Modbap release Fidelity Theory Described as a “character effect", Modbap’s first plug-in takes the hands-on approach behind their Eurorack modules and applies it to software.

Don’t be fooled by the bland looks of Lewitt LW6 wireless studio headphones£519/$699, lewitt-audio.com
When I recently reviewed the OneOdio Studio Max 2 DJ headphones, I wondered whether they were solving a problem that didn’t really exist. Did DJs really need to be free from being cable-bound to the equipment they use?

READ MORE: OneOdio Studio Max 2 review: the same ultra-low latency as the big brands without the hefty price

That review quickly proved otherwise. DJing has changed; the way we work has changed. Producers, engineers, content creators and musicians increasingly move between multiple roles throughout the day, and the idea of owning a single pair of headphones that can comfortably handle all of them suddenly makes a lot of sense.
Lewitt’s new LW6 wireless studio headphones are built around that exact premise. Whether you’re setting up microphones, tracking instruments, tweaking hardware synths or moving between different parts of the studio, the freedom of wireless monitoring is massively appealing. The problem, historically, has been that wireless audio means compromises. Bluetooth introduces latency, data compression and, in many cases, a noticeable drop in fidelity. The LW6 aims to eliminate those compromises entirely.
At the heart of this solution is Lewitt’s RealSound wireless technology, which delivers uncompressed PCM audio at 1,728kbps, with latency quoted at under six milliseconds. In practical terms, that means you can comfortably track, mix and monitor at an uncompressed 24-bit, 48 kHz without feeling disconnected from the source. It’s a wireless system that genuinely feels capable of replacing a wired studio setup. Connect via a wired USB-C, and you’ll get the ability to work up to 96 kHz too.
Image: Press
Connectivity done right
The first thing that stands out is just how flexible the system is. The included wireless transmitter is powered via USB-C, but can receive audio either digitally over USB-C or through a traditional 3.5 mm analogue input. There’s also a 3.5 mm analogue output on the transmitter if you want to stack multiple units and more than one set on the same analogue headphone output. There is also Bluetooth 5.3 with standard lossy SBC and AAC codecs for casual listening and roles not requiring uncompressed audio and ultra-low latency.
When it comes to that flagship wireless mode, because the Lewitt RealSound tech operates in the Ultra-Wideband spectrum, it does require a direct line of sight to the transmitter and has roughly a five-metre range. That means you can connect the output of an audio interface, mixer, synth, sampler or any device with a headphone output and instantly transmit uncompressed wireless audio to the headphones. It’s a simple solution, but one that opens up plenty of possibilities in the studio and is great for a home studio setup where you might have to move around to twiddle with synths, drum machines or guitars etc. It’s worth noting that if you have thick walls to walk behind or other things that break the line of sight to the receiver, you may run into problems.
It’s obvious that Lewitt has spent time considering real-world workflows here and users wanting a set of headphones for music listening too. There are multiple ways to integrate the LW6 into a setup, and the system handles edge cases that many manufacturers simply overlook.
Image: Press
Lewitt LW6 sound quality
The sound is where Lewitt has focused its attention, the LW6 is tuned in collaboration with acoustics engineers on actual human test subjects. The LW6 delivers a flat, detailed and reassuringly high-end sound. You’re presented with a balanced, honest listening experience that feels entirely appropriate for studio work. They are on the brighter side, which I find perfect and familiar to my taste, but of course you can tweak them if needed in the app.
Stereo imaging is excellent, transient detail is clear, and mixes translate well. I don’t notice any discernible noise floor even at extremely high or low volumes. Perhaps most importantly, you forget that you’re listening wirelessly. That’s one of the biggest compliments you can pay these headphones, and I am constantly taking them off to get up from a chair out of habit.
Image: Press
Smart software
The hardware itself is, of course, only part of the story. The companion software and mobile app add a significant amount of flexibility, including access to a customisable five-band parametric EQ and a range of listening profiles. Switching to the Virtual Studio mode creates a noticeably more spacious presentation that can be particularly comfortable during longer sessions, using DSP to mimic listening in front of a set of speakers. It’s genuinely useful for checking how a mix responds to different listening environments without having to swap headphones or monitors.
