Poly Flanger is an “intelligent” flanger plugin from Minimal Audio that moves musically with your trackMinimal Audio has unveiled Poly Flanger, a new “intelligent” and harmonically aware flanger plugin which modulates in line with your track’s pitch, scale, rhythm and other parameters.
While traditional flangers often move independently of the music itself, Poly Flanger works in tandem with your tracks, aligning with these global parameters for a more musical result.

READ MORE: Suno says “accessibility” is the reason for its success — but I think accessibility is the problem with AI music

Thanks to its intelligent design, Poly Flanger can also add in-key arpeggiated movement to your synth or lead lines. And Minimal Audio has made every effort to make it simple – simply set a scale and the Poly Flanger aligns itself with the closest in-key note, snapping into tune and working musically with your track.
You can also stack multiple flanger voices – up to eight – to build “rich, layered” textures. “Each voice adds depth and dimension, letting you go from subtle thickening to full harmonic weight,” Minimal says.
Elsewhere, you can choose from multiple LFO shapes or add randomisation to create stereo movement, to further evolve your tracks. You can also adjust how dry or wet you want your flanging to sound.
Whether you’re keen to take advantage of its scale-aware pitch snapping, want to build multi-voice harmonies or add wider stereo depth and movement to your tracks, Poly Flanger has plenty to offer. It even comes with 80 presets to get the ball rolling.
Poly Flanger is fully compatible with all major DAWs with macOS 10.11 and higher, as well as Windows 10 and higher.

Poly Flanger is available now at an introductory price of $29 (normal price $49). For more info, head to Minimal Audio.

The post Poly Flanger is an “intelligent” flanger plugin from Minimal Audio that moves musically with your track appeared first on MusicTech.

Margo XS on producing “pop music as noise music”“I like to imagine a song as a planet; you have to use its resources to construct it,” begins pop’s latest in-demand producer, Margo XS. When she catches up with MusicTech from Los Angeles, she’s heading to a studio session to work on the deluxe edition and remix album of Zara Larsson’s Midnight Sun, the Swedish popstar’s Grammy-nominated reinvention LP, for which she co-produced nine songs, including bangers Blue Moon and Crush. Arguably instrumental to its success has been Margo’s bold electronic production, where she makes minimalism sound and feel maximal.
“My philosophy with producing is to have sound overlap as little as possible”, the Michigan-born producer says. “People might think about that as using EQs and sidechain compression to remove space and create room for another element but, for me, it’s not the more elements you add, the bigger it gets, but rather making each element as big as it can possibly be”.
How, though, does she achieve this? “Allow a bass, synth or drum to take up the entire frequency spectrum and let it exist individually in that moment. So while the composition is minimal, it can be the biggest 808 you’ve ever heard because it’s holding way more space than if it were competing with a bunch of synthesisers and drums.”

