TONE3000 claims its new A2 modeling tech is “virtually indistinguishable” from real gear – and runs on a $3 chipWant to play iconic amps like the Fender Twin Reverb, Marshall JCM800, and Vox AC30, without breaking the bank? TONE3000 has unveiled NAM Architecture 2 (A2), the next generation of its free, open-source modeling technology developed in partnership with Neural Amp Modeler creator Steve Atkinson.
The company describes A2 as the “most accurate and best sounding amp modeling technology in history”, claiming it delivers better sound quality than its predecessor while using significantly less computing power.
Most notably, TONE3000 says the system can reproduce the behaviour of real-world gear to the point where it sounds “virtually indistinguishable from the analogue original” – and reportedly runs on hardware powered by a “$3 chip”.

READ MORE: Ever fancied playing Flappy Bird in your DAW? Ableton’s new Extensions Software Development Kit has you covered

“The bloom of a tube amp pushed into breakup, the sag of a fuzz pedal under a heavy chord, the snap of a transient through an analog compressor: A2 captures it all,” says the company.
“The goal was simple. Capture tone so faithfully that you couldn’t tell the difference,” adds TONE3000 co-founder Woodbury Shortridge. “The entire universe of analogue gear is now accessible”
So how does A2 stack up against existing modelling systems?
First, it is fully open source, meaning any hardware or software developer can freely implement the technology in their commercial products. Second, the architecture is supposedly efficient enough to run on everything from DAWs to budget multi-effects units, with sound quality “better” than Quad Cortex at 50% CPU. And third, TONE3000 says A2 outperformed rival modelling platforms from Neural DSP, IK Multimedia and Line 6 in both “quantitative and blind listening tests”.
Credit: TONE3000
For the blind tests, TONE3000 used the MUSHRA methodology, “the audio industry’s gold standard for evaluating perceived sound quality” used by the likes of BBC and EBU. More than 1,000 participants took part, listening to 37 different tones that included guitar amps, bass rigs, pedals and full signal chains.
Each test presented listeners with recordings of real hardware alongside anonymised digital models, which they rated on how closely they matched the original sound. Across the dataset, TONE3000 says A2 consistently scored closest to the reference recordings.
Credit: TONE3000
Alongside this, the company ran quantitative tests across 39 tones, covering everything from clean amp sounds to high-gain setups. These included individual amps, pedal chains, cab simulations and full signal paths – such as a cranked Mesa/Boogie Dual Rectifier and vintage outboard-style processing. Each model was scored on how closely its output matched the actual gear, with the A2 again reportedly coming out ahead of competing systems.
The new architecture is available in two versions. A2-Full is aimed at studio and professional audio applications, delivering higher accuracy while using 30–40% less CPU than the previous A1 architecture. A2-Lite, meanwhile, is designed for embedded devices like guitar and bass multi-fx pedals, and runs at 50% CPU on an ARM Cortex-M7 chip, the same chip found in many popular modelling pedals.
The release also expands the wider NAM ecosystem. NAM files can already be used across a growing range of compatible software, amplifiers (such as the Blackstar Beam Mini) and pedals, while manufacturers integrating the TONE3000 API gain access to a library of more than 350,000 tone captures.
TONE3000 CEO Stanley Vergilis adds that the goal is broader than modelling alone.
“TONE3000’s mission is to make music creation universally accessible. A2 accelerates that mission by democratising tone,” says Vergilis. “A $5,000 vintage amp that was once locked away in a studio can now be captured, shared, and played by any artist, on any device, anywhere in the world.”

For more information, visit TONE3000.
The post TONE3000 claims its new A2 modeling tech is “virtually indistinguishable” from real gear – and runs on a $3 chip appeared first on MusicTech.

FabFilter Pro-C 3 could easily become your preferred compression plugin£149 / $199
Upgrade/loyalty discounts available
fabfilter.com
Pro-C 3 is the latest edition of FabFilter’s versatile compressor plugin, and with its extended set of features, it can compete with and even eclipse many of the formidable dynamics plugins in this price range.