On the headphones themselves, Lewitt has included a thoughtfully designed control scheme. The integrated volume control works brilliantly, while assignable buttons provide quick access to power, EQ presets and other functions without needing to dive back into the app. Also, on registering the product, you are able to claim a copy of the brand’s Space Replicator Essential software. Here, like the included Virtual Studio, you can switch between models of real spaces on your headphones as if you were there. Again, this is perfect for checking mixes, and weirdly, also quite fun!
Image: Press
Lewitt LW6 comfort and isolation
Design is perhaps the least exciting aspect of the LW6. They look perfectly respectable, but they don’t exactly scream premium luxury. Build quality feels solid, although the rubberised adjustable headband gives me some concern about long-term durability. That said, the lightweight construction pays dividends during extended sessions, and in daily use they’re extremely comfortable.
The ear pads deserve particular praise. They’re comfortable, and the isolation is excellent, with surprisingly little bleed reaching nearby microphones even at relatively high monitoring levels. That’s a huge advantage when recording vocals, acoustic instruments or other sensitive sources where backing-track and click bleed can be problematic. Because of their brilliant and unique design, it does mean that replacing ear pads with other styles might not be as simple as on more standard headphone shapes.
These headphones also go exceptionally loud when required, making them well suited to performers who need strong monitoring during tracking sessions or when working with dynamic sources. Reassuringly, Lewitt has included a configurable Loudness Guard feature within the app, allowing users to limit peaks above a chosen SPL threshold. It’s a thoughtful addition for anyone conscious of hearing health, and for that surprise feedback, buzzes or pops when recording, although it can be disabled entirely if preferred.
Image: Press
Battery life
One thing worth noting is that the LW6 cannot be used passively, even though you can use a 3.5 mm wired connection from the headphones if the headphones are powered up. If the battery is dead, then so are the headphones.
Battery life is rated at 21 hours though, and this feels more than adequate in practice, so a dead set of headphones is unlikely and isn’t something I experience in use. In any case, fast charging can deliver three hours of listening time on just a 15-minute top-up charge.
Should I buy Lewitt LW6 wireless headphones?
The LW6’s only foible is aesthetics. They look pretty bland, and the amazing sound and technology inside feel deserving of something a little more alluring. Imagine this amazing headphone tech wrapped in aluminium, wood or some other premium finish, and you’d have something truly special. Time will tell whether the ear pads end up like some other headphone brands, flaking and eroding over time. With the attention to detail in every other design choice, I find this unlikely.
Noise cancellation would have been a welcome addition for those leisurely listening sessions, provided there was a method of implementing it without compromising the excellent audio quality, as would a built-in mic for calls. Still, those are relatively minor criticisms. The reality is, I like these headphones a LOT and those extra features might justify adding another set of expensive headphones to my collection. What Lewitt has achieved here is genuinely impressive. The LW6 successfully combines studio-grade sound quality with the convenience of wireless operation, while avoiding the compromises that have traditionally made engineers wary of cutting the cord.
At over £500, these aren’t an impulse purchase. But for producers, engineers and musicians who spend countless hours wearing headphones, the LW6 offers something few rivals can match: a single pair of headphones capable of handling virtually every aspect of modern music production and casual listening. When you consider the competition, the price is extremely attractive.
The Lewitt LW6 proves that wireless studio headphones have finally grown up.

Key features

Closed-back, high-isolation design
Ultra-low latency RealSound wireless audio
USB-C and 3.5 mm connectivity on both transmitter and headphones
Companion desktop and mobile apps
5-band parametric EQ
Virtual Studio listening mode
Loudness Guard hearing protection
Up to 21 hours of battery life and fast charging
Assignable on-ear buttons
Includes Space Replicator Essential software

The post Don’t be fooled by the bland looks of Lewitt LW6 wireless studio headphones appeared first on MusicTech.

