“I find it crazy when people on the internet make a song in an hour – I’m like, ‘Clearly it won’t be that good!’”: Dan Nigro on the pros of cons of taking longer on songwritingProducer Dan Nigro believes you can make a good song in a short amount of time, but to create a truly great song, you’ll need to slow right down.
Known for his work with Olivia Rodrigo and Chappell Roan, Nigro won Producer Of The Year (Non-Classical) at the 2025 Grammy Awards. His production career shot to new heights with the success of Rodrigo’s debut Sour album, which saw tracks like Driver’s License and Good 4 U top charts across the globe.

READ MORE: “We need more listeners and dancers and less DJs”: JKriv says DJs should have “more anonymity” when performing

In a new video with Universal Audio on its YouTube channel, Nigro reveals that for him, slow and steady wins the race when it comes to building a truly great piece of music that will stand the test of time: “I always find it crazy when people are on the internet like, ‘make a song in an hour!’ Clearly it won’t be that good, you know?” he says.
“You could write a good song in an hour for sure, and because writing songs is so expressive, sometimes the shorter period of time it takes to write it actually does mean it’s better, but in terms of making a great song, I feel [that] takes a long time to figure out.
“When you look back at records, all the best records that we all love, you’re talking about 10 songs or 12 songs that were made over two or three years. You’re talking about a ratio of like three good songs a year for a band. If I can make four really good songs in a year, that’s all you need, really. I know that sounds crazy but that’s what it really takes to make, I think, music that’s going to last forever. You want your songs to be played 20, 30 years from now, and that takes time.”

Also in the video, Nigro looks back on the success of Rodrigo’s smash hit, Driver’s License. He found that the success propelled him to another level, where he ended up working with huge artists with super-packed schedules.
“It took us 17 days before we made Driver’s License in the studio… but [now] we only have like five hours and then one of us has a dinner. How are we going to make a song this good?” he says of navigating the experience.
“Just because you think an artist is great doesn’t mean that you should work with them. I was told that early on but I didn’t really believe it until I experienced going through it and working with people that I thought were amazing artists, but then not having great results.”
You can watch the full video below:

The post “I find it crazy when people on the internet make a song in an hour – I’m like, ‘Clearly it won’t be that good!’”: Dan Nigro on the pros of cons of taking longer on songwriting appeared first on MusicTech.

Electronic music dethrones indie on TikTok for the first time in app’s history: “Dance music has become more accessible and big in the commercial sphere”Views of electronic music videos on TikTok have overtaken those from the indie genre for the first time in the app’s history.
According to The Guardian, posts tagged with #ElectronicMusic attracted more than 13 billion views in 2024 — a 45 per cent jump from the previous year, which itself had seen a 100 per cent increase compared to 2022.
That breakneck growth has outpaced both the “indie and alternative” and “rap and hip-hop” categories, marking a significant moment for the genre’s presence online.

READ MORE: Over 60% of emerging producers and DJs feel “the electronic music industry is a closed club”, with social media presence prevailing over skill

TikTok says electronic music, including popular subgenres like techno and house, has become the go-to soundtrack for creators posting content related to sports, fitness, fashion, travel, and summer holiday recaps. Artists like Joel Corry and Disclosure are among those who’ve seen viral success on the platform.
Toyin Mustapha, TikTok’s Head of Music Partnerships for the UK and Ireland, says of the genre’s surge in popularity: “TikTok users tend to tag the genres of music, especially genres like electronic music. It shows the community they are trying to build and are part of, and electronic music is very much a community-led thing.”
“Dance music has become more accessible and big in the commercial sphere,” he adds. “We are seeing the breaking down of boundaries for artists, and TikTok is part of that. It’s not just reflected in festival bookings, you can see it in the official charts as well.”
Notably, recent figures published by the International Music Summit’s Business Report for 2025 reveal that global electronic music generated $12.9 billion over the last 12 months — a 6 per cent increase.
The report, authored by MIDiA Research’s Mark Mulligan, notes that while this is a slowdown from the 9 per cent growth seen the previous year, it reflects a return to more stable, post-Covid rates, especially in the live sector.
“Global music industry revenue grew again in 2024, though at a slower rate than in 2023 due to maturing streaming revenues and the post-Covid live resurgence lessening,” says Mulligan. “Electronic music however, continued to increase its share of both revenues and culture.”
“Driven by the rise of new genres like Afro House, a renaissance for genres like Drum & Bass, and the rise of a new generation of fans, creators and scenes remaking electronic music in their own image, electronic music finds itself at the start of a brave new era of culture resonance.”
The post Electronic music dethrones indie on TikTok for the first time in app’s history: “Dance music has become more accessible and big in the commercial sphere” appeared first on MusicTech.