Margo learned this from her love for Skrillex, realising that the iconic producer’s gritty music is a series of one “maxed-out” sound after another. More recently, she’s analysed pop production similarly: “The less elements you have, the more room you can make for a big vocal.”
She recognises this isn’t always possible, however. “With a lot of songs, you need to have multiple things going on at once. But when I can get away with having one really big sound be the primary focus, I try to prioritise that”. This is how Margo fuses a variety of bass and drum sounds that would, in theory, clash in the low frequencies — wide, full-spectrum bass sounds and snare drums with lots of low-end information, for example.
This was true of the experimental sonics that she helped bring to the core of Midnight Sun: “There are a lot of weird sounds and weird moments — from the plugins I used from independent developers, to the varying MP3 codecs”. She also notes the custom sounds – “there are many songs where all the drums are synthesised” – as well as “playing with form”; the track Hot & Sexy is four different songs combined over a year.
She adds that, thanks to co-producer MNEK, there is a lot of varispeeding, detuned synthesisers, some songs “not in 440Hz” and lots of different methods of pitch shifting. The overarching idea, Margo says, was to “create interest and excitement”.
Margo XS. Image: Press
Contrastingly, when she gets in the studio with frequent collaborator Kim Petras – with whom she has crafted multiple speaker-blowing hyperpop bangers – they give themselves strict restrictions. “We’re always obsessed with the idea of ‘what is a synth line that can repeat over and over that you’ll never get sick of?’, and to not crowd that up with counter melody as a way to hide the catchiness.”
Instead, they embrace it and place them in different contexts. The beats for Freak It, for example, were borne out of Margo’s desire to make the loudest ending to a pop song ever. “It’s fucking ridiculous,” she laughs.
All this ties in perfectly with Margo’s ethos as a producer who started in the noise and industrial scenes. “Pop music as the most extreme it can be,” she says, adding that what drew her to the disparate genre was “how extreme saturation can be used, and how upfront and unforgiving it is”.
Of her credits so far, this applies most obviously to the aforementioned Freak It. “We wanted to make an EDM-pop song that is uncompromising in its use of compression limiting, almost as if it’s completely experimental music.” For Margo, it’s all “a fun challenge — and to still make it catchy and listenable”.
Take her upcoming production work for masked viral sensation horsegiirL: “I realised that what I could add to her harder, cheeky donk tunes was my pop vocal producing background,” she enthuses. “It’s been fun helping to find the threads between those worlds with her, because I’m just as in love with obscure underground dance music as I am the most basic bitch pop”.
Margo XS. Image: Press
Margo’s biggest commercial breakthrough could be right around the corner, though. She recently had “a really good session” with pop megastar Demi Lovato. “She’s really sweet and I hope there’s a song that comes out with this two-step new-school UKG drop that I’m really stoked about,” Margo teases.
Considering the vast array of names that Margo works with, it’s fair to say she switches her technique or style depending on the genre. “One thing that attracted me to being a producer was that I don’t have to feel locked into a specific sound,” she says. “Whereas, with being an artist, there’s pressure to evolve, but in a way that still stays true to the original concept or style of the record…”
Being a producer, then, is freeing. “I don’t want to deal with that,” she says bluntly. “If I want to make a rock record, I want to make a rock record. If I want to make a dubstep record, I want to make a dubstep record.” Hopping between projects has therefore allowed Margo to “go through all of these different phases without any guilt”.
These varying aspects of her artistry have culminated in deBasement, Margo’s electro-punk project with Alli Logout (vocalist of New Orleans post-punk group Special Interest), which started around the time the pair moved to LA. “The rave community is strange and not very gelled, and I was missing great DJs, great systems, great lights… that’s the thing that keeps me going.” Feeling the same way, they became “a haven for each other” to make and explore that music in a city that “we were still trying to figure out how to exist in”.
Margo XS. Image: Press
Exploration and experimentation have long been key to Margo’s productions — and the same can be said of her vision for the future of pop. “I hope that it continues to surprise people,” she says, describing the genre as traditionally “very forward-thinking.
“Pre-DAW and home studio pop artists and producers were some of the only people to have access to new and expensive technology back then,” she continues, citing David Bowie being responsible for some of the first uses of digital pitch shifting, The Beatles with ADT (Artificial Double Tracking), Kate Bush the Fairlight CMI… “and all the crazy shit that happens on [Michael Jackson’s] ‘Thriller’ that had never existed before”.
In light of the democratisation of music in more recent years – which Margo partly puts down to the rise of streaming – she’s confident about where things could be heading. “I would really love a song that goes up the charts where people are like ‘I did not know something this weird can be this catchy!’”
With Margo XS consistently pushing sonic barriers and breaking new ground, bold new sounds will be infiltrating the mainstream for years to come.
Read more interviews with music producers 
The post Margo XS on producing “pop music as noise music” appeared first on MusicTech.

GRM Tools Atelier comes to Windows INA GRM’s recently released sound-design instrument has just received its first major update, which among other things, introduces official support for Windows 10 and 11. 

Hvoya Audio releases Sand, a FREE differential compander for macOS and Windows
Sand is the latest release from Hvoya Audio, a sound design tool for macOS and Windows that compands the derivative of the original signal. It expands the quietest signals and adds some soft limiting to the loud signals, adding grit and texture. Working on the derivative rather than the original signal yields some interesting side [...]
View post: Hvoya Audio releases Sand, a FREE differential compander for macOS and Windows

Neumann reintroduce the M 50 V Neumann's M 50 V delivers a faithful reissue of the iconic valve microphone that helped to shape the sound of countless classical recordings and film scores. 

Doja Cat’s Managers Have It DownThis week, Ari is joined by Doja Cat managers Gordan Dillard & Josh Kaplan to discuss building superstar careers, features, deals & fanbases.

Stripe-owned Bridge gets OCC conditional approval for national bank charterWhile still subject to final approval, the regulator's nod would enable Bridge to offer stablecoin and digital asset services to businesses.

Yaeji gives an exclusive tour of her inspiring multimedia studio
Experimental pop and electronic music producer, DJ, and vocalist Yaeji gives the Splice community a tour of her inspiring multimedia studio.

