or high pass

UA Sphere DLX – Best modelling microphone

The UA Sphere DLX — a near-identical successor to the Townsend Labs Sphere L22 — is a condenser mic that boasts unique modeling capabilities. Using its companion plugin, it mimics both the tonal and spatial characteristics of 38 legendary ribbon, condenser, and dynamic microphones including U87s and C414s.
Its dual-diaphragm design lets you record in stereo, while the Sphere software lets you make virtual adjustments to the axis or even change mic models after tracking. Of course, all this does come at a premium, but if your pockets are deep enough to plump for this in the first place, you may never need to buy another vocal microphone.
Read our review of the Sphere L22.

Price: $1,499 / £1,290 / €1,464
Type: Large-diaphragm modelling condenser
Frequency response: 20Hz to 20kHz
Polar patterns: Cardioid, omni, figure-of-eight

Pros:

38 iconic mics for the price of one
Model, rotate, and change microphone even after recording
High SPL handling and very low self-noise
Dual capsule allows for stereo recording

Cons:

Requires two audio interface inputs (one per capsule)
Authenticity of emulations may vary

Austrian Audio OC18 – Best mid-price large diaphragm condenser

Founded by ex-AKG engineers, Austrian Audio launched its OC818 and OC18 microphones in 2019 in a bid to recapture the essence of early C414 models. How, exactly? Within these mics is the brand’s CKR-12 ceramic capsule, handmade in Vienna and based on the ‘brass ring’ version of the legendary CK-12 found in vintage AKG microphones.
The OC18 is the cardioid-only edition of the two microphones and is well-suited to tracking vocals and other acoustic instruments. In our OC18 and OC818 review, we found the OC18’s mid-high frequencies slightly more boosted than the OC818’s, which can work well with some vocalists. In any case, the significant discount compared to C414 prices makes the OC18 a compelling large-diaphragm alternative.
Buy the Austrian Audio OC18 at Sweetwater ($799) or Thomann (£579 / €659).

Price: $799 / £579 / €659
Type: Large-diaphragm condenser
Frequency response: 20Hz to 20kHz
Polar pattern: Cardioid

Pros:

Impressive quality at a lower price than many legacy large-diaphragm condensers
Ceramic capsule delivers bright, detailed presence
Built-in pad and high-pass filters
Also available as OC818 model with multiple polar patterns and dual output

Cons:

Fixed cardioid only on OC18 model
Brighter response may not suit all voices

Warm Audio WA-44 – Best ribbon mic for vocals

[products ids=”6bm8tZXNw1TuJVt5YROp8i”]
Inspired by the RCA 44BX from the 1930s, the WA-44 is Warm Audio’s faithful recreation of one of the most iconic ribbon microphones. Built around a 60mm aluminium ribbon and a custom CineMag transformer, it delivers a lush tone with a warm low end and smooth highs — ideal for intimate vocal takes or adding body to brighter sources.
The figure-eight polar pattern captures sound equally from the front and back, so strategic placement is important. On the plus side, this means side rejection is excellent. You’ll need a high-gain preamp too (Warm Audio’s own reasonably priced WarmLifter is a solid bet), but the payoff is a detailed vocal sound with a natural vintage flair.
Check out our Warm Audio WA-44 review for more details, or buy the WA-44 at Sweetwater ($1,199) or Thomann (£899 / €1,027).

Price: $1,199 / £899 / €1,027
Type: Ribbon microphone
Frequency response: 20Hz to 20kHz
Polar pattern: Figure-eight

Pros:

Characterful vintage tone
Handles high SPLs up to 140dB
Figure-eight pattern with strong side rejection
Smooths highs nicely

Cons:

Rather heavy
Suffers from strong proximity effect

Neumann TLM 102 – Most affordable Neumann microphone

Neumann’s venerable reputation dates back to the earliest days of the recording industry — and while not a vintage model from the brand’s golden years, the TLM-102 large-diaphragm condenser microphone still embodies the brand’s heritage both in quality and looks.
It’s an impressively versatile microphone, demonstrating a flat response with a flattering presence boost for vocals. And notably, the TLM-102 comes priced unnaturally low for a Neumann, giving even amateur producers the chance to say aloud to talents: “I figure we’ll use the Neumann on this one.” Got a bit more to spend? Try the TLM 107, or producer Finneas’ go-to mic, the TLM 103.
Buy the TLM 102 at Sweetwater ($799) or Thomann (£529 / €599).