READ MORE: Here’s why FabFilter Pro-Q 4 is almost the only EQ you’ll ever need

Version Three is a major upgrade, adding new compression styles and saturation character modes for added versatility, as well as interesting improvements to the sidechain section that now features a six-band EQ and the ability to use your DAW master tempo or MIDI to trigger the compressor.
The other aspect that has improved is the workflow, with a range of different interface configurations, immersive compatibility, and even a new auto threshold function, which really suits dialogue and podcast editing. Also, with up to x32 oversampling, you can ensure that there is little signal degradation happening, if any.
With all these new professional adaptations, you might think that FabFilter has turned its back on beginners for a second, but you couldn’t be more wrong. Besides the world of different approaches to compression that Pro-C 3 opens up, its strength lies in how easy it is to do more technical processing than you might be used to with your DAW’s stock compressor.

What are some of the bread-and-butter functions of Pro-C 3?
Like most compressor plugins regarded as high-end, Pro-C 3 has been designed to accommodate a multitude of workflows with different applications in mind. However, we’ve all heard the saying about Jack fancying his hand at all trades, so it’s important to single out the functions that make it a go-to dynamics processing solution in your DAW.
Whether you use it as a channel or bus insert, Pro-C 3 has been created to work seamlessly alongside FabFilter’s flagship EQ plugin, as it shows up in the Pro-Q 4 instance list. This simple but powerful integration lets you edit the entire channel strip of FabFilter plugins, also including the Pro-G expander/gate and the Pro-DS de-esser, across your entire DAW session. The fact that you can do this from a single view makes FabFilter a clear leader in this area, and they have cleverly made the instance view exclusive to Pro-Q 4 to incentivise owning more plugins in the range.
Now with a total of 14 compression styles and three character modes, Pro-C 3 becomes any compressor that you need it to be. If you want a Fairchild, simply select the Vintage Vari-Mu compressor style, meanwhile Vintage Op-El mimics the characteristics of the famous LA-2A. Of course, Pro-C 3 doesn’t only model vintage compressors. There are also the familiar Vocal, Bus, and Mastering modes, as well as a range of new Modern styles. The preset library offers a wide range of options, including tempo-synced presets and some that make use of the new TTM mode. However, while the use of descriptions and custom tags is enlightening, I still feel that FabFilter plugins would benefit from a dedicated browser view, rather than a dropdown overlay.
Besides the Versatile and Smooth modes, which are relatively self-explanatory, there is an Upward mode that uses a similar process to the Dynamics control of FabFilter’s Saturn saturation plugin. Meanwhile, the TTM or ‘To The Max’ mode is a multiband algorithm that uses a unique combination of upward and downward compression that brings up the level of softer passages of a performance while reducing levels when it arrives at the louder parts.
To add more character, you can engage a saturation circuit with Tube, Diode, and Bright modes that add different colouration and analogue drift characteristics, and accentuate the harmonics. For flexibility, the Drive control determines the level of the internal circuitry, and it can be placed before or after the compression in the processing chain.
FabFilter Pro-Q 4 instance list in Pro-C 3. Image: Press
How do you use Pro-C 3’s new sidechain features?
With Pro-C 3, the amount of sidechain control you have to trigger the compressor in different ways is staggering. First off, you never have to worry about setting up external sidechain buses in your DAW for a basic 4/4 kick pattern ever again. Instead, the Host sync function lets you use a range of musical divisions, including dotted and triplet timings, and the Offset control lets you make precise adjustments to match the groove of the track perfectly.
Whether you’re triggering the compressor from the internal or external input, you have access to the same level of signal shaping potential. The new six-band EQ is like a miniature Pro-Q, allowing you to place up to six nodes across the frequency range and choose between 10 filter shapes, six filter slopes, and placement over the stereo, mid, or side channels. The sidechain detection circuit also includes a global Stereo Link control to adjust the level of independence between stereo, mid-side, or surround channels.
The ability to sculpt the sidechain signal in so many ways gives you unprecedented control over the compressor’s behaviour. Naturally, this was always possible when using an aux track and a processing chain of plugins, but having this added potential inside the plugin encourages creativity rather than getting lost in signal routing.
FabFilter Pro-C 3 compact view. Image: Press
Why use Pro-C 3 over another compressor?
Because of the popularity of the Pro-Q 4 EQ plugin and how Pro-C 3 forms part of the larger FabFilter processing platform, it’s hard to find reasons not to use both in your workflow, especially if you already own Pro-Q 4. There are, of course, other premium compressors that provide a similar sonic quality and depth of features like u-he Presswerk ($129) or DMG Audio Compassion ($199), but both of these require deeper knowledge of compression parameters to truly master their respective workflows.
Simply having the most advanced feature set does not guarantee users will immediately resonate with the interface. This is certainly something FabFilter has understood, even looking back at the first version of Pro-C, almost 20 years ago. Since then, the company has strived toward designing processors that can be customised for a wide range of applications and consistently deliver great results, regardless of the user’s prior audio experience.
While paying $199 for a compressor plugin seems staggeringly high, FabFilter offers loyalty discounts of up to 60% off the initial purchase or upgrade price, depending on how many of their plugins you own. This means that, if you’re thinking of buying your first FabFilter plugin, it should probably be Pro-Q 4, which becomes central to the ecosystem. At the end of the day, both beginners and seasoned professionals don’t want to be confronted with a technical nightmare every time they use a compressor — and this is exactly why Pro-C 3 is likely to be the preferred choice over any other plugin in its class.