Penombra Celli & Viole from Sonora Cinematic The Founders Locker line-up has just gained two new libraries began life as source recordings for the Sonora Cinematic's popular Movimento Strings series.

Beat Magazine #250 includes Super VHS and Cubase LE 15 for €4.99
The November 2026 issue of Beat Magazine includes Baby Audio Super VHS and Steinberg Cubase LE 15 alongside its usual collection of sounds and production software. The English digital issue costs €4.99 from the publisher. This is issue #250, and its main focus is on microphones, room treatment, recording chains, and getting a vocal from [...]
View post: Beat Magazine #250 includes Super VHS and Cubase LE 15 for €4.99

My Forever Studio: Caesar Edmunds already has a Forever StudioIn this episode of the My Forever Studio podcast, brought to you in partnership with Audient, we welcome Grammy-winning mixer, engineer, and producer Caesar Edmunds.
Caesar’s production credits span from Ozzy Osbourne and Queens of the Stone Age to Wet Leg and The Last Dinner Party. From a music teacher in Singapore telling him he had “no chance” of making it as a musician, to his breakthrough in the UK engineering scene, Caesar Edmunds shares his incredible journey: from spending two years in national service as a police officer, to studying at Liverpool’s LIPA, hustling for work experience with revered British producer Alan Moulder, and his eventual rise to his own Atmos studio at the legendary Battery Studios in London.
In this episode, we get into Caesar Edmunds’s “Forever Studio” picks, his enviable guitar pedal collection, the art of creating a homely studio vibe, and the ongoing fight to save iconic studio spaces from the threat of redevelopment. Expect banter, airhorns, and rule-bending.

The My Forever Studio podcast – created in partnership with Audient – sees artists, producers, and engineers create their dream fantasy Forever Studio, wherever they want in the universe. However, hosts Chris Barker and Will Betts impose some strict rules in the Forever Studio. Our guests are permitted a limited number of items in their creative space, so they must choose carefully. There will be nostalgia. There will be anecdotes. There may be gags. But there will be no bundles!
Subscribe to My Forever Studio on Apple Podcasts and Spotify, and check out all episodes so far via MusicTech.
The post My Forever Studio: Caesar Edmunds already has a Forever Studio appeared first on MusicTech.

The 10 Kurt Cobain Songs That Never Got the Attention They DeservedBeyond Nirvana’s biggest hits, discover 10 underrated Kurt Cobain songs that showcase the band’s raw energy, hidden gems, and overlooked musical brilliance.

A Song That Changed My Life: Son Lux on Radiohead’s “Everything in Its Right Place”The Band Members: Ryan Lott, keyboards, vocals; Rafiq Bhatia, guitars; Ian Chang, drums

The Storyteller: Ian Chang

The Song: An unnerving, compressed warmth emanates from the first keystrokes of the detuned Sequential Prophet-5 synth in Radiohead's "Everything in Its Right Place.” These thick, muted analog tones reverberate until vocal glitches give way to Thom Yorke’s disembodied fantômatique vocals, which ultimately bleed through, leaving the listener suspended within a jarring, dissociative state.

This deceptive cadence of unresolved hypnotic sonics sends shivers up the spine; like static, these tones are left fritzing and ungrounded, unable to connect to the mind — a subtle signal, a psychic warning that things are very much out of line. It is a chilling soundscape, an environment where emotions are gridlocked and detached worldly observations serve as a brilliant way of introducing the chthonic internal atmosphere heard throughout Kid A. 

