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Scale AI is suing a former employee and rival Mercor, alleging they tried to steal its biggest customers  Scale is clearly concerned enough about the threat of Mercor, and the poaching of one of its employees, to pursue legal action.

JYP Entertainment is hiring for AI and Unreal Engine experts to develop an ‘unprecedented’ virtual K-pop artistJYP is hiring staff with expertise in artificial intelligence, motion graphics and more
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One Camera Mule to Rule Them AllA mule isn’t just a four-legged hybrid created of a union betwixt Donkey and Horse; in our circles, it’s much more likely to mean a testbed device you hang various bits of hardware off in order to evaluate. [Jenny List]’s 7″ touchscreen camera enclosure is just such a mule.
In this case, the hardware to be evaluated is camera modules– she’s starting out with the official RPi HQ camera, but the modular nature of the construction means it’s easy to swap modules for evaluation. The camera modules live on 3D printed front plates held to the similarly-printed body with self-tapping screws.
Any Pi will do, though depending on the camera module you may need one of the newer versions. [Jenny] has got Pi4 inside, which ought to handle anything. For control and preview, [Jenny] is using an old first-gen 7″ touchscreen from the Raspberry Pi foundation. Those were nice little screens back in the day, and they still serve well now.
There’s no provision for a battery because [Jenny] doesn’t need one– this isn’t a working camera, after all, it’s just a test mule for the sensors. Having it tethered to a wall wart or power bank is no problem in this application. All files are on GitHub under a CC4.0 license– not just STLs, either, proper CAD files that you can actually make your own. (SCAD files in this case, but who doesn’t love OpenSCAD?) That means if you love the look of this thing and want to squeeze in a battery or add a tripod mount, you can! It’s no shock that our own [Jenny List] would follow best-practice for open source hardware, but it’s so few people do that it’s worth calling out when we see it.
Thanks to [Jenny] for the tip, and don’t forget that the tip line is open to everyone, and everyone is equally welcome to toot their own horn.

Ableton update the Move Hot on the heels of the latest version of Live, ...

Is iZotope Ozone 12 just a routine update, or something more exciting?Believe it or not, iZotope’s Ozone is now 24 years old and, in that time, has revolutionised the process of mastering, making pro-level tools available to anyone with a couple of hundred dollars. The company has just released version 12, and has given MusicTech an early copy to dig into Ozone 12’s new capabilities, from enhanced AI tools to Stem EQ.
We’ll be publishing a full review soon, but here’s everything you need to know right now about the new suite. We’re checking out Ozone 12 Advanced, which is the fully-featured package and costs $499, but the Standard version ($219) also gets most of the new features, while Elements ($55) gets the new Master Assistant, which is the big news here.
Ozone’s Master Assistant
Master Assistant is greatly expanded from Ozone 11; it can still listen to your track and use AI to suggest a sympathetic mastering treatment, but now there’s a whole new set of options too.
Switch to the Master Assistant’s Custom mode, and you can get much more granular instead of letting the software make all your choices. For a start, there’s a new list of genre-specific target styles, including several sub-genres of EDM (where there used to be fewer), to tailor the processing to your track. Then there’s the option to enable or disable the different processing modules – love the imaging but not the EQ? It’s easy to just use some modules in this mode now. Then there’s an Intensity slider so you can apply variable amounts of the mastering processing.
Custom mode is a new addition that’s ideal for producers who don’t like the idea of trusting a whole master treatment to the software but who also want some guidance and to save some time. It’s a halfway house and a useful option to have alongside fully automated or fully manual setups. It’s worth repeating that even the most affordable version has this new feature if you’re on a budget.
Ozone 12 Stem EQ vocals. Image: Press
Three new modules
Stem EQ, found in the Advanced version, builds on the Stem Focus mode and uses AI to separate four stems: vocals, drums, bass and instruments, something we are seeing across many pro audio packages these days.
Here, you can apply EQ separately to any of these stems even when working with a mixed-down stereo file. The idea is that you don’t need to go back and do tedious mix edits and re-exports to achieve this. In some cases, you might not even have that option, so it’s super handy to be able to just go in and tame the bass a bit, for example, or pull up some mids to brighten the vocals, without having to unpick everything first.
The second new module is Bass Control (Standard and Advanced), which uses machine learning to “streamline” bass frequencies, iZotope says. It provides you with a dedicated waveform view of your low end, with light/heavy balance and punch controls, as well as a Sustain Power control. In short, the feature helps to make your bass hit harder without becoming overwhelming. It’s neither EQ nor compression, so it is capable of tightening up the bottom end in a way that’s not possible with more conventional tools.
Thirdly, and included with the Advanced version, there’s the Unlimiter, another machine learning-powered module that iZotope claims is the only tool of its kind on the market. We’re all familiar with the over-limiting that characterised the loudness wars, sucking life and dynamic range out of masters. This tool analyses your over-limited track and has a simple Amount knob you can use to “reverse” the effects of limiting, opening up dynamic range and bringing a more natural character back to the track.
This module is sort of magic, and while I doubt we’ll be told exactly how it does what it does, it’s remarkably effective. It will become an invaluable tool for re-mastering older material where stems aren’t available, correcting mistakes, and even just sweetening up tracks you’ve taken a bit too far.
Finally, the Maximizer section gets a new IRC 5 limiting algorithm, which iZotope says delivers clarity and loudness without the usual associated pumping or distortion. Digging around in this section of the software is perhaps a pursuit of more experienced users, but when doing an A/B comparison of the new algorithm, it is noticeably clearer and cleaner in the results it produces.
Ozone 12 Bass Control. Image: Press
Ozone 12 — promising update or AI slop?
While Ozone was already pretty much the most fully-featured software mastering suite on the market, the features that iZotope has added in version 12 makes it a significant update for producers of all skill levels.
The new features span a range of use cases from audio repair and AI-powered assistance to more forensic control of frequencies in a way that isn’t possible with standard EQ, compression and similar tools. This all elevates mastering into a more technically advanced process – note the prevalence of machine learning — but the software remains accessible and doesn’t blind you with science.
The Standard version is the one most people will opt for, and if you’re already a customer, discounted upgrade pricing is available via your account. You’ll only get the full tool set with the Advanced version, which is the most expensive, but there’s also a 10-day free trial, so you can try it out for yourself.
For new customers, MSRP prices are as follows:

Ozone 12 Elements: $55 USD
Ozone 12 Standard: $219 USD
Ozone 12 Advanced: $499 USD
Music Production Suite: $799 USD

Ozone 12 Unlimiter. Image: Press
Learn more at izotope.com.
The post Is iZotope Ozone 12 just a routine update, or something more exciting? appeared first on MusicTech.

“We’ve listened to our community and improved every part of the experience”: Drumsheds announces sweeping venue improvements for 2025/26 seasonAhead of its 2025/26 season, Drumsheds – the 15,000-capacity venue housed within a repurposed IKEA building in Tottenham, north London – has announced a sweeping set of improvements and updates, with an emphasis on improved movement around the venue, and a complete redesign of one of its rooms.
Drumsheds came under fire in December last year following UKF15 – an event featuring Pendulum, Nero, Knife Party, Modestep, Flux Pavilion and other dance music titans – following widespread concerns over safety, poor crowd management, two-hour entry queues and some people even being denied entry to the main room.

READ MORE: Drumsheds to enforce new safety measures following review

The backlash was significant enough for some attendees to create a petition, with nearly 2,500 people signing to demand refunds after “unsafe event conditions”.
Now, organisers have taken the feedback onboard, and are promising a very different experience for those attending its upcoming events in 2025 and 2026.
“Guest feedback has helped shape a series of sound, space, and service refinements designed to reaffirm the venue’s ongoing commitment to those who make it what it is – the people on the dancefloor,” the venue says.
First up, there will now be “improved movement around the venue”, with new spaces and routes unlocked, including a 360-degree channel around the venue, a lobby, and new ways to enter and exit. Search lanes have also been doubled, improving entry and exit channels.
In another safety and quality-of-life improvement, the venue will now offer free Wi-Fi for all attendees across the entire venue, powered by tech brand Nothing.
“Losing yourself on the dancefloor is what it’s all about at Drumsheds, not losing your crew,” organisers say.
In further venue improvements include enhanced acoustic treatment in the main room, Room X, revealing the “full clarity and punch of the d&b audiotechnik sound system”, as well as extra bass and Infrabass speakers halfway down the room for extra low-end in the back half of the dancefloor. “Consistent sound, delivering an incredible experience wherever you’re dancing,” Drumsheds says.
There’s also a new layout for Room Y – which we’re not told too much about in detail – but organisers say it’s a “complete redesign” aiming to offer an “elevated dancefloor experience”.
And finally, there’s a brand-new Backstage Bar space, offering all attendees the chance to access a “unique vintage point” behind the stage, “offering a new perspective and a space to relax”.
Drumsheds says its 25/26 season will be its “biggest season yet”, with artists confirmed including Adam Beyer, Peggy Gou, Flava D, DJ Snake and many, many more.
“Drumsheds was built to be a home for bold ideas and a platform to push boundaries in music and culture, with people at the heart of the experience,” says Luke Huxham, MD of Broadwick Live, owner and promoter of Drumsheds.
“This season we’ve listened to our community and improved every part of the Drumsheds experience, while curating a line-up that reflects the scale and diversity of music culture in London today. AW25/26 is about putting the focus back onto the dancefloor and creating world-class experiences that people will remember.”