“The constant ‘no’s make you tough. They make you say, ‘f**k everybody, I’m still gonna do it’” Claude VonStroke on building a career on his termsAfter over 20 years of touring the world, producing music festivals, and running record labels, Claude VonStroke is living his life of leisure. He is now a 100% independent artist, releasing the music he wants the way he wants.
Broken down individually, “the music he wants” could mean everything from wacky house music as Claude VonStroke, or hard-hitting beats under his birth name, Barclay Crenshaw.

READ MORE: JKriv: “A finished track is better than a perfect track, every single time”

“How he wants” relates to his staggered release plan. The Detroit-born producer shared his latest EP, I Was the Wolf, first with his pay-to-access website, Claude’s Club. Next, he put up the tracks as a Beatport exclusive for DJs wanting to play them live. The final tier, or rather, “the mass-consumption tier” as he describes it, is for Digital Streaming Platforms (DSPs), which will get the EP on 25 April, the same day his Life of Leisure tour begins.
“Life of leisure is my overall philosophy now,” says Crenshaw. “I call it my Moodymann phase. Maybe I’m a little harder to get hold of. Maybe I’m not answering all the emails. I’m only playing shows that I actually want to play. I’m just living my life. I’m not trying to get any gig, be in some crew, or be in some movement of hot trends. I’m just making songs, and that’s how I started.”
Image: Press
Crenshaw may have started his career that way, but he was forced to hustle for many years. From 2005 until 2023, he oversaw the musical vision for his record label Dirtybird, personally A&Ring over 300 releases and signing culture-shifting artists such as Julio Bashmore, Hannah Wants, FISHER and John Summit in the earliest years of their projects.
“I find [artists] before they figure out the formula; I find them in their raw state. I’m trying to get back to that raw state myself,” Crenshaw says.
Under the Dirtybird name, Crenshaw also organised events across the US. He curated two music festivals: an outdoor camping weekend, Dirtybird Campout, and the resort event, Dirtybird CampINN. He also launched the Dirtybird BBQ tour, a run of single-day events in cities like Los Angeles, Denver, Detroit, and New York.
Then, after selling Dirtybird to the San-Francisco-based distribution company, EMPIRE, in 2022, he set his crosshairs on the Barclay Crenshaw project. Under this name, he released the album Open Channel and played major US festivals such as Lightning in a Bottle and Shambhala.
As proud as he is of everything he’s accomplished, at this point, he realises he can continue making music and touring without nearly as much stress.
“There was a little bit too much riding on every decision back in the day. Everything was like, ‘If we don’t sell these festival tickets, we’re gonna have to sell our house.’ I had that mentality for so long,” Crenshaw says. “If you’re always freaking out you can make it happen. But I did that for so long that I almost thought that was normal. Now I’m realising everything doesn’t have to be full panic mode. You can take four months off, make really cool music, and then go out and do the dates you want.”
Image: Press
Having broken through in the early 00s, starting with throwing free parties in San Francisco’s Golden Gate Park, Crenshaw acknowledges that artists beginning their path today are entering a vastly different landscape. One where new aspects, such as social media, are required for growing a project. When he was growing Barclay Crenshaw, he did what artists are “supposed to do.”
“I was posting [to social media] almost every day,” he says. “It kind of works, and eventually way more people are looking at your stuff, but it totally fucking sucks. It’s not even making music. It has nothing to do with anything. It’s stupid.”
One strategy that works for him — and that he recommends to other producers — is stockpiling. Spend the time making tons of music to hone your skills, but then only put out the best tracks you have at a staggered pace. Get them on the right label or get a bigger artist to do a remix if possible, but overall, it’s better to have a release catalogue of your best music.
“People think that the consistent output is better than the good output. Just keep hammering until something catches,” Crenshaw says. “You might win over a really long period of time. But it’s just a bunch of garbage. Why would that work? It’s not gonna stick out.”
Quality over quantity drove his release rhythm even before his Life of Leisure phase, and now he’s applying it as he’s making music as well. Having spent the last 18 months immersed in bass music for Barclay Crenshaw, he brought an entirely new point of view back to the house music he’s making as Claude VonStroke. His primary solution for making tracks used to be layering new elements until everything sounded right. Now he’s using as few sounds as possible, but dialling them in until the mix is at its absolute best.