A sharp departure from their earlier alt-rock anthems — including the iconic, violent guitar chuck that ignites the guttural operatic cries in “Creep” or the orchestral melancholy of “Karma Police” — this solemn stylistic deviation heralded the arrival of a starker, more introspective electro-ambient chapter for the revered art-rock titans. The band’s experimental production process of constructing sound worlds through structural deconstruction creates a dazzling audio labyrinth where a suspended sonic space is as unsettling and haunting as it is gorgeous and sublime.

The Background: Viewing songwriting as a massive auditory puzzle, composer-producer Ryan Lott launched Son Lux as a solo experimental electronic-meets-classical endeavor — a musical canvas where scattered pieces of sounds found everywhere are captured, meticulously assembled through synthesizers and software, and eventually reworked and painted into live compositions of pretty anxious post-rock.

This solo sonic dissectologist journey eventually reached outward — reverberating and resonating with the chameleonic guitarist Rafiq Bhatia and super fluid sensory drummer Ian Chang. Brought together on the road, the two musicians permanently integrated into the project, expanding Son Lux into an unconventional trio dedicated to seizing and recording fractured auditory bits and found sound of all musical sorts. By augmenting these intricate layers on stage, they transformed their studio creations into an immersive, living performance.

This boundary-pushing chemistry culminated in mammoth amounts of material, spawning sprawling multi-album conceptual arcs and hours of dense aural world-building. Throughout these expansions, Son Lux’s work maintained a distinctly eerie, uncanny quality that touched the synapses of neuroscience—experimenting with how sound loops and acoustic shifts register in the brain before cognition even kicks in. By 2022, their uniquely chaotic yet cohesive arrangements garnered the attention of directors Daniel Kwan and Daniel Scheinert (The Daniels), tasking the band with the otherworldly, Oscar-nominated score and song for Best Picture winner Everything Everywhere All at Once.

Following a few more years of expanding their sonic palette—a stretch that included scoring additional films both individually and collectively, alongside various other side releases—the band capped off this prolific stretch with the intricately crafted songs of their recent 2026 release, Out Into. For drummer Ian Chang, this new assemblage of boundary-eliminating tracks marks yet another evolution in a career dedicated to cataloging sounds. It is an artistic pathway that can be mapped back to a specific, formative encounter: a quiet retreat within a music store filled with aisles stacked with jewel cases and vinyl.

The Story: Prior to creating music by analyzing the variant frequencies of sound, or having constructed entire cinematic multiverses, Ian Chang’s relationship with music began as a means of escapism. During the twilight era of massive music storefronts, Chang embraced the lovely moments of solitude, wandering through endless aisles of records and CDs, waiting for an arresting visual to disrupt his drift. For him, it was a striking album cover featuring a landscape of stark white icebergs outlined in blood-blackened red that ultimately pulled Chang toward a headphone listening rack. He recalls how that visual became his gateway to other universes:

“It was a very different time in music consumption! I was 12 or 13 the first time I heard "Everything in Its Right Place" by Radiohead. I was living in Hong Kong at the time, and one of my favorite things to do was to go to HMV to learn about music by spending time at the listening stations. I loved checking out the artwork, reading about the artist, and diving into the sound world.”

This immersive ritual highlights a cornerstone of musicology—the multimodal perception of the visual-to-auditory experience. It is the way an arresting optic can act as a psychological trigger to intensify a connection with heard melodies and harmonies, binding the event into an interconnected sensory awakening, a memory:

“I remember the artwork for Kid A caught my eye, prompting me to give the album a spin. This was my first introduction to Radiohead, which in retrospect was a bit of a strange introduction to them, but it was a formative experience for sure. I remember listening to this opening track multiple times before moving on to the rest of the album.”

Stepping into that unfamiliar audio universe without predictable melodies was a crash course in hearing a sort of strangeness in music, a realization of how songs can tap into adjacent, parallel, and at times scary realities. This emotional upheaval was so tantalizing it encouraged Chang to play the opening track on a continuous loop, as he recalls:

“I felt completely bewildered at first! At that point in my life, I was pretty musically omnivorous, but I hadn’t heard anything like this at all; it was borderline uncomfortable. I admit that there were a number of songs on the album that I couldn’t get into at the time, but "Everything in Its Right Place" really hit me right away.  It’s maybe the first song I heard where I experienced the feeling of something haunted and otherworldly.”