Price: $799 / £529 / €599
Type: Large-diaphragm condenser
Frequency response: 20Hz to 20kHz
Polar pattern: Cardioid

Pros:

Neumann quality on a budget
Well-balanced response with vocal-flattering presence
Impressive signal-to-noise ratio
Versatile for other instruments

Cons:

Tonal quality considered ‘boring’ by some
No onboard pad or high pass

Warm Audio WA-CX12 – Best valve microphone under £1k

[products ids=”NXhAxn9Sqc7KBUIkGQ8kU”]
Warm Audio’s second entry on our list, this time the manufacturer wins for best valve microphone under £1,000 with the WA-CX12, a recreation of the AKG C12. Weighty low end, buttery midrange, sweet treble — it delivers across the spectrum, while nine polar patterns make it adaptable for a range of recording scenarios.
While it lacks onboard pads or filters, the WA-CX12 is perfect for adding polish and richness to all manner of sources, vocals included. And considering original C12s go for well over £5k, you’re getting that classic tube at a pretty decent price.
Read more in our Warm Audio WA-CX12 review, or buy the WA-CX12 at Sweetwater ($1,119) or Thomann (£984 / €1,111).

Price: $1,199 / £984 / €1,111
Type: Large-diaphragm valve condenser
Frequency response: 30Hz to 20kHz
Polar patterns: Omni, cardioid, figure-eight, plus six blended patterns

Pros:

Warm, flattering sound with rich midrange
Nine selectable polar patterns
Premium build and internal components
Excellent value for a tube mic

Cons:

No onboard pad or high-pass filter
Strong character may not suit all use cases

Why You Can Trust MusicTech
MusicTech reviews hundreds of new products every year, from powerful synthesizers, DAWs and pro plugins through to everyday headphones and portable speakers. Our expert reviewers are producers, engineers and enthusiasts with hundreds of years of collective experience, with a keen ear to the ground on new trends and technologies.
Every guide on MusicTech is created by a producer, musician and tech enthusiast just like you. We understand what you’re looking for when searching for a new vocal microphone, and we want to ensure you purchase genuinely useful products for your craft. So you can guarantee that every product MusicTech recommends to you is a product we’d be happy to have in our studios.
For more buyer’s guides, click here.
The post Best microphones for vocals in 2025: Dynamic, Condenser and Ribbon mics appeared first on MusicTech.

Alabama state senator warns GENIUS Act could harm small banksSate Senator Keith Kelley of Alabama echoed concerns made by some banking groups after the passage of the GENIUS Act in July.

Julian Bunetta talks songwriting, One Direction, and the “Espresso” loop
GRAMMY-nominated songwriter Julian Bunetta (One Direction, Teddy Swims) discusses how we got started, the stories behind his biggest hits, and more.

Thinking Machines Lab wants to make AI models more consistentIn a blog post shared Wednesday, Mira Murati's startup offered a rare glimpse into some of work its doing to improve AI models.

DSTRTD MalleableMalleable is malleable. It's your next synth. It's your pedal board. It can be your vocal chain or your stereo bus. Use it to control a fleet of Eurorack modules or send MIDI signals to your favorite old school rack units. Malleable is powered by Cursive, a programming language developed to facilitate the creation and manipulation of audio, MIDI and control voltage data. Cursive was designed for musical performance: it is continuously interpreted in real-time, enabling you to modify your code without disrupting your flow. It's powerful and flexible yet can be learned easily in just a few minutes. Malleable comes out of the box with a wide array of presets ranging from audio effects to synthesizers. The presets are all open source and designed to demonstrate the Cursive language. You are welcome to edit them and share them however you want. Malleable also includes an oscilloscope, spectrum analyzer and tuner. Use the oscilloscope to troubleshoot your Eurorack output or use all of them together as an educational aide to gain a deeper understanding of audio synthesis. Download Malleable today to enjoy the free, feature-limited version of the application. No purchase necessary and it never expires. You can upgrade to the full version of the application any time by purchasing it directly from the DSTRTD website. Read More