“The quality of the sounds that you pick in the beginning is so much higher. You have a box,” Crenshaw theorises, “and there are only so many things you can fit in this box. After things start falling out of the box the sound starts squishing and sounding shitty. If you can put three things in the box, it just sounds amazing,”.
This less-is-more approach doesn’t limit the sonic quality of the track, either. Both tracks on I Was the Wolf harbour a minimalist feel, allowing each of the few sounds he used to live and breathe. But this method can support thicker tracks as well. It’s not about whether a track is minimalist or maximalist; it’s about specifically refining each minuscule element as much as possible to where they exist in perfect harmony.
“Before, I would just put in a disco loop and EQ out all the bass and be like, ‘Okay, that sounds cool.’ The other way of doing it is actually making sure every transient is in lockstep with every bass transient,” Crenshaw says. “Let’s make sure that all the swing is completely lined up together. It still has to sound fucked up and a little bit off to have this swing, but [it’s about] putting things in the right spots instead of just putting a layer on.”
Sometimes this process isn’t conducive to his vision for the track, and he’ll rely on his prior methods of stacking as many layers as he needs. But as a fully independent artist, he can make tracks that sound exactly the way he wants and put them out as he pleases.
Image: Press
Crenshaw admits that being signed to a major label will get your music heard by many more people, despite the greater amount of oversight. “They have tentacles that spread across the world,” he says. But at this phase of his life, the freedom to make weird beats is what’s most important to him.
Besides, while a contract with Warner, UMG, or Sony was never on his radar, he did try to get signed at revered labels such as Ninja Tune, but it never worked out. Crenshaw faced many rejections on his path, but those were essential to the journey.
“The constant ‘no’s make you tough. They make you resilient, and they make you just say, ‘fuck everybody, I’m still gonna do it.’ So many people will give up at those ‘no’s. The people who don’t give up, who stay around and keep going, make it. If you’re out there, just keep going because everyone else is gonna give up. I promise,” Crenshaw says. “The rejection creates the diamond.”
Now he’s cashing in those diamonds to live his life of leisure.
The post “The constant ‘no’s make you tough. They make you say, ‘f**k everybody, I’m still gonna do it’” Claude VonStroke on building a career on his terms appeared first on MusicTech.

Filtrr is a FREE Ladder Filter and Saturation Plugin by BlepFX
BlepFX has released Filtrr, a versatile ladder filter and saturation plugin for free. We have written about the cool offerings by developer BlepFX here before, like the impressive companding distortion Destruqtor and lo-fi degrader plugin Crunchrr. BlepFX is known for making tools that are both aesthetically pleasing and easy to work with, and most importantly, [...]
View post: Filtrr is a FREE Ladder Filter and Saturation Plugin by BlepFX

New AllMusic Feature - Trending ArtistsAnnouncing a new feature on AllMusic where we're highlighting musicians and bands that are making waves on streaming services and also trending on international music charts. Expect to find unexpected pop, hip-hop, metal, K-pop, jazz artists, and maybe music in new styles not even invented yet.