As a beacon of London’s nighttime economy, the prospect of Drumsheds losing its licence following UKF would have dealt a heavy blow to dance music culture in the UK, especially during a time when we’re seeing more and more venues close under increasing financial pressure and reduced demand.
The team here at MusicTech commends Drumsheds’ changes in response to attendee feedback, and we very much look forward to experiencing the new and improved Drumsheds in the 25/26 season.
Check out the full AW25/26 schedule at the official Drumsheds website.
The post “We’ve listened to our community and improved every part of the experience”: Drumsheds announces sweeping venue improvements for 2025/26 season appeared first on MusicTech.

Eva Instruments HARMO guitar harmonics library for Kontakt is FREE for a limited time
Typically, when we say something is free for a limited time, you have a week or more to take advantage of the offer. At the time of writing, you have around a day and a half to download HARMO for free before it returns to its regular price of $25 (the offer ends on September [...]
View post: Eva Instruments HARMO guitar harmonics library for Kontakt is FREE for a limited time

iZotope Ozone 12 has arrived Ozone 12 includes a trio of new additions: Stem EQ, Bass Control and Unlimiter, a configurable Master Assistant feature and a new transparent limiting algorithm for its much-loved Maximizer module. 

iZotope’s Ozone 12 is here, with a whole load of AI-powered upgrades that “guide, not decide”iZotope has released Ozone 12, the latest evolution of its popular mastering suite. This new iteration introduces three new modules, an update to its AI-powered assistant, and more.
The previous version of Ozone landed in 2023, and scored a 9/10 in our review. Though a near perfect score, we did note that the AI assistant needed some tweaks. As usual, Ozone 12 comes in three editions: Elements, Standard, and Advanced, with Advanced including 21 individual plugins.

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iZotope says that this assistant has “intelligent tech that guides, not decides”, and reiterates that the implementation of AI within its products is intended to simply help and inspire – the tech certainly comes into play a lot within Ozone 12.
Diving further into its features, Ozone 12 includes a Stem EQ, which lets users apply EQ to vocals, drums, bass, and instruments separately within a stereo audio file, and a Bass Control described by iZotope as a “machine-learing powered module that refines low-end frequencies, ensuring masters hit hard in any listening environment”.
Ozone 12 Unlimiter. Image: Press
There’s also an Unlimiter on board that can revive overly compressed audio, also powered by machine-learning, and, going back to the AI-powered Master Assistant, it now offers a ‘custom flow’ that allows for specific module choices, LUFS targets, and genre modifiers to create a unique mastering chain.
Furthermore, the well-loved Maximizer now includes an IRC 5 limiting algorithm, which “delivers outstanding loudness and clarity without the usual tradeoffs like pumping or distortion”, according to iZotope.

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iZotope’s comprehensive Music Production Suite 8 has also now been updated to include both Ozone 12 Advanced and all five of its Catalyst Series products: FXEQ, Velvet, Cascadia, Aurora, and Plasma.
Existing iZotope customers may be eligible for special loyalty offers. For new customers, Ozone 12 Elements is priced at $55, the Standard version is $219, and Advanced comes in at $499. Find out more via iZotope.
The post iZotope’s Ozone 12 is here, with a whole load of AI-powered upgrades that “guide, not decide” appeared first on MusicTech.