As Chang leaned further into that unsettling atmosphere, the macro-shock of what exists out there in the world through a song gave way to an acute curiosity; he began trying to isolate the exact sonic elements that made him realize these strange audio worlds could be real.

“The first thing that really grabbed my attention was all the mangled babbling vocal textures at the beginning.  It was maybe my first introduction to how production can create a surreal listening experience,” Chang recalls.  “The combination of all the elements really impacted me emotionally. The lyrics, harmony, soundworld, and Thom’s voice hit me just at the point in my life when the veil on the ills of society was being lifted. In a way, it soundtracked my transition out of innocence. It provided a lot of new and uncomfortable thoughts and emotions… a sonic space for them to steep in.” 

This insightful awakening stayed with him as an enduring memory — one that weirdly put focus on how much of the world, both musically and existentially, remained unresolved. A few years later, that lasting impression led Chang into a sharp micro-analysis of its production — a creative fascination with engineering alien sounds that would ultimately define his future identity in Son Lux. He explains:

“It wasn’t until I was 15 or so that I went back and figured out what was going on under the hood of this song. I learned about the KAOSS pad that they used to create the vocal effect at the beginning, and the interesting, changing meter of the song, as well as the haunting chord movements.”

By demystifying the technical machinery, Chang expanded his unique way of composing — an exhaustive foray into analyzing these atmospheric landscapes that completely reshaped his artistic worldview.

“There is an incredible minimalism to the arrangement of this song that was very inspiring to me. Up until encountering this song and album, I mostly thought of music in terms of melody, harmony, and lyrics,” says Chang.  But as he adds, “this really blew my mind and got me to think more deeply about the power of arrangement and production, and how it can be as impactful to the feeling of a recording as any of the other elements I mentioned before.”

Moreover, this revelation connected directly back to that initial spark — the sudden awareness that there was something so much more going on in what he was hearing, and parallel to that, the world outside.

“As a band, Son Lux often comes at songwriting first through sculpting sound and production, rather than harmony, melody and lyrics, so this lightbulb moment marked a shift in my perspective on music that influences how I make music to this day.”

For Chang, that shift became an ongoing artistic pursuit to capture the same elusive, emotional visual-meets-auditory memory that struck him so profoundly in Hong Kong decades ago.  And now, laying out that master puzzle piece is part of his auditory ethos:

“I would say that a lot of Son Lux’s music is indebted to this song and to Radiohead in general. The feeling of haunting beauty that this song gives is something that we are often chasing.”

Photo Credit. Anna Powell Denton

The post A Song That Changed My Life: Son Lux on Radiohead’s “Everything in Its Right Place” first appeared on Music Connection Magazine.

Skynr Labs StemquillStemquill is a free, open-source standalone application that converts audio stems into MIDI files. It writes one MIDI file per stem, ready to drag onto a track in any DAW, so drum, bass, keys and vocal parts can be replayed with different instruments, edited or rearranged. Drums Drum stems are split into kick, snare, closed hi-hat, open hi-hat, high, mid and low toms, crash and ride, each written to its own note. Drum maps are included for General MIDI kits (MT Power Drumkit, EZdrummer, Addictive Drums, Superior Drummer) and for pad samplers (FL Studio FPC, Ableton Drum Rack, MPC-style pads), and custom note numbers can be entered. Melodic stems Bass and vocal stems are transcribed as single-note lines. Guitar, keys and synth stems are transcribed as chords. An optional chord-detection add-on based on Spotify's basic-pitch, selectable in the installer, improves polyphonic accuracy. Features Tempo detection from any stem. Optional snap to grid: 1/8, 1/16, 1/32 or triplets, or the original timing. Preview of each stem with built-in sounds before saving, with the original audio mixed in to check timing. Humanize control for timing and velocity variation. Per-stem sensitivity, humanize and drum selection, with an Apply to all option. Drag and drop of files or whole folders. Status for each stem showing when its MIDI is saved and when its settings have changed since. History of each conversion, with the drum hits or note range found. Command-line interface for scripting and batch use. Runs fully offline; audio is never uploaded. Input formats WAV, MP3, FLAC, AIFF, OGG and M4A. System requirements Windows 10 or 11 (64-bit), using the installer. macOS and Linux: Python 3.10 or newer, installed with pipx. Pricing Free, with an optional pay-what-you-want donation. Released under the MIT license; source code is available on GitHub. Read More

