Grammy Camp Los Angeles Returns This WeekGrammy Camp Los Angeles is taking place this week, starting Sunday, July 12 and running through to Saturday, July 18.

According to a statement, "The Grammy Museum's® Grammy Camp® Los Angeles is a seven-day, non-residential intensive program for high school students with strong proficiency in multiple areas of music and the music industry, including music business, production, songwriting, and instrumental or vocal performance. Students are placed into cohorts where every subject area is represented, creating a collaborative environment that mirrors real-world music industry settings. In cohort-based teams, you'll collaborate across music business, production, songwriting, and performance—learning through the lens of artistry, entrepreneurship, and a DIY mindset. With the freedom to focus on your strengths while exploring new skills, you'll develop the versatility, creativity, and industry insight needed to build a sustainable career in today's music world."

"Grammy Camp gives students the opportunity to explore music in a way that feels connected to the real world," Arin Canbolat, Vice President of Education, Grammy Museum, told MC. "As they build skills in songwriting, production, performance, and music business, they also learn how collaboration and creativity show up in the professional world. What makes the program so powerful is the access students have to Grammy-winning and Grammy-nominated artists and industry professionals, who help students see the many ways a passion for music can become a lifelong pursuit."

Faculty, according to the statement, includes: Chase Jackson, multi-instrumentalist and producer; Jason Goldman, Grammy-winning, multi-platinum music producer, songwriter, composer/arranger, and engineer; JJ Kirkpatrick, internationally acclaimed multi-instrumentalist; Natasha Pasternak songwriter, composer, musician, producer, performer, and professor; Ryan McDiarmid, drummer, recording artist, and educator; Haleigh Bowers, songwriter and faculty member at USC; YULI, Grammy-nominated, platinum selling producer, songwriter, composer, violinist and violist. Guest artists include Grammy-nominated artist WILLOW (pictured) and Latin Grammy-nominated singer-songwriter Sofia Reyes."

