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).

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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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Roy Thomas Baker, producer of Bohemian Rhapsody, dies at 78Producer legend Roy Thomas Baker – perhaps best known for his work on Queen’s magnum opus Bohemian Rhapsody – has died at the age of 78. While no cause of death has been announced, a statement from his publicist has confirmed that Baker passed away on 12 April.
Baker’s work was pivotal throughout the 1970s and ‘80s, with Bohemian Rhapsody having gone down in history, and Rolling Stone ranking it among the best songs of all time and the Guinness Book of World Records naming it the most streamed song from the 20th century.

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Fifty years on from Bohemian Rhapsody’s 1975 release, it continues to inspire modern artists and rouse huge crowd sing-alongs. Yet, back in 2005, Baker told the New York Times that he was shocked by the track’s legacy. “I thought it was going to be a hit,” he said. “But we didn’t know it was going to be quite that big. I didn’t realise it was still going to be talked about 30 years later.”

Baker also had an illustrious career elsewhere, working with the likes of Alice Cooper, David Bowie, The Cars, Guns N’ Roses, Ozzy Osbourne, the Smashing Pumpkins and more. He also went on to serve as an Elektra A&R executive, helping sign such names as Metallica, Simply Red and 10,000 Maniacs.
Born in Hampstead in 1946, Baker kickstarted his venture into the music industry at the age of 14. His first job was at Decca Records, where he worked as a second engineer. Baker assisted on tracks from The Rolling Stones to Dusty Springfield, building up a strong portfolio of hits. His work also spanned from T. Rex, to Free’s All Right Now in 1970, before eventually moving up to Trident Studios.

Working as the Soho studio’s in-house engineer, Baker would soon meet Queen – and history would be made. Following his work on the band’s 1973 debut, he went on to produce Queen’s first four records – including 1975’s A Night At The Opera, which featured the track that made him a legend.
Baker reflected on Bohemian Rhapsody in conversation with Sound On Sound in 1995. “We were going out to dinner one night and I met Freddie [Mercury] at his apartment in Kensington,” he said. “He sat down at his piano and said, ‘I’d like to play you a song that I’m working on at the moment.’”
“He played the first part… [then] he played a bit further through the song and then stopped suddenly, saying, ‘This is where the opera section comes in,’” he remembered. “We both just burst out laughing. I had worked with the D’Oyly Carte Opera Company at Decca where I learned a lot about vocals and the way vocals are stressed, so I was probably one of the few people in the whole world who knew exactly what he was talking about.”
“[Bohemian Rhapsody] was the first time that an opera section had been incorporated into a pop record, let alone a Number One. It was obviously very unusual and we originally planned to have just a couple of ‘Galileos’. But things often have a habit of evolving differently once you’re inside the studio. It did get longer and bigger.”

While Mercury clearly knew that Baker had a dynamic skillset, The Cars’ Ric Ocasek also praised him back in 2016. “He was an electronics whizz,” he told Magnet Magazine. “A sound guy with a classical background for mic-ing the room’s sound. He got harmony. And he took things in stride – a very upbeat, elegant man. Spontaneous, too.”
Queen’s Roger Taylor has also noted his respect of Baker: “I think he brought a certain amount of discipline, a lot of cynicism and a passion for fattening desserts. He liked his food, Roy. He was very disciplined and very strict in the beginning . . . he would always get it right. The take had to be right.” [via Variety]

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“I needed a big name people would remember, even if it’s attached to infamy”: Someone’s bought some Fyre IP – and plans to launch a streaming service later this yearFrye Festival 2 has gone about as well as one might expect – following a court psychologist deeming founder Billy McFarland “mentally ill”, the upcoming second iteration of the infamous festival has been officially postponed – with no concrete date for the future. But there’s now hopes that a Fyre streaming service could continue profiting off of the brand.
According to Deadline, Shawn Rech, co-founder of streaming service TruBlu, has acquired some Fyre IP – including two trademarks. The freshly acquired IP could allow Rech to start up the new streaming service.

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“Music networks are all just programming now and I have no interest in watching people slip on bananas,” Rech tells Deadline. “It has nothing to do with music. I needed a big name that people would remember, even if it’s attached to infamy, so that’s why I bought these [trademarks] to start the streaming network.”
Fyre Festival 2, which was originally set to take place in Mexico between the 30 May to 2 June, was officially postponed last week. The move could be a way of keeping the brand alive – but Rech insists his focus is on spreading the “power of music”.
“This isn’t about festivals or hype,” he insists. “It’s about putting the power of music discovery back in the hands of the fans. We’re building something authentic and lasting.”
Considering Fyre Festival has a reputation of being neither “authentic” or “lasting”, it’s an interesting choice of branding. However, Rech’s plans for a user-submitted, fan-curated streaming service could shift the public’s perception of what Fyre represents.
Rech says the streaming platform will have FAST (Free Ad-Supported Streaming Television) networks, primarily featuring pop and hip hop, and will later expand into other genres.
It will also include a video-on-demand platform, and is apparently set to launch around Thanksgiving in November.
While Rech plans to run the platform, founder Billy McFarland is expected to have some presence on the network.
Deadline also reports that McFarland is still searching for a new location for Fyre Festival 2.
The news of the festival being postponed was confirmed by ABC News after punters received an email stating: “The event has been postponed. A new date will be announced. We have issued you a refund. Once the new date is announced, at that time, you can repurchase if it works for your schedule.”

