Atmos & XR: Latest SOS Case Study now live In our latest SOS Case Study, we take an in-depth look at how the immersive audio capabilities of Antelope Audio’s Galaxy interfaces are being put to work by two very different users.

Here’s your chance to win a signed Oberheim Matrix-12 synthesizer worth $20,000Fancy winning an Oberheim Matrix-12 synthesizer signed by Tom Oberheim himself? Well, here’s your chance.
The Bob Moog Foundation – the nonprofit organisation set up in 2006 following the death of synth pioneer Robert Moog – has announced a fundraising raffle, with the winner taking home a signed Oberheim Matrix-12 valued at $20,000.

READ MORE: You can save hundreds on DAW controllers and Korg synths right now in Reverb’s Presidents’ Day sale

Along with Tom Oberheim’s signature, the synth also features the signatures of Marcus Ryle and Michel Doidic, the principal designers of the Matrix-12. 
It’s also unique in that it was previously owned by Doug Curtis, the late inventor of the legendary Curtis chips used in many classic synthesizers. It was donated to the Bob Moog Foundation by Doug Curtis’s widow, Mary.
Credit: Bob Moog Foundation
Also, it is said to be in “pristine condition”, having been personally restored by Marcus Ryle. Its serial number is P53207 (the seventh unit built in the 32nd week, August 5th – 9th, 1985).
Launched in 1985, 2025 marks four decades of the Matrix-12, so the raffle lines up nicely with its 40-year anniversary.
The Matrix-12 followed the Oberheim Xpander – which launched in 1984 – and features two Xpanders (for 12-voice polyphony), as well as five-octave velocity and an aftertouch keyboard.
Elsewhere, the Matrix-12 features 15 different analogue filter modes, linear analogue FM, and a matrix modulation system to route the 27 modulation sources to the 47 modulation destinations.
Credit: Bob Moog Foundation
“Forty years ago we developed the Xpander, and its big brother, the Matrix-12, with an uncompromising spirit to create the most versatile and amazing sounding instruments we could imagine,” recalls Marcus Ryle. “To this day, the Matrix-12 is still my favorite synthesizer to play.”
“Doug appreciated the Matrix-12 so much that he had two, so our family had to think hard about donating this legendary instrument,” notes Mary Curtis. “At last we decided that Doug would have said yes to the idea out of a love for the Matrix-12 itself, a belief that it will raise money for the important work of the Bob Moog Foundation, and the wish for another musician who loves it to make glorious music.”
The raffle runs from 17 February to 10 March at 11:59 ET, and tickets are available at $25 each, five for $100, 12 for $200 and 35 for $500. Participants who purchase five or more tickets will be invited to an exclusive group Zoom call with Marcus Ryle, to be held in early April.
For more information, head to the Bob Moog Foundation.
The post Here’s your chance to win a signed Oberheim Matrix-12 synthesizer worth $20,000 appeared first on MusicTech.

Beastsamples offers Beastverb reverb plugin for FREE in limited time offer
Pluginomat offers the Beastverb ($69 value) reverb plugin by Beastsamples as a free download for a limited time. Beastverb is a 64-bit-only plugin for Mac and Windows in VST3 and AU, with AAX support on the way. Reverb is an invaluable tool for creating atmosphere, depth and dimension in a mix, and there is an [...]
View post: Beastsamples offers Beastverb reverb plugin for FREE in limited time offer

Hit the Decks! It's GrabbitzElectronic music producer, musician, composer, and DJ Grabbitz started producing around the age of 13."[It was] on my first family computer which came with Garageband," he says. "I made hundreds of beats and learned everything I could about the program, then transitioned to Logic Pro. I learned DJing out of necessity because I was making a lot of EDM at the time, and in order to show it off I had to DJ it. It started to become serious when I started to get attention from labels, got my first few major synch placements, and put out my first few official projects as Grabbitz that got millions of hits. "Today, he describes his sound as, "a combination of rock and electronic music. I exist in both the thriving bass music scene, but I'm trying to incorporate more original songs which I do through my voice and rock influence."His latest album is Big Epic Nothing."It's a collection of songs I really love and I think continues to push that line between rock and bass," he says. "I try not to set boundaries for myself while creating and I think the versatility really shows that on this record."As for gear: "I can make music with any set of tools I have available but when I'm at my home studio, I have a few toys I like to use," he says. "Moog One, Mellotron, my Neumann u87 Microphone, Shure sm7b, my guitar collection."Looking ahead, Grabbitz has plenty planned for 2025."I'm touring on a bus for the next few months, but I'm always looking to push myself further with my recorded music, and looking to collaborate more with my peers in electronic music this year," he says. "We're also going to be doing a lot of headline shows in the fall."Photo by Zach Frank

The post Hit the Decks! It's Grabbitz first appeared on Music Connection Magazine.