Windsurf slashes prices as competition with Cursor heats upAI coding assistant startup Windsurf cut its prices “across the board” it announced on Monday, touting “massive savings” for its users as competition with its rival Cursor intensifies. Windsurf said it’s getting rid of its complex system of “flow action credits,” which charged developers for actions its AI did in the background. It’s also cutting […]

Engineer Josh Gannet Channels His Workflow Through Focusrite InterfaceJosh Gannet's beginnings saw him playing guitar in a hard rock band, and he later worked with legendary hip-hop icons like Redman and the Wu-Tang Clan. "Gannet’s journey has been one of evolution, passion, and an unwavering commitment to sonic excellence," a Focusrite statement reads. "What started as a favor—producing a record for another band—soon became a full-fledged career as more artists sought him out for his keen ear and unique approach. And through his career, his unconventional approach to recording and mixing has made him stand out, while he has relied on gear from Focusrite for its reliability and sonic qualities."The press release continues: "Gannet’s introduction to the recording world was purely organic. As a musician, he spent countless hours in the studio, learning from engineers and producers while working on his own projects. When another band approached him to produce their record after hearing his own band’s work, Gannet seized the opportunity. One successful project led to another, and soon, his reputation as a producer and engineer grew within the New Jersey and New York music scenes. With no formal training in engineering, he developed a philosophy of prioritizing “vibe over science,” a mindset that continues to define his work today. His ability to understand the artist’s perspective—shaped by his own experiences in the recording booth—set him apart and made him a sought-after name in the industry.""His engineering career took a significant step forward when he landed a role at Showplace Studios in Dover, New Jersey, working under the legendary Ben Elliott. The studio had a storied history, hosting the likes of Eric Clapton, Keith Richards and Steve Miller. This experience deepened Gannet’s understanding of analog gear and vintage recording techniques, an education that would influence his work moving forward.""While Gannet has worked across multiple genres, it is his contributions to hip-hop that have made him a notable name in the industry. His long-standing collaborations with Redman, Wu-Tang Clan, and various solo projects from Method Man, Ghostface Killah, and Inspectah Deck have cemented his reputation. Since 2011, he has been a key figure in Redman’s engineering team, working on projects such as Muddy Waters Too, 3 Joints, Remixxes and Mudface.""Gannet operates as a freelance engineer, often working in artists’ personal studios, including Redman’s infamous home studio—made famous by his notorious MTV Cribs episode. Despite being deeply rooted in hip-hop, Gannet brings a rock-leaning warmth to his mixes, a distinction that has drawn comparisons to the sonic richness of Dr. Dre’s productions.""Gannet’s reliance on high-quality gear is integral to his process, and Focusrite products play a crucial role in his studio setup. Having started with a first-generation Scarlett 2i2 — which he notably utilized in the making of a Wu-Tang album — he now integrates several of Focusrite’s current-generation interfaces, including the Red 8Line and RedNet R1, into his workflow. At Redman’s home studio, he utilizes the Clarett+ series, which was instrumental in crafting Muddy Waters Too—an album widely praised for its sonic depth and warmth."“When it comes to my outboard gear, I still use a traditional analog TT patch bay,” stated Gannet. “My Red 8Line is wired through the patch bay and then routed into the computer, maintaining a straightforward signal flow. Additionally, I have the R1 connected via Dante® for control.” He continues, “My setup for the R1 is a bit unconventional compared to its intended design. I worked remotely with a Focusrite technician to modify its functionality. By default, the unit isn’t configured to display input levels on the left screen and output levels on the right, but that was my assumption when I first received it. I was initially excited about this expected feature, only to learn that it wasn’t part of the standard setup. However, after discussing the idea with Focusrite, they found it intriguing and worked on a solution. Thanks to their expertise, they figured out a way to modify the system to function as I envisioned—and that’s how I use it today.” Beyond just sound quality, Gannet values Focusrite’s reliability and top-tier customer support, which has allowed him to work seamlessly under tight deadlines. “I trust it,” Gannet says of Focusrite gear. “It works. And when I need help, their support is second to none.”"Currently, Gannet operates from his private studio, formerly known as Skunk Hollow Recordings, where he continues to offer top-tier recording and mixing services to a diverse range of clients," they say. When asked about mixing at his home studio, Gannet shared, “The truth is, especially with my current Focusrite setup, I feel more comfortable mixing in my home studio than anywhere else—this is the first time in my career I can say that. I used to dread mixing at home. If a project didn’t have the time or budget for an external studio, I’d make it work, but it was never ideal. Now, I love it. In fact, I’ve recently moved a couple of projects from other studios to my own because I know I can deliver a higher caliber mix here. I always tell clients, ‘I can mix at your studio, but you’d be limiting the quality of my work because I’m simply not as comfortable in your space as I am with the sound in mine.’ With that said, the Focusrite gear stands up to anything else out there in terms of audio quality—and it just works. Period.”"With upcoming projects from Wu-Tang Clan’s Inspectah Deck and Method Man, Gannet continues to push boundaries in recording and mixing. His ability to navigate multiple genres while maintaining an artist-friendly approach ensures that his influence in the industry will only continue to grow. His studio continues to be a hub for creativity, where technical prowess meets an unshakable commitment to the artist’s vision.:For more info, visit focusrite.com.The post Engineer Josh Gannet Channels His Workflow Through Focusrite Interface first appeared on Music Connection Magazine.