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Sperzel Style 1-Pin InvisoMatch PlatesGraph Tech Guitar Labs has announced the latest addition to its InvisoMatch® Adapter Plates lineup: a new set of Sperzel-style 1-pin plates. "With this release, Graph Tech now offers seven different InvisoMatch® plates, allowing guitarists around the world to upgrade to Ratio® Machine Heads without drilling, filling, or damaging their instrumentsm" they say."Whether you're replacing tuners on a Fender®, PRS®, Gibson®, or now a guitar with Sperzel-style tuners, there's an InvisoMatch plate that lets you make the switch — cleanly and easily."Specs are as follows:The Full InvisoMatch® Adapter Plates Line-up Now Includes:1. Fender® 2-pin 2. Fender® 2-pin (Deluxe Style) 3. Vintage-style 6-in-line 4. Vintage-style 3+3 5. Modern 45-degree screw 6. Offset screw 7. NEW! Sperzel-style 1-pinEach plate is designed to align perfectly with your guitar’s existing mounting holes, so you can drop in Ratio® Machine Heads with no drilling and no extra holes, keeping your guitar in original condition while upgrading to better performance.Why Upgrade to Ratio®?Unlike standard tuners, Ratio® Machine Heads use individual gear ratios for each string, delivering a consistent and intuitive tuning feel across the entire set. This means:·       More precise and predictable tuning·       No overshooting·       Faster string changes and better tuning stabilityThe complete range of InvisoMatch® Adapter Plates, including the new Sperzel-style 1-pin plates, is available now at graphtech.com and through authorized dealers worldwide.Finish: Chrome, Nickel,  Black. GoldExplore All InvisoMatch® Plates: graphtech.com/pages/invisomatch-mounting-platesView the New Sperzel-Style Plates: Click hereLink to online-related content: https://graphtechguitarlabs2.box.com/s/0a84d25kguq3atiwjcc22nsib3clk4xn

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DIY Record Cutting Lathe is Really GroovyBack in the day, one of the few reasons to prefer compact cassette tape to vinyl was the fact you could record it at home in very good fidelity. Sure, if you had the scratch, you could go out and get a small batch of records made from that tape, but the machinery to do it was expensive and not always easy to come by, depending where you lived. That goes double today, but we’re in the middle of a vinyl renaissance! [ronald] wanted to make records, but was unable to find a lathe, so decided to take matters into his own hands, and build his own vinyl record cutting lathe.
[ronald’s] record cutting lathe looks quite professional.It seems like it should be a simple problem, at least in concept: wiggle an engraving needle to scratch grooves in plastic. Of course for a stereo record, the wiggling needs to be two-axis, and for stereo HiFi you need that wiggling to be very precise over a very large range of frequencies (7 Hz to 50 kHz, to match the pros). Then of course there’s the question of how you’re controlling the wiggling of this engraving needle. (In this case, it’s through a DAC, so technically this is a CNC hack.) As often happens, once you get down to brass tacks (or diamond styluses, as the case may be) the “simple” problem becomes a major project.
The build log discusses some of the challenges faced–for example, [ronald] started with locally made polycarbonate disks that weren’t quite up to the job, so he has resigned himself to purchasing professional vinyl blanks. The power to the cutting head seems to have kept creeping up with each revision: the final version, pictured here, has two 50 W tweeters driving the needle.
That necessitated a better amplifier, which helped improve frequency response. So it goes; the whole project took [ronald] fourteen months, but we’d have to say it looks like it was worth it. It sounds worth it, too; [ronald] provides audio samples; check one out below.  Every garage band in Queensland is going to be beating a path to [ronald’s] door to get their jam sessions cut into “real” records, unless they agree that physical media deserved to die.

https://hackaday.com/wp-content/uploads/2025/04/01_Test-Cut-6th-April-2025-Move-For-Me.wav
 
Despite the supposedly well-deserved death of physical media, this isn’t the first record cutter we have featured. If you’d rather copy records than cut them, we have that too. There’s also the other kind of vinyl cutter, which might be more your speed.
 

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