The 555 as You’ve Never Seen It: In Textile!The Diné (aka Navajo) people have been using their weaving as trade goods at least since European contact, and probably long before. They’ve never shied from adopting innovation: churro sheep from the Spanish in the 17th century, aniline dies in the 19th, and in the 20th and 21st… integrated circuits? At least one Navajo Weaver, [Marilou Schultz] thinks they’re a good match for the traditional geometric forms. Her latest creation is a woven depiction of the venerable 555 timer.
“Popular Chip” by Marilou Schultz. Photo courtesy of First American Art Magazine, via righto.com
This isn’t the first time [Marilou] has turned an IC into a Navajo rug; she’s been weaving chip rugs since 1994– including a Pentium rug commissioned by Intel that hangs in USA’s National Gallery of Art–but it’s somehow flown below the Hackaday radar until now. The closest thing we’ve seen on these pages was a beaded bracelet embedding a QR code, inspired by traditional Native American forms.
That’s why we’re so thankful to [VivCocoa] for the tip. It’s a wild and wonderful world out there, and we can’t cover all of it without you. Are there any other fusions of tradition and high-tech we’ve been missing out on? Send us a tip.

Hollywood Music in Media Awards 2025 Opens for EntriesThe Hollywood Music in Media Awards (HMMA) has built a reputation as one of the industry’s most inclusive honors, recognizing music across film, television, streaming, video games, commercials, and emerging media. Now heading into its 16th year, the HMMA has officially opened its call for submissions.A statement from the company discloses that “the 16th Annual Hollywood Music In Media Awards is now accepting submissions.” Categories span a wide range, giving composers, songwriters, and artists opportunities to showcase their work on a global stage.The 2025 ceremony will take place on November 19, 2025, at the Avalon Hollywood, the historic venue on Vine Street that has hosted the event in past years.A statement from the company further notes that “eligibility, guidelines, deadline and other specifics can be found at Submission Info & Voting.” In short, now is the time for creators to prepare their entries.Submissions are being accepted at hmmawards.com/submit-music.The post Hollywood Music in Media Awards 2025 Opens for Entries first appeared on Music Connection Magazine.

Armada’s BEAT Music Fund acquires entire master rights catalog of Laidback Luke and Olga Heijns’ Mixmash RecordsThe acquisition gives BEAT Music Fund a catalog that has clocked some 200 million streams worldwide
Source