WHEN: Sunday, July 12 - Saturday, July 18, 2026 PDT

WHERE: WESTLAKE RECORDING STUDIOS

7265 Santa Monica Blvd.

West Hollywood, CA 90046

2026 Los Angeles Grammy Camp Selectees (In Alpha Order by First Name)

Andrew Carlson — Solana Beach, CA

Andrew Tran—Round Rock, TX

Anjali Haaf—San Diego, CA

Asha Dreher—Berkeley, CA

Ava Valianti—Newbury, MA

Ayoade Oladimejij—Greenbelt, MD

Basel Hall—Los Angeles, CA

Baxter Zrob—San Francisco, CA

Bellalina Young—Las Vegas, NV

Brandon Pham—Foothill Ranch, CA

Cabell Williams—Fredericksburg, VA

Calibrooke Myers—Burbank, CA

Campbell Carey—South Pasadena, CA

Carolina Chase Butler—Pasadena, CA

Charlotte Milstein—La Jolla, CA

Chase Gardenhire—Carlsbad, CA

Christopher Wilson—West Hills, CA

Devanjana Rajesh—Irvine, CA

Deven Dhanidina—Irvine, CA

Edie Yvonne—Laguna Hills, CA

Ella Wu—Laguna Hills, CA

Emma Berg—Hillsborough, CA

Emma Nevell—Santa Ana, CA

Emmy Gerth—Washington, IL

Erik Holterman—Hillsborough, CA

Genevieve Bracher—Rutherford, CA

Grady Prance—Peachtree City, GA

Haley Le—Los Angeles, CA

Hudson Brandt—Foster City, CA

Hudson Toney—Mission Viejo, CA

Ian Chenne—Bellevue, WA

Izzy Burris—Carlsbad, CA

Jenner Yaep—North Tustin, CA

Jillian Ritter—Swansea, IL

Joseph Bradic—Los Angeles, CA

Julia Castro—Los Angeles, CA

Kamaiya Whitaker—Compton, CA

Knox Yoon—Encino, CA

Leia Perez—Houston, TX

Leon Schiefele—St. Pete, FL

Londyn Knight—Carson, CA

Lucas Noe—Venice, CA

Lucie Johnson—Burbank, CA

Lucy Rowley—Phoenix, AZ

Maira Srivastava—Palo Alto, CA

Mansen Li—Interlochen, MI

Maxwell Stein—Chicago, IL

Mia McEwen—Miami, FL

Noam Ben-Efraim—San Diego, CA

Oscar Ellsworth—Los Angeles, CA

Parker Beck—Studio City, CA

Parker Winzenried—Los Angeles, CA

Petra Betti—San Anselmo, CA

Phoenix Ferrari—Los Angeles, CA

Raquel Reyes—Sherman Oaks, CA

Ray Lally—West Hills, CA

Rayan Karoui—Phoenix, AZ

Rylie Tyson—Houston, TX

Sawyer Mitchell—San Marcos, CA

Seven McIntosh—Los Angeles, CA

Sienna Kay—Fair Haven, NJ

Sol Vega Storace—Woodland Hills, CA

Sophie Seaver—New Canaan, CT

Sparkle Shabazz—Woodland Hills, CA

Takahiro Yoshida—Kirkland, WA

Trisha Jha—Cerritos, CA

Tvisha Garodia—Castro Valley, CA

Veronica Horosz—Kentfield, CA

William Dearborn—La Canada, CA

Yoyoka Soma—South El Monte, CA

For more information, visit  www.grammymuseum.org

WILLOW photo by Five TowersThe post Grammy Camp Los Angeles Returns This Week first appeared on Music Connection Magazine.

The 2026 Chroma Drive: Our New DJ USB Drive (with no cap to lose)Our new 2026 Chroma Drive for DJs covers both the USB-C and USB-A ends, and comes in five colors.
The post The 2026 Chroma Drive: Our New DJ USB Drive (with no cap to lose) appeared first on DJ TechTools.

Meta scraps AI Muse Image feature that scraped Instagram accounts, following CAA backlashUnder the opt-out design, the public Instagram account of any adult artist could be referenced by other users to generate AI images unless the artist switched the feature off
Source

Bjango releases FREE Double Freak frequency follower plugin
Bjango has released Double Freak, a free dual oscillator frequency follower plugin for macOS and Windows. Double Freak is one of the several entries I really liked in this year’s KVR Developer Challenge. I will cover a few more challenge entries separately (James also checked some of them out here and here), but this one [...]
View post: Bjango releases FREE Double Freak frequency follower plugin

Gamechanger Audio launch the Plus Pedal II Built around an entirely new engine, the Plus Pedal II introduces an intelligent automatic layering function, advanced performance controls and expanded connectivity, all of which the company say extend its capabilities to a wider range of instruments and performance contexts.

HoRNet Spikes transient shaper plugin is FREE for a limited time
HoRNet Plugins is offering HoRNet Spikes, a transient shaper/processor for macOS and Windows, as a free download for a limited time. The offer ends on July 16, 2026. To get Spikes for free, add them to your cart on the HoRNet website and use the coupon code SPIKESFREE at checkout. The plugin is usually priced [...]
View post: HoRNet Spikes transient shaper plugin is FREE for a limited time

UJAM offers UFX DELAY plugin as a FREE summer sale signup bonus
UJAM is offering UFX DELAY as a free download for anyone who signs up for the company’s summer sale mailing list. To get it for free, you’ll need to visit the signup page and enter your email. I tested the process yesterday, and the email arrived right away. Clicking the button in the email opened [...]
View post: UJAM offers UFX DELAY plugin as a FREE summer sale signup bonus

Avalanche Tones release Chainsaw Suite Avalanche Tones' debut product is an all-in-one plug-in suite that's been created with ultra-heavy modern guitar tones in mind.

Tom Oberheim: “The history books say I was involved in creating MIDI – that’s such a joke”By allowing computers, synthesizers, controllers and other instruments to speak to each other via a universal digital language, MIDI, introduced in 1983, has become one of the most pivotal inventions in the history of music technology and production.
While spearheaded primarily by Dave Smith of Sequential – alongside his contemporaries Dave Rossum, Bob Moog, Don Buchla, Roger Linn and Alan R. Pearlman – Tom Oberheim is often mentioned in the conversation surrounding MIDI’s widespread adoption, but in a new interview with MusicTech, the synth pioneer plays down his role.