You can save hundreds on DAW controllers and Korg synths right now in Reverb’s Presidents’ Day saleToday is Presidents’ Day, and that means the biggest US retailers are offering killer savings on a wealth of music tech gear. And some of the best savings are to be had right now over at Reverb.
There’s quite literally hundreds of products discounted for today only, but the team here at MusicTech have picked out some of our favourites to help you upgrade your gear arsenal for less.

READ MORE: The best free and paid-for plugins you need to know about this week

First up, you can get this Korg ARP ODYSSEY FS Duophonic Synthesizer Kit for $1,331.99, with $468 off its original price of $1,799. This DIY kit enables synth enthusiasts to build their own Korg ARP ODYSSEY FS, with the same authentic analogue circuitry and original specs, including a full-size keyboard and black panel design with orange lettering. And of course, there’s a pictorial guide included, and no technical knowledge or soldering is required. This is a steal for any true synth nut.
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In another example of a BIG saving, you can also get your hands on a used Korg MS-20 Original Analog Mono Synth – complete with a case and patch cables – for $1,610, $690 off its original price of $2,300.
One of Korg’s first successful portable analogue monosynths and dubbed the big brother to the MS-10, the MS-20 is a two-oscillator monophonic lead and bass synth with hard wired and patchable connections. It’ll make a little dent in your wallet, but significantly less so than usual, and if you’re a proper synth aficionado, you won’t regret it.
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And lastly, we’d be remiss if we didn’t highlight this particularly stellar deal: $176 off the iCON Pro Audio V1-M USB MIDI DAW Control Surface. You spend a lot of time inside your DAW, so why not invest in a control surface to make the production experience that bit more tactile?
With motorised faders and a touchscreen display, the V1-M makes it easy to navigate throughout your DAW, regardless of the size of your session. Get yours now for just $703.20.
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The deals we’ve picked out here are by no means exhaustive, so make sure you head over to Reverb to browse its full Presidents’ Day sale now.
The post You can save hundreds on DAW controllers and Korg synths right now in Reverb’s Presidents’ Day sale appeared first on MusicTech.

5 Types of Artificial Music Streaming: How to Avoid ThemArtificial music streaming may seem like a shortcut to success, but it can destroy your career before it even begins. Learn the most common scams, how to spot them, and the right way to grow your audience.
The post 5 Types of Artificial Music Streaming: How to Avoid Them appeared first on Hypebot.