“High-end studios are not places I feel comfortable making music”: Why Omar+ is still making hits from his bedroomOmar+ has only just released his debut EP, Open Your Eyes, but his audience has been locked in for several years. The London producer, DJ and vocalist has almost two million monthly listeners on Spotify alone, with his 2025 track, Back It Up (made in collaboration with fellow rising star, Josh Baker), sitting comfortably at 20 million streams. His social media accounts tell the same story, with millions of likes on his TikTok and Instagram videos. Such online metrics are impressive, for sure, but the young artist is making waves in the real world, too, with a packed performance at Reading and Leeds festival, a sold-out headline show in London, and a show at Eden Ibiza under his belt. The allure? A buoyant blend of house and R&B that brims with catchy hooks and channels those euphoric moments so sought after in modern dance culture.
In this outing of Studio Files, the Londoner explains why he prefers his home space over established studios, why he’s got an appetite for some analogue gear, and why he thinks the idea of mixing and mastering is “blown out of proportion.”
Omar+! Congrats on your debut EP, Open Your Eyes! How different was the process of creating an EP on your own, compared to your previous releases?
I would say the time that went into it, to be honest. They weren’t quick turnarounds like with other tunes I’ve written. I spent a lot more time delving into music I was really into and how I could recreate those sounds. I was more specific and nitpicked very detailed sonics that I wanted to create in those songs to try and nail the perfect representation of my music taste. It was just much more of an intricate process.
You’ve garnered a decent following and buzz so far, mostly with unreleased tracks —is there a strategy you’re following?
Nah [laughs]. I think it probably looks like that now, especially with how this year’s gone so far — like there’s this formula I’ve kind of cracked — but it’s just happened completely naturally.
You’ve worked on some records with other acclaimed UK artists lately, like Piri and Josh Baker. What have you picked up from those collaborations that has helped you in your own solo work?
I’ve just been able to see so many different people’s workflows, which has kind of inspired my own. In a broader sense, every artist I’ve worked with is really talented in their own right, and it’s just inspiring to be surrounded by them.
Omar+ and Josh Baker. Image: Press
Tell us a bit about your studio.
My studio is very stripped back. It’s literally just a bedroom studio, and that’s the way I like it. I learned last year by going to professional high-grade studios, that it’s actually not where I feel comfortable making music. A lot of the time, I feel most comfortable when I’m just in my own space. I don’t need really expensive equipment or anything like that. As long as I’ve got a laptop, a mic, my monitors and a decent interface, that’s all I need.
What’s been the biggest investment in your studio?
I guess just as a whole, all the plugins I have… I’m sure that’d probably be quite a large investment. I haven’t bought everything at once; it’s been gradual over time. But yeah, I guess plugins, because the more plugins you have, the more sounds you have, and it just constantly opens up new possibilities for your music. Sometimes you can get stuck in a writer’s block if you’re using the same sounds over and over again. So I think it’s a great idea to keep updating your plugins and having new synths to work with, purely because they can spark new ideas.
Image: Press
There’s a lot of old-school influence in the sound palette of Open Your Eyes — how did you tap into those sounds? Were there certain instruments or synths you relied on?
Yeah, definitely. Open Your Eyes has the most 90s house influence that I’ve managed to work into a track. And that just came from, I mean, obviously listening to music from that era and being in places where I’d be hearing classic house. That was definitely the track I spent the most time on in terms of trying to recreate those sounds, but it was all just about the sound design. I want to say I used Omnisphere, because it has the Juno and Prophet recreations on there, and the specific track that inspired that synth was Groove La Chord.
Your music blends a lot of tech-house & R&B sounds; what do you think is the common thread between these two genres?
The common thread is the ambience. House music and R&B are very ambient genres to me. A lot of the time, the best house or R&B songs are actually quite simple, but the production or the vocals create a constant feeling and a vibe throughout the song. They’re actually quite similar … to my ears anyway!
Image: Press
How do you see your sound and studio evolving in the next two years?
I think it’s time to start investing in physical hardware and gear. That’s definitely kind of the next step I want to take to really build and define my sound. In terms of studio space, I do kind of want to keep it at home. I mean, maybe at some point I’ll need to rent out a studio somewhere, but right now I really feel comfortable making music at home. I don’t really want to take it anywhere else.
What’s a music production myth you think needs debunking?
I think the importance of mixing and mastering might be blown out of proportion. People will disagree with me, but I actually don’t think the best tracks have the cleanest, sharpest mix and master. I actually think if you have a basic understanding of it yourself, some of my favourite songs aren’t mixed that well, but they just have this sound, which just feels fresh from the producer, fresh from the home studio. I actually really like that; it gives a track more character.

Before you go, what can you tell us about the story and process behind your track Make Believe with Luke Dean?
Luke sent me the instrumental, and I was sitting with it for a while. I didn’t get back to him straight away, and then I remember I was playing it on my phone in the shower and I just started singing along. A lot of the time, I have the best ideas in the shower because my mind just wanders. I was literally just singing along to it, and a lot of the lyrics and melodies that you hear on the track now were born in that moment. I was just singing them. I jumped out of the shower, set up, jumped on Pro Tools and laid down the majority of the track just like that. It all came about really quickly.
The post “High-end studios are not places I feel comfortable making music”: Why Omar+ is still making hits from his bedroom appeared first on MusicTech.

Elektron announce Tonverk Elektron have unveiled a new instrument which has been designed as both a polyphonic sampler and a flexible sound-processing hub. The Tonverk combines multi-track sampling, modulation and comprehensive effects routing.

Minimal Audio releases FREE Formant plugin for macOS and Windows
Minimal Audio has released Formant, a free formant shifter plugin designed for quick vocal tone shaping on macOS and Windows. Formant is not your typical formant filter that you’d find in a synthesizer, the type that became super popular for making wobbly dubstep basses. Instead of emphasizing vowel-like sounds like “ah,” “oh,” or “oo,” it [...]
View post: Minimal Audio releases FREE Formant plugin for macOS and Windows

Formant is Minimal Audio’s new formant shifting plugin for “modern vocals” – and it’s totally freeMinimal Audio has expanded its plugin library with a new free offering, Formant – an “effortless” vocal tone shaper “built for modern vocals”.
Available to download at no cost at all, Formant is, as you might guess, a formant shifter plugin. But what is formant shifting?