READ MORE: The best new music plugins this week, free and paid

“The history books say that I was involved in [creating] MIDI, and that’s such a joke,” Oberheim says. “When Dave [Smith] did his first paper about tying synthesizers together, it was a digital thing and I wanted absolutely nothing to do with it.
“I said, ‘Don’t talk to me about a digital interface hooking up machines. I don’t want to do that.”
But after Roland founder Ikutaro Kakehashi started collaborating with Dave Smith and Sequential – and subsequently incorporating MIDI technology into their instruments – Oberheim later ended up becoming the first president of the MIDI Manufacturers Association.
While a legendary name in synthesis, Oberheim’s career hasn’t always been in the music world. In fact, in the mid ’90s, he opted to work several non-music-related jobs in Silicon Valley, in an environment he calls a “high-tech rat race”.
“I decided in the mid ‘90s  that it was time for me to go to work and pay the mortgage on the house,” he tells MusicTech. “I just got a job off the internet, and then for the next five or six years I worked three different jobs in Silicon Valley, none having to do with music.”
These jobs included building microcontroller software for traffic light systems, high-level tech writing, and working at a think tank owned by Microsoft co-founder Paul Allen.
“We thought that, ‘Well, if we’re careful, when we get older, we’ll probably be able to pay for the nursing home,’” Oberheim says.
Read our full interview with Tom Oberheim – as he celebrates his 90th birthday – at MusicTech.
The post Tom Oberheim: “The history books say I was involved in creating MIDI – that’s such a joke” appeared first on MusicTech.

Music industry proposes new system to tag AI-generated songs: “Fans want to know whether and how generative AI has been used in the music they listen to”As AI-generated music continues to flood streaming platforms, some of the music industry’s biggest organisations are launching a new labelling system aimed at giving listeners a clearer picture of how the songs they hear were made.
The International Federation of the Phonographic Industry (IFPI) and the Recording Industry Association of America (RIAA) have joined forces with several other organisations – including the Grammys, A2IM, WIN, IMPALA, SAG-AFTRA and the Human Artistry Campaign – to introduce a voluntary standard for tagging music created using generative AI.

READ MORE: LANDR boosts Fair Trade AI licensing programme with $1 million advance scheme and bigger revenue share

The proposed system features two labels: “AI-Generated” for tracks created entirely from AI prompts or featuring AI-generated lead vocals or “key” instrumental parts, and “AI-Assisted” for songs where AI played a supporting role but the core performance still comes from human musicians.
The labels are said to be conceived with “broad, global adoption” in mind, across digital music services and other partners.
“Fans want to know whether and how generative AI has been used in the music to which they listen,” say IFPI CEO Vikki Oakley and RIAA Chairman and CEO Mitch Glazier in a joint statement. “Given how important human artistry and authenticity is to music lovers all over the world, these labels will provide an immediately understandable and easily scalable approach to transparency.”
“For artists and fans around the world, true connections and trust are everything,” says Noemí Planas, CEO of Worldwide Independent Network. “Clear labeling of AI-generated content is central to this: it gives fans the transparency they deserve and supports the human-centered, safety-first approach that the global independent community has championed through the WIN Principles for Generative AI. Implementing the shared standards that the music industry is collectively developing is key to navigating AI responsibly and keeping creativity at the heart of it.”
The announcement comes as AI-generated music becomes an increasingly pressing issue for streaming platforms. French service Deezer recently revealed that AI-generated tracks now account for more than 44% of all daily uploads, while Apple Music said that more than one-third of the tracks uploaded to its platform are “100% AI”.
Labelling AI music has emerged as one of the industry’s preferred responses. Last year, Deezer began automatically tagging fully AI-generated tracks detected on its platform, while filtering them out of royalty payments and editorial playlists. The company has also launched a free online AI music detector that lets anyone check whether tracks in their own playlists – even on rival streaming services – were created using AI.
Meanwhile, Tidal announced last month that music it identifies as “wholly AI-generated” will no longer earn royalties or be eligible for direct-to-fan sales, though they will remain on the platform.
Learn more at RIAA.
The post Music industry proposes new system to tag AI-generated songs: “Fans want to know whether and how generative AI has been used in the music they listen to” appeared first on MusicTech.