US exchanges bet big on crypto derivatives amid tariff turbulenceUnited States exchanges are betting big on cryptocurrency derivatives as market turbulence from US President Donald Trump’s looming trade war propels demand for the financial instruments. Since late 2024, exchanges including Coinbase, Robinhood, Kraken, and the Chicago Mercantile Exchange (CME) Group have been listing new types of crypto derivatives and mulling multibillion-dollar acquisitions as they vie for control of the burgeoning market. In April, the stakes became even higher after Trump’s unveiling of sweeping tariff plans sent financial markets into a frenzy and spiked crypto derivatives trading volumes. “Institutional and sophisticated retail traders are increasingly turning to crypto derivatives platforms to navigate macroeconomic risks and uncertainty brought on by escalated tariff policies and global trade tensions,” David Siemer, CEO of asset manager Wave Digital Assets, told Cointelegraph. Consequently, US exchanges are “experiencing record-breaking surges in trading activity and are expanding their investment offerings with the promise of regulatory clarity,” Siemer said. Net open interest in Bitcoin futures rose sharply in April. Source: CoinalyzeRelated: Coinbase launches CFTC-regulated SOL futures in USTrump spikes trading activityCrypto derivatives trading activity took off in 2024 after Trump’s November election victory sent exchange volumes to record highs. In December, Coinbase said trading activity on its derivatives exchange rose by more than 10,000% year-over-year. Similarly, CME Group flagged crypto derivatives as among the exchange’s fastest-growing product segments during its 2024 earnings call. Trump’s tariff plans, announced April 2, further accelerated trading activity. As of April 23, net open interest in Bitcoin (BTC) futures, the most popular crypto derivatives, rose by approximately 30% from the start of the month, according to data from Coinalyze. Futures contracts are standardized agreements to buy or sell an underlying asset at a future date, often using leverage in a bid to enhance returns. Kraken bought NinjaTrader in March. Source: KrakenHeated competitionBurgeoning trading volumes are fueling competition among exchanges. Since February, Coinbase has launched several new crypto derivatives products, including futures contracts tied to altcoins such as Solana (SOL) and XRP (XRP).Meanwhile, Robinhood listed Bitcoin futures — its first crypto derivatives contracts — in February and, in March, CME Group listed its first Solana futures contracts. The CME SOL futures clocked upward of $12 billion in volume during the first day of trading, the exchange told Cointelegraph. Additionally, exchanges are turning to mergers and acquisitions to hasten growth. Coinbase is reportedly in talks to buy crypto derivatives exchange Deribit in a multibillion-dollar bid to expand its footprint in the market segment. In March, US crypto exchange Kraken agreed to buy NinjaTrader, a futures exchange, for $1.5 billion.“The recent wave of tariffs has transformed crypto derivatives exchanges into critical market infrastructure,” Nic Roberts-Huntley, CEO of Web3 developer Blueprint Finance, told Cointelegraph. “While traditional markets faltered under tariff pressures, derivatives platforms have inversely flourished, serving both as speculative venues and protective hedging mechanisms in a fragmenting global trade landscape,” Roberts-Huntley said.Magazine: Trump’s crypto ventures raise conflict of interest, insider trading questions

Synthesizer basics: ADSR, filters, best synths for beginners, and more
Dive into sound design and synthesizer basics, from oscillators and ADSR envelopes to the best synths for beginners and more.