Key features

AU / VST / AAX / CLAP plugin
6 new compression styles (Total of 14)
3 new character modes
6-band sidechain EQ with mid-side and surround channel linking
Host sync and MIDI sidechain input modes
Up to 32x oversampling
Instance list compatibility with Pro-Q 4
Scalable interface with four different size modes

The post FabFilter Pro-C 3 could easily become your preferred compression plugin appeared first on MusicTech.

Has SoundCloud Cracked Superfandom and AI Music?This week, Ari is joined by Eliah Seton, CEO of SoundCloud, to discuss AI, streaming economics, fan monetization, and the future of music platforms.

Farewell, Juno DownloadAfter about 20 years, Juno Download has shut down with no warning. Here's what the DJ-first store meant, why it folded while vinyl booms, and where to buy DJ music now.
The post Farewell, Juno Download appeared first on DJ TechTools.

2 Live Crew can’t take back their recorded music copyrights after all, appeals court rulesA US federal appeals court has overturned 2 Live Crew's high-profile victory in their long-running copyright fight
Source

Cyberdecks are having a moment, rejecting big tech surveillance with style and substanceOver the last few months, these DIY hardware communities have exploded in popularity as people on social media show off their solar-powered game emulators, pocket-sized ereaders, and clamshell purse computers.

Coinbase invests in ProShares ETF tailored for stablecoin reserve assetsThe exchange has invested an undisclosed amount in ProShares’ Treasury-focused ETF built for the post-GENIUS era as lawmakers debate whether stablecoin issuers can offer yield-bearing products.

Apply Now to the BMI Foundation 2026 Songwriting & Composer AwardsThe BMI Foundation has officially opened applications for its Summer 2026 awards, offering emerging songwriters and composers a pair of high-impact opportunities designed to support artists at a pivotal stage in their careers.

This year’s open programs include the peermusic Latin Music Award and the Pete Carpenter Fellowship, each tailored to distinct creative paths within the music industry. Submissions for both are due by June 30, 2026, with all eligibility requirements determined as of that date.

Aimed at songwriters working within Latin genres, the peermusic Latin Music Award recognizes excellence in songwriting while providing financial support and industry visibility. Meanwhile, the Pete Carpenter Fellowship is geared toward aspiring film and television composers, offering mentorship and hands-on experience in media scoring—an area often difficult to break into without direct access.