How to get playlisted on streaming services: 7 playlist pitching tipsAd feature with BandLab Sounds
If you’re working on a new song and already thinking about playlist pitching, you’re a step ahead of most. The right placement can put your music directly in front of listeners who already love your sound. And that can easily take you from a quiet drop to thousands of streams overnight.
The catch is that curators get a lot of pitches, so standing out takes a bit of know-how. Check out these tips from BandLab Sounds to nail playlist pitching, whether you’re figuring out how to get on Spotify playlists, Apple Music, or anywhere else.
7 tips to nail your playlist pitch
1. Start pitching early
Playlist pitching should be the first thing you do once your release is scheduled, not just before it goes live. Editorial teams review submissions weeks before release day. If you’re pitching after you release your song, you might have already missed the window for consideration.
Timelines vary by platform, but as a general rule:

Spotify: At least 7 days before release, though 2 to 3 weeks gives you a better shot
Apple Music: At least 10 days before release
Amazon Music: 3 to 4 weeks before release
Independent curators: 2 to 4 weeks before release

2. Tell the story of your music
A generic description of your song isn’t going to stand out when curators have hundreds of pitches to read. Instead, give them the story behind it. What inspired the song? Why did you feel the need to write it?
For example, instead of: “This is an indie-pop track about heartbreak.” Try something like, “I wrote this after moving out of the home I shared with my ex. The song is how I felt about packing up memories and knowing there’s no going back.” It’s more personal, but that’s the point!
It’s also worth including a short promotional plan in your pitch. Curators want to know that you’re invested in the track’s success. If you’re planning to run ads to increase listens and traffic, or promote the release through Spotify for Artists, mention it. Just a sentence or two showing that you’re actively bringing listeners to the song can make your pitch stand out.
3. Be clear about your tracks style and genre
Telling a curator your track is ‘Alternative’ doesn’t give them much to work with. Describing it as “melancholic lo-fi bedroom pop with 90s indie guitar influences” paints a much clearer picture and helps them immediately picture where it could fit.
Be honest about it too. It’s tempting to squeeze your song into a trendier genre in hopes of landing a bigger playlist, but that usually backfires. You’re better off landing on a smaller playlist where listeners genuinely connect with your sound.
4. Put your track into context alongside other music
Curators can tell immediately whether you’ve listened to their playlist or are mass-submitting to a list. Name specific tracks on their playlist that feel similar to yours, and explain why your track belongs in that specific context.
Reference the mood or listening scenario the playlist serves. Something like “this would fit perfectly on a late-night drive playlist alongside your Phoebe Bridgers picks” lands a lot better than a generic submission.
5. Keep it skimmable
Long, dense paragraphs are easy to skip over, so keep your pitch concise and easy to scan at a glance. Aim for three short paragraphs, use plain language, and lead with the most compelling detail first – whether that’s the story behind the song, the placement suggestion, or the promotional push you have planned.
If they can get the full picture in under a minute, you’re already ahead of most submissions in their inbox.
6. Make your artist profile count
Curators will check your profile, so make sure it’s complete and up to date. A well-written bio, compelling photos, and your most recent releases all signal that you’re an active, serious artist. That matters when a curator is deciding whether to take a chance on a new name!
7. Explore playlist pitching services
If researching and reaching out to curators one by one feels overwhelming, try playlist pitching services. Some common ones are SubmitHub and Groover. They connect you straight with curators who are actively looking for new music to feature.
If you’re a BandLab member, don’t sleep on BandLab Opportunities. Apply and you could land playlist pitching campaigns with the likes of High Road Publicity and more.
Playlist pitching isn’t a guaranteed shortcut to virality, but it’s one of the most effective things you can do to give your new release a real shot at being heard! Put these 7 tips into practice on your next release and see what a difference it makes.
The post How to get playlisted on streaming services: 7 playlist pitching tips appeared first on MusicTech.