Mixing beats, history, and technologyIn a classroom on the third floor of the MIT Media Lab, it’s quiet; the disc jockey is setting up. At the end of a conference table ringed with chairs, there are two turntables on either side of a mixer and a worn crossfader. A MacBook sits to the right of the setup.Today’s class — CMS.303/803/21M.365 (DJ History, Technique, and Technology) — takes students to the 1970s, which means disco, funk, rhythm and blues, and the breaks that form the foundation of early hip-hop are in the mix. Instructor Philip Tan ’01, SM ’03 starts with a needle drop. Class is about to begin.Tan is a research scientist with the MIT Game Lab — part of the Institute’s Comparative Media Studies/Writing (CMS/W) program. An accomplished DJ and founder of a DJ crew at MIT, he’s been teaching students classic turntable and mixing techniques since 1998. Tan is also an accomplished game designer whose specialties include digital, live-action, and tabletop games, in both production and management. But today’s focus is on two turntables, a mixer, and music.“DJ’ing is about using the platter as a music instrument,” Tan says as students begin filing into the classroom, “and creating a program for audiences to enjoy.”Originally from Singapore, Tan arrived in the United States — first as a high school student in 1993, and later as an MIT student in 1997 — to study the humanities. He brought his passion for DJ culture with him.“A high school friend in Singapore introduced DJ’ing to me in 1993,” he recalls. “We DJ’d a couple of school dances together and entered the same DJ competitions. Before that, though, I made mix tapes, pausing the cassette recorder while cuing up the next song on cassette, compact disc, or vinyl.”Later, Tan wondered if his passion could translate into a viable course, exploring the idea over several years. “I wanted to find and connect with other folks on campus who might also be interested in DJ’ing,” he says. During MIT’s Independent Activities Period (IAP) in 2019, he led a four-week “Discotheque” lecture series at the Lewis Music Library, talking about vinyl records, DJ mixers, speakers, and digital audio. He also ran meetups for campus DJs in the MIT Music Production Collaborative.“We couldn’t really do meetups and in-person performances during the pandemic, but I had the opportunity to offer a spring Experiential Learning Opportunity for MIT undergraduates, focused on DJ’ing over livestreams,” he says. The CMS/W program eventually let Tan expand the IAP course to a full-semester, full-credit course in spring 2023.Showing students the basicsIn the class, students learn the foundational practices necessary for live DJ mixing. They also explore a chosen contemporary or historical dance scene from around the world. The course investigates the evolution of DJ’ing and the technology used to make it possible. Students are asked to write and present their findings to the class based on historical research and interviews; create a mix tape showcasing their research into a historical development in dance music, mixing technique, or DJ technology; and end the semester with a live DJ event for the MIT community. Access to the popular course is granted via lottery.“From circuits to signal processing, we have been able to see real-life uses of our course subjects in a fun and exciting way,” says Madeline Leano, a second-year student majoring in computer science and engineering and minoring in mathematics. “I’ve also always had a great love for music, and this class has already broadened my music taste as well as widened my appreciation for how music is produced.”Leano lauded the class’s connections with her work in engineering and computer science. “[Tan] would always emphasize how all the parts of the mixing board work technically, which would come down to different electrical engineering and physics topics,” she notes. “It was super fun to see the overlap of our technical coursework with this class.”During today’s class, Tan walks students through the evolution of the DJ’s tools, explaining the shifts in DJ’ing as it occurred alongside technological advances by companies producing the equipment. Tan delves into differences in hardware for disco and hip-hop DJs, how certain equipment like the Bozak CMA-10-2DL mixer lacked a crossfader, for example, while the UREI 1620 music mixer was all knobs. Needs changed as the culture changed, Tan explains, and so did the DJ’s tools.He’s also immersing the class in music and cultural history, discussing the foundations of disco and hip-hop in the early 1970s and the former’s reign throughout the decade while the latter grew alongside it. Club culture for members of the LGBTQ+ community, safe spaces for marginalized groups to dance and express themselves, and previously unheard stories from these folks are carefully excavated and examined at length.“Studying meter, reviewing music history, and learning new skills”Toward the end of the class, each student takes their place behind the turntables. They’re searching by feel for the ease with which Tan switches back and forth between two tracks, trying to get the right blend of beats so they don’t lose the crowd. You can see their confidence growing in real time as he patiently walks them through the process: find the groove, move between them, blend the beat. They come to understand that it’s harder than it might appear.“I’m not looking for students to become expert scratchers,” Tan says. “We’re studying meter, reviewing music history, and learning new skills.”“Philip is one of the coolest teachers I have had here at MIT!” Leano exclaims. “You can just tell from the way he holds himself in class how both knowledgeable and passionate he is about DJ history and technology.”Watching Tan demonstrate techniques to students, it’s easy to appreciate the skill and dexterity necessary to both DJ well and to show others how it’s done. He’s steeped in the craft of DJ’ing, as comfortable with two turntables and a mixer as he is with a digital setup favored by DJs from other genres, like electronic dance music. Students, including Leano, note his skill, ability, and commitment.“Any question that any classmate may have is always answered in such depth he seems like a walking dictionary,” she says. “Not to mention, he makes the class so interactive with us coming to the front and using the board, making sure everyone gets what is happening.”

Music and AI Roundtable: Your Morning Coffee Special EpisodeOn this special edition of the Your Morning Coffee podcast hosts Jay Gilbert and Mike Etchart sat down with a panel of experts for a music and AI roundtable on how AI is re-shaping the music industry. LISTEN HERE.
The post Music and AI Roundtable: Your Morning Coffee Special Episode appeared first on Hypebot.

It looks like Spotify lossless audio is coming later this yearLossless audio has been the elephant in the Spotify boardroom over the last few years. First teased in 2021, the green streaming giant’s competitors have since beaten the company to the post. But, rumour has it Spotify is set to roll out a Music Pro tier by the end of this year. It’ll add a cost of around £6 on top of your monthly bill.
While Spotify’s CD-quality streaming has had a number of potential names over the years (from Spotify HiFi to Supremium), Music Pro is said to be the final name of the new tier, which will also offer AI mash-up features and exclusive access to gig tickets, an anonymous source tells Bloomberg.