Cookie giant Crumbl, reportedly eyeing $2bn sale, sued by Warner Music Group over ‘massive scale’ copyright infringement in TikTok postsWMG has sued US cookie chain Crumbl, alleging that it built its business through “blatant, willful, and repeated copyright infringement.”
Source

The Evertop: a Low-Power, Off-Grid Solar GemWhen was the last time you saw a computer actually outlast your weekend trip – and then some? Enter the Evertop, a portable IBM XT emulator powered by an ESP32 that doesn’t just flirt with low power; it basically lives off the grid. Designed by [ericjenott], hacker with a love for old-school computing and survivalist flair, this machine emulates 1980s PCs, runs DOS, Windows 3.0, and even MINIX, and stays powered for hundreds of hours. It has a built-in solar panel and 20,000mAh of battery, basically making it an old-school dream in a new-school shell.
What makes this build truly outstanding – besides the specs – is how it survives with no access to external power. It sports a 5.83-inch e-ink display that consumes zilch when static, hardware switches to cut off unused peripherals (because why waste power on a serial port you’re not using?), and a solar panel that pulls 700mA in full sun. And you guessed it – yes, it can hibernate to disk and resume where you left off. The Evertop is a tribute to 1980s computing, and a serious tool to gain some traction at remote hacker camps.
For the full breakdown, the original post has everything from firmware details to hibernation circuitry. Whether you’re a retro purist or an off-grid prepper, the Evertop deserves a place on your bench. Check out [ericjenott]’s project on Github here.

Flock Audio update Patch App DX The most recent update for the application that pairs with Flock Audio’s series of digitally controlled patchbays has just arrived, delivering a range of long-awaited features that promise to further streamline the range’s functionality

Consumers value live music, local venues, new survey showsThe new Music Fans' Voice survey looks at the attitudes and preferences of 8100 UK fans and why consumers value live music and local venues.
The post Consumers value live music, local venues, new survey shows appeared first on Hypebot.

Over 60% of emerging producers and DJs feel “the electronic music industry is a closed club”, with social media presence prevailing over skillA new study has revealed that a large number of emerging producers and DJs feel that the electronic music industry is a “closed club”.
The study, which was carried out by the Pete Tong DJ Academy and shared during a talk from CEO Alex Tripi at the International Music Summit (IMS), collected responses from 15,000 DJs and producers who use the academy.

READ MORE: Another new club is opening in London – despite predictions that 57% of clubs will be closed by 2030

The results land as concerns continue to grow among budding artists surrounding accessibility to the industry, with many feeling that social media success, financial privilege, and industry connections make climbing to the top much easier.
As per Mixmag, the findings uncovered that 61 per cent of up and coming DJs and producers believe that “social media numbers matter more than musical skill” when it comes to progression, and 52 per cent also said they had experienced anxiety or burnout. 31 per cent revealed they had thought about quitting music entirely over the last year.
However, 35 per cent of respondents had a more positive outlook on their chances of breaking into the industry, believing that “if you persist and have resilience, it will happen”.

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In other news on music education and accessibility, London’s pointblank Music School has opened a new 19,000 square-foot Shoreditch campus, hosting 13 studios catering to DJing, production, and engineering.
The school’s CEO and founder, Rob Cowan, says of the new space, “Our new Shoreditch campus is more than just a school, it’s a creative hub designed to inspire the next generation of music professionals. With cutting-edge technology, immersive learning spaces, and a strong focus on hands-on experience, our students are in the best possible environment to launch their careers in music.”
Find out more about the Pete Tong DJ Academy, or check out the full schedule for the 2025 International Music Summit.
The post Over 60% of emerging producers and DJs feel “the electronic music industry is a closed club”, with social media presence prevailing over skill appeared first on MusicTech.