Together, the two programs reflect the BMI Foundation’s broader mission: to provide not just recognition, but meaningful resources for artists navigating the early stages of professional development.

“We are thrilled to offer these launchpads for the next generation of songwriters and media composers,” said BMI Foundation President Deirdre Chadwick. “Each award is uniquely tailored to the needs of creators within a specific genre. Everyone at the BMI Foundation is proud to provide financial, business and artistic support for these emerging artists at a critical point in their careers.”

While industry accolades can often feel symbolic, initiatives like these tend to offer more tangible outcomes—whether through funding, mentorship, or connections that extend beyond the award itself. Past recipients have gone on to build sustainable careers across songwriting, production, and media composition, underscoring the long-term value of such programs.

For artists currently refining their sound or looking to expand into new areas of the industry, the BMI Foundation’s Summer 2026 awards represent a rare combination of credibility, access, and support.

Applications are now open, find your application here. The post Apply Now to the BMI Foundation 2026 Songwriting & Composer Awards first appeared on Music Connection Magazine.

From Scrappy Pallet Wood to Fancy Tea TrayPallets are a wonderful way to package goods and move them around, but especially the wooden ones have a very finite lifespan. This means that many of them are discarded every day, even though there is still good wood on them. Even if it’s not the highest quality wood, you can still use it for some nice wooden items, like the tea tray that [GR Woodworking] recently put together.
The reclaimed wood is the typical fast-growing, soft type, with the suspicion of it being paulownia here. Of course, wooden pallets use a wide variety of wood varieties, so not all reclaimed wood is equally suitable for applications like this, and identifying the type can be a challenge in itself.
In the video it’s shown how the wood is planed to make it smooth and straight, before the joints are created and it is married to the poplar or aspen base plate. Of note is that absolutely no power tools or bulky things like router tables are used here, just basic hand tools that should make this kind of woodworking accessible to people even without that kitted-out woodworking shop.
After assembly it’s finished with Vararhana oil-based stain to give it a darker look and really bring out the grain. Naturally, since it’s a tea tray it has to be commissioned with a proper tea ceremony, which it passes with flying colors.

Universal Audio release UAD Topline Vocal Tune The latest arrival to the Universal Audio range delivers a new native pitch-correction plug-in that’s capable of delivering everything from subtle correction to the hard-tuned effects that dominate modern pop, hip hop and R&B tracks. 

Eventide unveil the H9 Harmonizer Gen 2 Built on the same processing architecture as their H90 Harmonizer, the H9 Harmonizer Gen 2 combines Eventide's flagship algorithm library with a compact, performance-ready format designed for modern stage and studio applications.

Spitfire Audio’s much-loved Originals instrument libraries are coming to Akai MPCSpitfire Audio’s best-selling Originals range is coming to the growing Akai Professional MPC ecosystem, the two companies have confirmed.
Things are going to plan, then, after Akai and Spitfire announced a new “strategic partnership” during this year’s NAMM Show, with the intention of bringing its professional-quality instrument libraries to Akai MPC users.

READ MORE: “I think it’s the most underrated plugin on Ableton Live”: The simple tool Chris Lake used in his Taylor Swift remix