3D Printed Jack Mixes Two Filaments For Great PerformanceIf you’re looking to jack up your car and you don’t have anything on hand, your 3D printer might not be the first tool you look towards. With that said, [Alan Reiner] had great success with a simple idea to create a surprisingly capable scissor jack with a multi-material print.
The design will look familiar if you’ve ever pulled the standard jack out of the back of your car. However, this one isn’t made fully out of steel. It relies on an M6 bolt and a rivet nut, but everything else is pure plastic. In this scissor jack design, rigid PETG arms are held in a scissor jack shape with a flexible TPU outer layer. Combined with the screw mechanism, it’s capable of delivering up to 400 pounds of force without failing. It’s an impressive figure for something made out of 80 grams of plastic. The idea came about because of [Alan’s] recent build of a RatRig VCore4 printer, which has independent dual extruders. This allowed the creation of single prints with both rigid and flexible filaments included.
[Alan] did test the jack by lifting up his vehicle, which it kind of achieved. The biggest problem was the short stroke length, which meant it could only raise the back of the car by a couple inches. Printing a larger version could make it a lot more practical for actual use… if you’re willing to trust a 3D-printed device in such use.
Files are on Printables if you wish to make your own. It’s worth paying attention to the warning upfront that [Alan] provides—”THIS CAN CREATE A LOT OF FORCE (400+ lbs!), WHICH MEANS IT CAN STORE A LOT OF ENERGY THAT MIGHT BE RELEASED SUDDENLY.  Please be cautious using 3d-printed objects for high loads and wear appropriate safety equipment!”
Funnily enough, we’ve featured 3D printed jacks before, all the way back in 2015! Video after the break.

Meta’s own research found parental supervision doesn’t really help curb teens’ compulsive social media useAn internal research study at Meta found that parental supervision may not help teens regulate their social media, and teens with trauma are more inclined to overuse social media.

Cycles & Spots Reaktor MultiPlayhttps://youtu.be/6dKLUNqWlVA?si=m2EeGOztaicIEbeA Cycles & Spots present a sampler with 4 playheads for Reaktor. This works similar to a granular sampler but with bigger chunks rather than small grains. This keeps more of the structure or the source sample but still transforms it to something new. 126 implemented samples (Up to 3 minutes) and a drag & drop option let you quickly and easily create interesting (synced) textures or soundscapes, melodic and disharmonic output. 2 LFOs let you change the playback start positions (randomly or synced) and there's a reverb and a frequency shifter onboard for further shaping of the sound. Pack Details: Macro Sampler for NI Reaktor feat: Random And Sine LFO For Sample Starts. 127 Implemented Samples. 4 Playheads Sampler. Sample Drag & Drop. Frequency Shifter. Reverb. 1.6 GB. Full Version Of NI Reaktor 6.5.0 (Or Higher) Needed. Read More

David Guetta Talks Creative Process and Workflow with the Rhodes MK8 MIDIAccording to news on Tuesday, "Grammy Award–winning producer and DJ David Guetta adds the Rhodes MK8 MIDI piano to his Ibiza studio as a source of inspiration and a central controller within his setup. Drawing on its expressive sound and feel, he uses the instrument to explore how soul and musicality can exist beyond traditional genre boundaries within his in-the-box workflow."

“The first word I think of when it comes to Rhodes would be soul. I grew up listening to funk, from Michael Jackson to Stevie Wonder and Marvin Gaye. It’s a sound that is very present in my life,” he explains.

In discussing how the Rhodes sound has shaped his songwriting over the years, Guetta shared, “When we wrote that record for Ariana Grande, it was together with Savan Kotecha. We started from a Rhodes melody with thirds, and it gave the song that warmth. I don’t think we would have gone there if we hadn’t started from that Rhodes sound.”

According to a statement, "The Rhodes MK8 functions as a central controller in modern studio environments. With polyphonic aftertouch MIDI and assignable controls, the instrument allows producers to shape dynamics, modulation, and expression on a per-note basis when triggering virtual instruments within a DAW. The MK8’s onboard knobs can be mapped to parameters in virtual instruments and effects, or routed to external hardware synthesizers."

See the full interview on YouTube.

Image credit: IndieToBe Agency & Backlight StudioThe post David Guetta Talks Creative Process and Workflow with the Rhodes MK8 MIDI first appeared on Music Connection Magazine.