“Think Google Docs meets a creative sandbox like Fortnite or Minecraft”: Audiotool 3.0 turns its multiplayer online DAW into an open platform for creator-built music toolsAudiotool 3.0 has arrived, a ground-up rebuild of the brand’s highly collaborative browser-based DAW. The new iteration of the platform brings real-time multiplayer music creation to web browsers and tablets, with native mobile versions coming soon.
Audiotool 3.0 also sees the launch of NEXUS, a new open-source SDK that lets musicians and developers build their own instruments, plugins, and AI-connected music creation tools directly into the platform.
“I’ve spent most of my life in studios, and the thing that got in the way of creativity was almost never the people in the room. It was the software,” says Audiotool co-founder and producer Daniel Rowland. “Audiotool 3.0 takes that wall down. People can finally create together using any device, anywhere, and we’re giving them a way to build the tools tomorrow’s music will need.”

READ MORE: Audiotool is hosting a “hackathon series” to teach people how to make virtual instruments, plugins and music education tools

While sharing projects between producers has become easier over the years, differing devices, incompatible plugins and missing files can still slow sessions to a crawl.
Audiotool says its rebuilt platform is designed to remove those barriers by allowing users to collaborate in real time from virtually any device, with what it describes as the lowest latency of any online music production tool.
Beyond collaboration, Audiotool 3.0 also opens up the DAW itself through NEXUS. Rather than relying solely on built-in features, users can create their own instruments, effects, visualisers, educational tools, music games and hardware-connected apps. The SDK also supports AI integrations via MCP and Context I/O, allowing creators to connect their preferred large language models (LLMs) to the platform.
“Think Google Docs meets a creative sandbox like Fortnite or Minecraft. The DAW becomes a platform where creators can build, experiment, and make music together,” says Audiotool co-founder and CEO Andreas Jacobi. “And with low- and no-code development tools, people who never saw themselves as developers are bringing entirely new perspectives to how music is created. The next generation of music tools will be shaped by the people actually making the music.”
Launch partners for NEXUS include Splice, Ujam, BandM8 and Fraunhofer, with Audiotool inviting more music technology companies to bring their products to the platform. The company is also hosting its Let’s Build! hackathon series, which runs from now through 23 August.

More information is available at Audiotool.
The post “Think Google Docs meets a creative sandbox like Fortnite or Minecraft”: Audiotool 3.0 turns its multiplayer online DAW into an open platform for creator-built music tools appeared first on MusicTech.

LANDR boosts Fair Trade AI licensing programme with $1 million advance scheme and bigger revenue shareLANDR has announced the expansion of Fair Trade AI, its opt-in music licensing programme, with a $1 million advance fund for participating artists.
The new advance programme allows musicians to receive upfront payments while continuing to share in future recurring revenue. Fair Trade AI participants will also receive 25% of net licensing revenue, up from the previous 20%, distributed based on each artist’s contribution to the dataset. LANDR will issue the first payouts from Fair Trade AI to participating artists later this month.

READ MORE: LANDR’s Blueprints and Layers are AI tools that promise to inspire ”mix-ready” ideas

“For independent artists, distribution can no longer end when a song reaches streaming platforms,” says Daniel Rowland, VP of Strategy & Partnerships at LANDR. “The future of music distribution is helping creators find new ways to monetise their work, wherever it creates value. Responsibly licensing music for AI is one of those channels, and we’ve built the infrastructure to support it at scale.”
Fair Trade AI allows artists to voluntarily license their catalogues to companies developing AI-powered audio technologies, from music creation tools to voice applications. According to LANDR, the programme has grown to include more than 30,000 participating artists and hundreds of thousands of opted-in tracks, creating a sizable pool of fully licensed, professionally tagged music for AI developers.
That pitch arrives at a time when the legality of AI training data remains under intense scrutiny. While many generative AI models have been criticised for relying on web-scraped datasets without permission, LANDR says its programme is built on three core principles: consent, transparency and participation.
“The conversation around AI and music has focused almost entirely on what creators stand to lose,” says LANDR CEO Pascal Pilon. “We’re proving there’s another path, one built on consent and providing recurring revenue for artists. As technology continues to evolve, artists deserve the choice to participate and the opportunity to benefit from the value created.”
Fair Trade AI is currently available to eligible LANDR Distribution users, while artists distributing through other platforms can transfer their catalogues to LANDR using the company’s Release Importer tool before opting in. The $1 million advance programme will remain open for opt-in through 20 July.
Independent artist XO Jane, who has joined the initiative, says the programme has already made a difference to her workflow.
“It gives me more time to breathe, more time to be creative,” she says. “My wish is that more AI companies follow LANDR’s example: ask first, and pay the artists who say yes.”
Learn more at LANDR.
The post LANDR boosts Fair Trade AI licensing programme with $1 million advance scheme and bigger revenue share appeared first on MusicTech.