READ MORE: Spotify Lossless audio is finally here – and no, we’re not kidding

As Minimal explains, a formant shifter “moves the resonant peaks of a sound (its formants) up or down in frequency while leaving the fundamental pitch unchanged”. This results in a change in a vocal’s tone or identity, meaning it can sound higher or lower in character without changing its pitch.
Technologically, this works in a similar way to how a singer could sing the same part differently while retaining the same key.

Additionally, Formant is able to adjust the overall spectral balance and darken or brighten a vocal line, opening up “another dimension of tonal shaping”.
Minimal Audio says Formant – while a formidable tool in its own right – could serve as a “gateway” to its upcoming flagship vocal resynthesis plugin, Evoke. There’s little detail on that as it stands, but we’ll keep you updated as we know more.
Minimal also touts Formant’s “extremely simple interface”, which features an XY pad for the exploration of different tonal configurations. It’s also lightweight, with low CPU usage.
Aside from the obvious use case of transforming a lead vocal, for example, Formant can be used to create backing vocals with a separate, distinct character, or you could stack multiple instances to build layered and contrasting vocals.
And the best part? Formant is totally free. If you’re working with vocals in any capacity, it’s probably worth having in your arsenal.
For more info, and to download yours, head to Minimal Audio.
The post Formant is Minimal Audio’s new formant shifting plugin for “modern vocals” – and it’s totally free appeared first on MusicTech.

How KPop Demon Hunters nailed the Formula for FandomKPop Demon Hunters became Netflix’s most-watched film by representing authentic fandom and K-pop culture. Its blend of real fan insight and universal themes turned a niche into a global hit. Learn how KPop Demon Hunters nailed the formula for fandom
The post How KPop Demon Hunters nailed the Formula for Fandom appeared first on Hypebot.

Reverb UK has reduced its fees for sellersReverb UK is relaunching with lower seller fees – an “all-in” 5 percent on every sale, down 3 percent from before – and new tools for sellers.
Reverb is the largest online marketplace dedicated to music gear so, in addition to private sellers, many UK-based music shops and businesses also rely on the platform to sell stock. This 3 percent drop in sellers fees means more money retained for these businesses and individuals.

READ MORE: Apple AirPods Pro 3: “World’s best” Active Noise Cancellation, Live Translation, next-gen sound design – and everything else you need to know

As well as this fee drop, sellers will now have access to UK-specific market trend data – which they can use to price their gear more effectively – as well as discounted postage labels via DPD, Yodel, and Evri.
These changes, Reverb says, “further empower sellers to get their gear into the hands of musicians throughout the UK and beyond using the music gear marketplace created by musicians for musicians”.
“Since 2016, Reverb has played a key role in the UK’s music-making community by connecting musicians with music gear they love,” says Reverb’s Chief Operating Officer, Tiffany Miller.
Credit: Reverb
“Whether you’re parting with a vintage Telecaster or looking for unique pedals that can reshape your sound, our straightforward fees and key product improvements make selling music gear more rewarding than ever before, giving musicians more time to focus on what really matters: making music.”
The appeal of Reverb in that it connects musicians with their used dream gear at the perfect price stretches both to hobbyist music lovers and professional recording artists alike.
Acclaimed producer, Amy Winehouse collaborator and nine-time Grammy winner Mark Ronson uses the Reverb marketplace to find used gear, and even did so while making the soundtrack to the Barbie movie.
“We were working on the score for Barbie, and we realized that Director Greta Gerwig was in love with the sound of ‘70s and ‘80s analogue synthesisers,” he recalled in an Industry Insights talk at NAMM last year.
“I looked on Reverb for a Yamaha CS-80, and I saw that there was one about an hour and a half away, so we drove out to get it and its sound became a key part of the movie’s soundtrack.”
So if you’re in the UK and have a piece of gear that could use a new owner, you can now make the most of lower seller fees on the world’s largest online music gear marketplace.
For more info, head to Reverb UK.
The post Reverb UK has reduced its fees for sellers appeared first on MusicTech.