At launch, Spitfire Audio’s Originals Intimate Strings and Originals Cinematic Pads are available within the Akai MPC workflow.
The former is described as one of Spitfire’s “most emotionally resonant chamber string libraries”, captured using “25 of London’s finest players” with pristine microphones, and featuring Expression and Dynamic sliders, plus a high-quality reverb for comprehensive sound control.
Originals Cinematic Pads, on the other hand, features 23 presets of evolving atmospheric pads, blending orchestral sounds, synth elements and processed textures, and offering parameters including Reverb, Attack, Release and Distort, alongside Mellow, Bright and Cinematic signal options.
Credit: Spitfire Audio/Akai Professional
“Akai Professional gear has been with me for most of my music career – I even started out writing orchestral drama underscores on an MPC60,” says Paul Thomson, Founder, Spitfire Audio. 
“Bringing our Originals libraries into that ecosystem is such an exciting next step. These libraries were made to be played expressively, and the MPC line gives musicians exactly that. I can’t wait to see what musicians create when the two come together!”
“The MPC has always been about giving producers the tools to build something real — something with feeling,” adds Andy Mac, Creative Global Marketing, Akai Professional. 
“Bringing Spitfire Audio’s Originals libraries into the MPC ecosystem means producers now have access to some of the most expressive, cinematic sounds ever recorded, right at their fingertips on the pads. Whether you’re scoring a scene or building a beat, Intimate Strings and Cinematic Pads were made for exactly the kind of music MPC producers make.”
Both Originals Intimate Strings and Cinematic Pads are available on MPC OS 3.7.1 now, priced at £29 / $29 / €29 each.
Learn more at Spitfire Audio or Akai Professional.
The post Spitfire Audio’s much-loved Originals instrument libraries are coming to Akai MPC appeared first on MusicTech.

“I think it’s the most underrated plugin on Ableton Live”: The simple tool Chris Lake used in his Taylor Swift remixChris Lake was recently one of four dance producers asked to remix and put their own spin on Taylor Swift’s megahit Opalite, from her 2025 album The Life of a Showgirl.
Turning one of the biggest pop tracks from the past year into a dancefloor-ready anthem was no small feat, but the English producer did so in style, and recently spoke to MusicTech about how he gave the song a new lease of electronic-flavoured life.

READ MORE: The SSL 1 is Solid State Logic’s most affordable audio interface yet

And he even reveals his surprising secret weapon that took his remix to the next level and infused it with a sense of “imperfection”, Ableton Live’s stock Overdrive plugin.
“The thing that’s really key is loads of Overdrive,” he says. “I think it’s one of the most underrated plugins in Ableton Live. It just gives vibrancy and lift to the songs and makes them a bit more imperfect. It’s just really musical to me.”
The producer also reveals his workflow for creating the remix involved continuously printing everything he wrote to audio. “I’d make a complicated project, break it down to six stems, move to a new project, then start the cycle again, until I ended up on that last version.
“That last version, from the moment I started the beat to the finished remix, took me about two hours to get the sounds that I was using within that. I’d spent about three days putting it together.”
Lake also remembers being asked to create a remix for a Taylor Swift track for the first time.
“I’ve dedicated my life to music production and DJing,” he says, “and there are lots of people who understand it. But people who don’t go to clubs just don’t really get what DJs do. They don’t get what producers do. They have no concept of it.
“Well, you tell them that you’re remixing Taylor Swift, and suddenly you have people’s attention. She resonates on a frequency unlike anyone else on this planet.”
Listen to Chris Lake’s Opalite remix, plus Taylor Swift’s original, below:

The post “I think it’s the most underrated plugin on Ableton Live”: The simple tool Chris Lake used in his Taylor Swift remix appeared first on MusicTech.

OTODESK releases FREE open-source Ambience algorithmic reverb plugin for Windows
OTODESK has released Ambience, a free and open-source algorithmic reverb plugin for Windows. Ambience is a 16-channel Feedback Delay Network reverb from Makoto Iida, a solo developer and hobbyist producer behind OTODESK. I asked the developer how he made the plugin and was surprised to learn that it is not based on convolution and that [...]
View post: OTODESK releases FREE open-source Ambience algorithmic reverb plugin for Windows

Three-Body Technology Transi-QInspired by a revered analog classic, this EQ is defined by its fast, smooth, and punchy character. It performs exceptionally well on percussion and any source where preserving transients is essential. It features one high-pass filter, one high-shelf filter, one low-shelf filter, and three proportional-Q bell filters, whose bandwidth tightens with gain to deliver more focused shaping while retaining attack and definition. No matter which filter type you use, the way it handles transients simply sounds beautiful. Zero-sample latency, ideal for live tracking and performance. Read More