Bitwig Connect 4/12: Excellent for Bitwig users, still pretty good for everyone else€499 / $549, bitwig.com
Bitwig Studio entered the DAW scene in 2014 and, since then, has gained countless new fans, thanks to combining some killer features of other DAWs with innovative features that are all its own (and that are now being copied by those same competing DAWs).

READ MORE: Audient’s iD48 goes all-out for channel count and routing flexibility

It’s a big success story that the company is aiming to replicate with the launch of its very first hardware product, Bitwig Connect 4/12.
What is Connect 4/12?
Connect 4/12 is a desktop audio interface. Though its name makes it clear we’re looking at four inputs and 12 outputs, the combinations of ins and outs is somewhat different to what you’d typically find on an interface in this price range. The unit also has pretensions as a monitor controller and, more intriguingly, a DAW controller.
The hardware exudes quality from the off. It is satisfyingly weighty and solid, its buttons are firmly mounted without wobble and have just the right amount of resistance. The large, 360-degree potentiometer dial is simply exquisite, with perfect weight and inertia, and achingly smooth motion. The various buttons beneath the dial determine what it’s controlling – input gains, direct monitor mix, monitor levels etc – whilst the buttons to its side give quick access to switching between main and alternate monitors, monitor dimming, and switching to mono mode.
Image: Press
There’s also a button that switches the central dial into the so-called Bitwig mode, transforming it into a real-time controller for any parameter or control within Bitwig Studio – just hover your mouse over the on-screen parameter and then twiddle the dial. Double-tapping locks the dial to the currently-hovered parameter so that you can carry on working in the DAW whilst retaining hands-on control over the parameter. It’s not quite the same as a full DAW controller, but it’s exceptionally useful and functional nonetheless.
Unfortunately, this hands-on parameter control is only available in Bitwig Studio, but Connect 4/12 does have dedicated transport and navigation controls that will work with any DAW that supports the MCU (Mackie Control Universal) protocol. The navigation controls – scrolling the timeline and selecting tracks – are enhanced somewhat when using Bitwig Studio, giving greater precision, the ability to zoom as well as scroll the timeline, and real-time visual feedback is shown on the ring of LEDs surrounding the rotary dial.
What connectivity does the interface offer?
Connect 4/12 is a class compliant device, and so works out of the box with macOS, Linux and Windows, although the latter requires Bitwig’s ASIO driver to enable low latency operation. It will also work with iPads with USB-C.
Host connection and power come via a single USB-C socket (a suitable cable and USB-C to USB-A adapter are included), but I was surprised by the lack of a secondary power connector for those occasions when the host computer/port cannot provide sufficient juice – not an uncommon situation when working on a laptop. A powered USB hub offers an inexpensive workaround, and one that should make it possible to hook up to any iPad or iPhone via a suitable Lightning to USB adapter (although this is not officially supported).
The first pair of audio inputs are rear-mounted and can accept line (balanced or unbalanced) and instrument level signals although, in the case of the latter, the second channel is 6 dB less sensitive than the first to cater for high output humbucker and active guitar/bass pickups.
Input 1 provides the interface’s only mic input, with mic mode being auto-selected when an XLR cable is connected to the XLR/jack combo socket. This is convenient and also ensures phantom power can only be enabled when a mic lead is connected, a safety feature that’s especially important given that the phantom power button and the line/instrument selection buttons are tucked away on the back of the unit where it’s all-too-easy to press the wrong one.
Image: Press
Having just a single mic input is limiting for many, but the preamp powering the input is very capable, delivering a clean, unadulterated sound that has excellent clarity and tonal balance.
The first eight output channels are served via rear-mounted 6.35 mm jack sockets, with outs 1-6 having individual balanced sockets, and outs 7 and 8 combined into a single unbalanced stereo socket intended as a headphone output. This can also be used as a stereo line out if you keep the headphone amp’s volume low enough. Outputs 1 and 2 serve as main monitor outs, and you have the choice of assigning either outputs 3/4 or 7/8 as an alternate monitor feed; the latter is particularly handy if you want to mute the main monitors when listening on headphones.