FTX’s crypto mining venture is now used to advance AIThe defunct exchange acquired a 20% stake in Genesis Digital Assets before FTX declared bankruptcy in November 2022.

The Prusa Core One+ INDX, a Troubled Multi-Extruder Upgrade?The Prusa Core One+ INDX is an interesting upgrade to the base FDM printer by Prusa, featuring eight independent extruders – hence the INDX – that in theory should allow for multi-material and multi-color printing with very little purge waste. As [Thomas Sanladerer] found out during his experiences with this printer, there are a lot of issues with this machine, including the ability – or lack thereof – to print with non-Prusa filament.
Although the premise is solid, with a claimed 0.013 grams of purge waste per color or material change along with pretty nice dual-gear Bondtech extruders, the first major hurdle that [Thomas] encountered was that the mandatory calibration sequence on starting a print is designed to only work with Prusa’s own filament and its specific material properties. This resulted in an inability to print with Voxel PLA until [Thomas] removed this sequence manually from the g-code.
This is when [Thomas] found out that the entire print sequence uses the material presets for Prusa’s filament, resulting in a failed print. The results from the manual calibration are also not saved despite the display claiming it does, making this calibration on starting a print absolutely mandatory.
Other issues found are the useless position of the camera as it’s now blocked-off by the INDX hardware, with even manual peeking into the print chamber being heavily obscured by the contraption that holds the extruders. This makes even checking that filament has loaded correctly is borderline impossible, never mind ogling the printing process.
Although there’s a lot to like about this INDX upgrade to the Core One+, the above and other issues discussed in the video make it look somewhat shaky next to competitors like the Bambu Lab H2C and Snapmaker U1, as well as Prusa’s own XL toolchanger printers. During [Thomas]’s print test comparison between the XL and the Core One+ INDX there was no contest that the XL simply works, whereas the INDX even struggles with some Prusa filaments.

Songwriters drop ‘alright, alright, alright’ sample lawsuit against Travis Scott and Sony MusicThe notice of voluntary dismissal does not say whether they reached a settlement with Travis Scott or Sony Music.
Source

Meta releases its first frontier model, Muse WonderWhere Muse Spark aimed to be a lightweight model that could perform at low latency, the Wonder models are larger and said to be more capable, with higher benchmark scores and better results on complex tasks like coding.

Song Athletics launch Song Keys Song Keys includes eight instruments that have all been multi-sampled in a world-class studio, and hosts them all together in a simple and intuitive plug-in. 

Stylophone introduce the Stylophone Mini The Stylophone has returned to the market in miniature form, delivering a fully playable instrument that’s small enough to use as a keyring!

Music By Mattie releases magic.METER, a FREE vocal analyzer plugin
Music By Mattie has released magic.METER, a free plugin that compares your vocal mix with measurements from 3,054 hit songs. Learning to trust your ears is the most important part of mixing and producing music. But I’ve always found vocals harder to mix than guitars, drums, or bass. We bedroom producers rarely have access to [...]
View post: Music By Mattie releases magic.METER, a FREE vocal analyzer plugin