HYBE AMERICA launches Blue Highway Records in Nashville, names Jake Basden as CEOHYBE AMERICA's Nashville-based country, Americana and roots rock division rebrands as Blue Highway Records, effective immediately
Source

“I hope Eurovision is ready to get synthesised!”: Look Mum No Computer to represent the UK at EurovisionFrom Furby organs, to Lego drum machines, to lightsaber theremins, Look Mum No Computer’s Sam Battle lives by the ethos of his project name; the Kent-based solo artist laughs in the face of digital emulation, inventing experimental electronics to craft his unique world of electronic tunes. Now, he’s set to take his eccentric sound to Eurovision.
Chosen to represent the United Kingdom at the 70th Eurovision Song Content this May, Look Mum No Computer has gained traction posting his whacky musical antics on YouTube. Now, Battle is hoping his bedroom creations are enough to impress judges across Europe.
“I find it completely bonkers to be jumping on this wonderful and wild journey,” he tells the BBC. “I have always been a massive Eurovision fan, and I love the magical joy it brings to millions of people every year, so getting to join that legacy and fly the flag for the UK is an absolute honour that I am taking very seriously.”

READ MORE: Six synths that define Radiohead’s sound

“I’ve been working a long-time creating, writing, and producing my own visions from scratch, and documenting my process,” he adds. “I will be bringing every ounce of my creativity to my performances, and I can’t wait for everyone to hear and see what we’ve created.”
While Battle’s track is yet to be revealed, he does promise one thing: “I hope Eurovision is ready to get synthesised!”
The track in question is set to debut in the next few weeks on BBC Radio 2, followed by an exclusive interview on The Scott Mills Breakfast Show.

Kalpna Patel-Knight, Head of Entertainment at the BBC, says: “We are absolutely thrilled to have Look Mum No Computer representing the UK at Eurovision in Vienna in 2026. His bold vision, unique sound and electric performance style make him a truly unforgettable artist. Look Mum No Computer embodies everything the UK wants to celebrate on the Eurovision stage – creativity, ambition, and a distinctly British wit.”
Elsewhere, Suzy Lamb, the Managing Director at BBC Studios Entertainment, also shares her excitement: “We are incredibly excited that Look Mum No Computer will represent the UK at this year’s Eurovision Song Contest. He is a genuinely original artist whose creativity and enormous love for Eurovision perfectly capture the spirit of the competition.”
“Our team at BBC Studios worked to find something very different musically and Look Mum No Computer really stood out. From his innovative approach to music-making to the strong connection he has built with audiences online, he brings a unique energy to his performances that we can’t wait for Eurovision fans around the world to experience in May.”
If you’re keen to learn more about the United Kingdom’s 2026 Eurovision representative, Look Mum No Computer digital footprint is extensive. His YouTube is rammed with quirky creations, while there’s even a TEDx Talk to dig into where he dives deeper into his creative process, as well as how he received a Guinness World Record for building the world’s largest drone synthesiser.

The post “I hope Eurovision is ready to get synthesised!”: Look Mum No Computer to represent the UK at Eurovision appeared first on MusicTech.

SweetEQ is an intriguing new saturating EQ with a simple UI from Musik HackMusik Hack has launched a new EQ plugin to rival complicated saturation plugins that “cuts through the noise”.
SweetEQ is a saturating EQ that adds character and energy to any sound, and Musik Hack says it can deliver it all: “sweeter and richer bass, a thicker overall character, high mid articulation and cut through, or high end sizzle and air”.

READ MORE: Amorph is a FREE plugin that turns text prompts into fully functioning instruments and effects

Musik Hack, which was founded by composer Sam Fischmann and mastering engineer Stan Greene, launched its first plugin, Master Plan, in 2024. Last year, MusicTech reviewed its Fuel plugin, which combines several go-to loudness processes including clipping, compression, saturation and limiting into a single plugin, and awarded it 8/10.
The new SweetEQ similarly offers a streamlined interface. Each one of the faders addresses one specific challenge: tuning for bass, mud for overall character, tuning and resonance for mids, and brittle harshness for highs. Its sliders are weighted toward the first 0-20 percent of each effect, taking into account that small moves on sound can make significant differences.
Musik Hack says these small moves in combination are similar to what various types of analogue gear do to sound by default, and rather than model one piece of gear, it looked at “all the characteristics over a vast array of gear” and developed a signal chain that could “stand in for any of it”.

View this post on Instagram

SweetEQ is available now for an introductory price of $79 (reg. $99), or you can Rent-to-Own with an introductory rate of $6.50/month if you sign up before 16 March. Learn more at Musik Hack. 
The post SweetEQ is an intriguing new saturating EQ with a simple UI from Musik Hack appeared first on MusicTech.