I’ve used the Palmer Orbit 11s monitors daily since they launched — the hype is real!£699 each, palmer-germany.com
Palmer has a history of producing sturdy, utilitarian audio gear such as DI boxes and monitor controllers. Its latest release, though, is far more exciting and appealing: a three-way, coaxial active monitor with a cardioid response and bass extension all the way down to 28Hz.
That’s enough bass to make your studio throb without using a sub-woofer, and the product seems to have shaken up the market as well.

READ MORE: I put the HEDD Type 20 A-Core three-way monitor against my Genelecs and now I don’t want to switch back

Monitors with a similar design—three-ways with bass radiators on the side to bolster low end—tend to be far more expensive than the Orbit 11’s £1,400-per-pair price. Barefoot’s Footprint 02 Gen 2 for example cost over three-times more at £4,495.
Talk of this bargain three-way rocketed through various forums (you know the ones), with some commentators concluding that it was all too good to be true. Others were apparently struggling to find fault and declaring the orange ring around the Orbit’s coaxial driver to be an aesthetic faux pas. There had to be something wrong with them at this price after all.
Well, I just had to experience the Orbit 11s for myself. I’ve been using them as my main monitors for the past couple of months, and I have to say, I’m totally blown away.
Image: Press
The low-down
The Orbit 11 is housed in a die-cast aluminium case that exudes sturdiness and reminds me of high-end Genelec monitors. On the front, there’s a 1-inch tweeter mounted concentrically to a 6.5-inch mid driver. As well as being super-compact, this arrangement helps with phase coherence, making the monitor closer to a point source and therefore is ideal for immersive arrays (bracket mounting is an option). Dual 8-inch woofers are mounted around the sides to facilitate the impressive bass capabilities.
I’m immediately struck by the slender footprint of these large-sounding monitors in my relatively small studio space compared to other three-ways I’ve tested from HEDD and Adam Audio. The fact that they also have a near-cardioid response is also a big win, meaning they’re less likely to suffer unwanted low-end build-up by being placed close to a wall.
On the back are analogue and AES digital inputs; with the AES option you can chain the two monitors to make cabling simpler, and then select the correct channel using the control panel on the top. Power switches are also around the back but are easy to locate, which is welcome because there’s unfortunately no auto-standby option. This doesn’t bother me really, since I just switch them off when I’m not using them.
On the top of the monitors sits a digital control panel, with the first option being a sensitivity pad. There were various reports on forums of the Orbit 11s being excessively hissy at close range. This is true with the pad turned off—the default state when the Orbits are first turned on—but I find that setting horrendously loud for my set-up. I swiftly switch the pad to the maximum attenuation of 20 dB on each side and the self-noise is dramatically reduced, and I can still muster plenty of level from my RME interface. I’m really irked by hissy monitors, so I’m delighted to report that it’s not really an issue here once the pad is set correctly. Yes, there’s a little more self-noise than with my Genelec M040s when you have your ear pressed to them, but it’s perfectly fine working in a near-field position.
Onboard digital processing gives you the option of various filters to tweak the sound, with multi-position, three-band EQ settings, plus Desk and Rear Wall filters that can be activated according to the monitor’s physical location. DSP is always on, so there’s a permanent latency of four milliseconds. That means it’s best to mute headphones when you’re swapping back to playback on monitors, because the latency is perceivable. That said, I don’t encounter any additional lag when triggering software instruments with a USB MIDI keyboard.
Image: Press
The sound of Palmer’s Orbit 11