Melbourne Instruments Roto-ControlRoto-Control is a motorized MIDI controller. This unique controller utilizes the same motorized knob technology found in their Nina and Delia synths, providing real-time visual feedback for parameter changes in your DAW or hardware devices. Roto-Control features eight touch-sensitive, self-rotating knobs, eight keyboard-style buttons, and a row of high-resolution displays for clear visual feedback and versatile control. The integrated Motion Recorder allows for automation and looping of MIDI parameters on both hardware and software. Features The Roto-Control has three modes: MIX Mode: Plug & play with Ableton Live. PLUGIN Mode: Control plugins in Ableton Live. MIDI Mode: Control any MIDI device. The Motion Recorder allows for recording and looping of MIDI parameters. Additional Features: 8 touch-sensitive motorized knobs with haptic feedback. 9 high-resolution LCDs. 16 backlit RGB LED buttons. 2 USB-C ports. MIDI in/out/thru. The Roto-Setup App provides configuration and customization of knobs and buttons. YouTube/8qyduUwtNlc Read More

From inspiration to expression: The next chapter of Splice tools
We're excited to share two new Beta releases that mark the next step in Splice' journey.

Heads up: You can save 40% on Cubase 14 for a limited time – here’s howWhen we reviewed Cubase 14 earlier this year, we gave Steinberg’s flagship digital audio workstation a solid 8/10, commending its beatmaking and drum programming flexibility, and extensive, intuitive MIDI functionality, among a host of other strong traits.
So what if we told you you can save a massive 40% on Cubase 14 for the entirety of September?
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This promotion – hosted by our good friends at Steinberg – applies on all three tiers of Cubase 14: Pro, Artist and Elements.

READ MORE: Why Steinberg Cubase Pro 14 is the most significant update since 1997’s VST launch

Cubase Pro 14 is the complete and most fully-loaded version of the DAW, with the entire suite of Cubase tools at your disposal including professional composition, recording, mixing and editing workflows, Dolby Atmos support, advanced MIDI editing, a powerful modulation system and a professional-grade selection of pre-loaded plugins.
Cubase Pro 14 is trusted by many top producers and even Hollywood blockbuster composers worldwide, so its normal £481 price tag is justified. But until 1 October, you can get Cubase Pro 14 for just £288.60. That’s a huge £192.40 off.
Of course, if you don’t need the comprehensive Cubase 14 suite, you can go for either Cubase Artist 14 or Cubase Elements 14 – both with slightly reduced feature sets that might just be everything you’re looking for to make your best music ever.
Cubase Artist 14 is now priced at £163.80 – down from £273 – and still comes with an advanced set of features including, alongside all your basic DAW functions and features, VariAudio pitch correction, Multitrack AudioWarp and Audio Quantize, advanced comping workflows and an intuitive pattern sequencer and drum track.
Meanwhile, the most basic of the three tiers is Cubase Elements 14, which you can now get for just £49.80 instead of the usual £83. Yep, for under 50 quid you can get over 20GB of sounds and loops, as well as a host of inspiring songwriting tools including Scale Assistant, Retrospective Record and so much more.
And if you still need a bit of time to decide if Cubase 14 is right for you before making the purchase – even with the hefty discount – Steinberg has you covered, with a 14-day free trial so you can familiarise yourself with the DAW’s comprehensive feature set and inevitably fall in love with it.
So what are you waiting for? Head to Steinberg now to get your new favourite DAW at a massive discount.
The post Heads up: You can save 40% on Cubase 14 for a limited time – here’s how appeared first on MusicTech.

“Being a musician is sometimes more like being a top athlete”: Stimming on artists who only want to show off their skillsWhile Martin Stimming is constantly striving to innovate his organic sound, twisting natural field recordings with quirky, esoteric hardware, the German producer has spoken out against musicians who treat music like a competitive sport.
On the latest episode of MusicTech’s My Forever Studio, Stimming notes that his production work is always to aid the sound of a track – he doesn’t concern himself with ‘one-upping’ and proving himself to other musicians. “Being a musician is sometimes more like being a top athlete,” he reflects. “[For some artists] it’s not even about the music any more, to be honest.”

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As Stimming puts it, competitive musicians can often feel like “musician police” rather than supportive peers. These musicians tend to release music just to show off their skills, releasing pretentious cuts that “nobody wants to listen to” bar “the other 5,000 people on Earth that can also play very good and are astonished by how fast you can play.”
“They’re not really ‘enjoying’ [the music],” he explains. “They’re enjoying the ‘athletics’, but not the feelings, the emotions – which is the core of what music actually is.”