The remaining two inputs and four outputs are all DC-coupled, and so are intended for sending and receiving CV and gate signals to and from modular and semi-modular analogue synths and drum machines. The connectors are all 3.5 mm jacks, and so can be hooked directly to modern modular gear without the need for jack adapters, and are positioned across the top of the interface where they’re easy to get at when patching. Each also has a handy status LED so that you can see when they’re active. These ports can be used as additional unbalanced audio in/outs if you wish, but where’s the fun in that!
If you have older-but-not-modular gear to connect to, the interface includes trusty-ol’ MIDI in and out via a pair of 3.5 mm TRS jacks. A pair of suitable breakout cables are included.
Bitwig Control Panel app. Image: Press
How well does Connect 4/12’s DAW integration work?
Most interface settings can be accessed directly from the Connect 4/12 itself, but there’s also a companion Bitwig Control Panel app that gives an alternative method for accessing these settings and a few more besides. The app is simple and straightforward, but what I find particularly pleasing is that, like Bitwig Studio itself, it is available for Ubuntu Linux (and derivatives thereof).
With the frustrations and expense of Apple’s relentless version update treadmill and artificial obsolescence, and Microsoft’s Windows 11 rollout forcing many PC users to ditch perfectly serviceable computers just because they lack an AI chip that few users actually care about, I have nothing but praise for Bitwig’s commitment to bringing mainstream music-making tools to the open and free Linux platform. Bravo, Bitwig!
As you would expect, Bitwig Connect 4/12 integrates extremely well with Bitwig Studio. I have already mentioned the rotary control’s Bitwig mode, used for hands-on control of parameters. In addition, any track that takes its input from Connect 4/12 gains an additional panel in its I/O section from where the hardware’s direct monitoring sends can be controlled. Bitwig Studio’s hardware CV devices and Grid modules, which are used when working with external modular synths, can also interact with Connect 4/12 to automatically calibrate and tune the CV signals.
All of this adds up to effortless integration of modular hardware into Bitwig Studio. I enjoyed enormously the ability to easily send modulators and automation directly to my modular synths, not to mention being able to capture and reproduce filter sweeps and such performed on the synths themselves.
How well all of this works with other platforms depends upon the DAW in question and the plugins you are working with. Connect 4/12’s transport and navigation controls work with any DAW that supports the MCU protocol, and the CV/gate in and out works perfectly with software that already has such capabilities – Ableton Live and VCV Rack, for instance. However DAWs that do not have native CV/gate support, such as Cubase and Logic Pro, have to rely on support provided via plugins and plugin instruments.
Device chain with CV outputs. Image: Press
Is Bitwig Connect 4/12 the interface for me?
Producers who don’t focus on contemporary styles, or who need to record with multiple mics, may feel Connect 4/12’s features aren’t a suitable match to their workflow, and the lack of any digital I/O also means there’s no scope for expanding the interface’s connectivity.
But, just as Bitwig Studio is geared towards producing contemporary styles, Connect 4/12 is geared towards the needs of producers working with those styles. The company’s understanding of what such producers want, and how they work, is second to none, and is on full display here. And whilst – sure – the interface is at its most powerful and versatile when used in conjunction with Bitwig Studio, its features and connectivity will be of interest to anybody who routinely integrates analogue modular gear into their productions.
All-in-all, then, Connect 4/12 is a strong, confident, good-looking and perfectly executed first foray into the hardware world by Bitwig.

Key features

USB2 class compliant audio interface
192 kHz maximum sample rate
Total of 4 audio inputs and 12 audio outputs
2 3.5 mm DC-coupled inputs
4 3.5 mm DC-coupled outputs
Status LEDs on all DC-coupled in/out ports
MIDI in and out
MCU-compatible DAW transport and navigation controller
DAW parameter controller when coupled with Bitwig Studio

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