Leaping into critical listening, I plug in an IK Multimedia ARC Studio to apply ARC X room correction to EQ the monitors, since I have an issue with a low-mid bump with my monitors placed on a desk. Despite the cardioid response, I’m also wary of the potential heft of the bass build-up in my room, so I’m resigned to switching ARC on straight away. Once complete, ARC’s analysis reveals little need for any correction above 130 Hz or so, which is an impressive feat.
I’m immediately struck by a large yet tight bass extension, plus an incredibly detailed and agile mid range. The mid articulation is a pleasant surprise as many three-ways lean towards a scooped mid voicing (for increased flattery rather than accuracy); I’m reminded of high-end B&W mastering monitors here. Highs are also crisp and articulate, and I prefer leaving the room correction off from the high-mids upwards, as the Orbit 11 stock response is sweeter.
Doing a shoot-out with my Genelec monitors, there’s nowhere near as much bass extension as the Orbit 11s, and mids on my own monitors sound a touch blurred and harsh in comparison, with the harsh timbre becoming more apparent at louder motoring levels. However, the Orbit’s twitters are slightly too crisp for my taste; I’m a sucker for a ribbon tweeter and so select a warmer target curve in the ARC room correction.
At my friend’s studio we make a similar comparison with his mk1 pair of Mackie HR824s. The ‘824s appear to have a more thunderous bass than the Palmers with room correction switched off, yet with ARC X on, the Orbits reach further down than the Mackies, while also sound tight and controlled. Comparing the Orbits with an equally-large set of monitors helps to demonstrate the effectiveness of the cardioid response. The Mackies continue to excite the room modes even after room correction, resulting in a lingering bass sustain that gives a false impression that tricks the listener into hearing —and feeling—a far larger bass end than there actually is. Conversely, the Orbits remain articulate, without the bass lingering on. You hear subsonic details in the mix you never knew existed, and start to address them by either shaping them or else high-passing them into oblivion.
Comparing the mid range, there’s a similar picture building to before – the Mackie mids are scooped, smoothed yet more brash in presentation. We’re both left wondering whether we need to buy new monitors, such is the lasting impression left by the Palmers.
Image: Press
Should I buy Palmer Orbit 11s?
If you’re looking for three-way monitors that reach the lowest octaves without need for a sub, or a large sound in virtually any size room, the Palmer Orbit 11s have you covered — all for a startlingly low asking price.
The tightness and depth of bass coupled with fast mid-driver articulation is far more than you could have previously hoped for at £699 per side, while a cardioid response means less hassle with unwelcome room modes in the bass end.
I hope we see Palmer’s Orbit range grow to include smaller models to sit alongside the 11s for immersive audio set-ups.
Image: Press
Key features

3-way active coaxial monitors
Die-cast aluminium case
1-inch tweeter mounted to 6.5-inch mid driver; dual, side-facing 8-inch woofers
Cardioid response
Frequency range: 28 Hz – 28 kHz (-3dB)
1000 Watts (peak) class D amplification (250W each for tweeter and mid driver; 500W to woofers)
Analogue XLR in
AES digital in; AES thru for daisy-chaining
Onboard DSP and control panel for level selection and filter settings (permanent 4ms latency)
Black and white colourways
Weight: 13.9 kg per monitor
Comes with power lead and bracket security fixings

The post I’ve used the Palmer Orbit 11s monitors daily since they launched — the hype is real! appeared first on MusicTech.

Eldoraudio launches Guitar Audio to MIDI Converter for turning guitar recordings into MIDI
Eldoraudio has launched Guitar Audio to MIDI Converter, a browser-based tool that transcribes guitar recordings into standard MIDI files. The new guitar converter joins Eldoraudio’s existing Piano Audio to MIDI Converter. You upload an audio file, set the BPM if needed, and get back a MIDI transcription for editing in your DAW. For anyone who [...]
View post: Eldoraudio launches Guitar Audio to MIDI Converter for turning guitar recordings into MIDI