While Stimming notes that he was never professionally trained, instrumentally or in terms of production, he believes this has benefitted him. “I would say that’s a big win because I’m not in that trap of knowing too much,” he says. “I had a little bit of education, but luckily not too much that I kind of lost my inner child.”
This ‘inner child’ approach is evident in the producer’s dream Forever Studio set-up, too. The German famously controls his computer with a Wacom pen, something he explains feels “more natural”. The approach allows for a more child-like and free flowing creative process, like plotting his daydreams out on a “sheet of paper”.
Of course, it’s also easier on the wrist. “Those who work with the mouse for hours a day know how bad your wrist feels,” he frowns.
He also notes that pretentious artists tend to make a big fuss of their set-ups. For Stimming, things are more simple and low-key, letting the music speak for itself. “I need big speakers – the biggest speakers possible – but I like my screens small,” he says. “The screen and the visual shouldn’t be the main part of making music… we’re making music, not visuals!!”
“If it gets too complicated, too architectural… then it’s not music,” he emphasises.

His dream studio would also be isolated in a wooden cabin in the Alps – just like how he recorded 2016’s Alpe Lusia. Inside, he’d be working away on an Asus Republic of Gamers Flow Z13 laptop (“I would buy a Mac computer because it’s simply the better computer – it’s more efficient, it’s more clean – but the touchscreen pen is more compatible with PC.”)
When getting down to the nitty-gritty, Stimming explains how Merging Technologies’s HAPI as his audio interface of choice. He’s also keen to have Bricasti M7 reverb due to its “beautiful texture” that allows for “roominess” while still feeling “very natural and organic sounding”.
He also namedrops a few budget options – because, again, making good music doesn’t have to be inaccessible. He picks out Twisted Electronics’ MegaFM Synthesizer and Behringer’s semi-modular percussion synth, Edge. “The Edge is inspired by a Moog DFAM,” he explains. “Well, it’s not inspired, it’s [essentially] cloned. Yeah, it’s like brutally cold heartedly cloned…. And it’s only €200.”
Subscribe to My Forever Studio on Apple Podcasts and Spotify, and check out all episodes so far via MusicTech.

The post “Being a musician is sometimes more like being a top athlete”: Stimming on artists who only want to show off their skills appeared first on MusicTech.

“The heaviest synthesised drums ever”: Baby Audio Tekno is an analogue-inspired drum synth plugin with no pre-recorded audioBaby Audio has expanded its plugin lineup with a new analogue-inspired drum synth plugin, Tekno.
Tekno brings drum synthesis into a new era, offering the “hardest hitting synthesised drums” to ever be put in a plugin, the brand says. Though partially envisioned as a successor to iconic drum machines from music history, Tekno is not an emulation of any hardware unit, but rather “an evolution of the underlying technology”.

READ MORE: The best free and paid-for plugins you need to know about this week

It all sounds rather alluring, so what features does it actually offer? Created in collaboration with Jatin Chowdhury, a leading engineer in analogue circuit modelling, Tekno is powered by 18 entirely synthesised drum engines that combine authentic circuit-modelling, advanced synthesis, and classic drum machine techniques.
All of its drums are synthesised from scratch, so it contains no pre-recorded audio of any kind, with each hit that it produces being unique. Through modelled analogue circuits and onboard Humanise features, Tekno offers unique quirks that “make tracks come alive as samples never could”.
“Tekno generates every drum hit from scratch through a complex non-linear VA circuit. That means it never hits exactly the same way twice – a quality it shares with the classic analogue drum machines (and a big part of their magic),” states Baby Audio. “Compare this to samples, which are just static snapshots and you’ll find that Tekno’s subtleties make tracks come more alive.”
Tekno launches with 73 custom kit presets from producers including Mr. Bill, Richard Devine, Virtual Riot, and Yoad Nevo. You can also fine tune individual components of the modelled circuits onboard for in depth sound design, and experiment with Baby Audio’s smart preset randomiser if inspiration is running dry.
Check out the video below for more:

Tekno is available to download now for an introductory price of $79 (regular price $129). Find out more via Baby Audio, or get yours at Plugin Boutique.
The post “The heaviest synthesised drums ever”: Baby Audio Tekno is an analogue-inspired drum synth plugin with no pre-recorded audio appeared first on MusicTech.