READ MORE: So…How did Apple Music become a hero of streaming services, and Spotify a supervillain?

Currently, Spotify’s highest quality offers playback at 320kbps. In comparison, CD-quality audio works can amount to 1,411.2kbps – that’s around four and a half times better quality, in theory.
The source claims the price of Music Pro will vary depending on where you are in the world. Less-developed markets will have a lower cost, while the highest cost will be £5.99. That’s around half of the current standard premium rate, so, if you opt in for the extra quality, it’ll raise your £11.99 a month charge to about £18.
The cost is notably higher cost than some of Spotify’s competitors. Tidal and Apple Music both currently cost £10.99 per month and boast lossless streaming as standard.
There are some extra perks for those who opt in for the Music Pro tier, however. Users will also be able to mix together songs. While Tidal does also offer some remixing tools, Spotify will reportedly allow users to mix songs from different artists with the help of artificial intelligence.
In terms of ticketing perks, Spotify will reportedly allow fans access to exclusive pre-sales. While Spotify already offers some pre-sale codes and concert information, the updates will increase the amount of pre-sales it provides, as well as offering access to better seats. The anonymous source reports that the company has been in discussion with ‘major promoters,’ yet plans are still being finalised.
The news comes as a real treat for the curious data-miners sleuthing over the last few years. The first murmurs of ‘Music Pro’ as the tier name emerged last April. Reddit user Hypixely discovered the term in some code on Spotify’s Android app (via The Verge), with the code confirming “lossless has arrived” in one snippet, and that Spotify would support “up to 24-bit/44.1kHz” FLAC files.
The Music Pro tier is apparently set to release in phases, with each tool and feature being introduced over time.
While Spotify will be hiking up prices for the new premium tier, the company reported record-breaking profits in 2024. Last year was also the company’s best year for user growth, with its user base now at a total of 640 million.
The post It looks like Spotify lossless audio is coming later this year appeared first on MusicTech.

HG-Q from Black Box Analog Design The hardware HG-Q equaliser that was modelled and released by Plugin Alliance in November 2024 has now reached the end of it’s seven-year development, and is available to pre-order. 

Take your music streaming to luxurious new heights with McIntosh’s $4,000 DS200 Streaming DACAmerican audio company McIntosh has announced the DS200, a streaming DAC packed with a range of built-in casting technologies to stream your music.
At its core, the DS200 boasts a next-generation Quad Balanced 8-channel, 32-bit digital-to-analog converter (DAC) designed to deliver “huge dynamic range and low distortion” for pristine sound reproduction.

READ MORE: AI training on copyrighted content ruled not “fair use” by US court – how could this impact the music industry?

Billed as the “ultimate solution for music enthusiasts who demand the perfect blend of high-end audio quality and seamless streaming capabilities”, the DS200 supports an impressive array of wireless technologies, including Spotify Connect, Tidal Connect, Apple AirPlay 2, and Google Cast. It is also a Roon Ready endpoint device for use with the Roon music player.
On the Bluetooth side, the DS200 is compatible with the standard SBC and AAC codecs, as well as aptX HD. There’s even support for the less-common aptX Low Latency.
No extra apps are needed to control the DS200 — you can stream your favourite tunes directly to the unit from your smart device. For those who prefer wired connections, the DS200 also features eight digital inputs, allowing you to hook up other audio components like a CD player or tuner.
True to McIntosh’s promise of “luxury listening”, the DS200 delivers high-res audio, with USB input supporting DSD512 and DXD up to 384kHz, and coax and optical inputs decoding up to 24-bit/192kHz. The HDMI (ARC) input also enhances your TV audio, outperforming typical TV speakers or soundbars. Plus, it converts Dolby and DTS multi-channel formats into pristine two-channel audio for top-notch playback. The DS200 can also serve as a preamplifier in an all-digital system.
And unlike McIntosh’s previous streamers, the DS200 is a cast-to streamer, which means it doesn’t store music on a hard drive, eliminating a potential point of failure.
Priced at a hefty $4,000, the DS200 doesn’t just impress with its sound – it also stands out visually. The unit showcases McIntosh’s classic style with a sleek black glass front faceplate, rotary control knobs, an illuminated logo, and custom-machined aluminum end caps, making it a striking addition to any audio setup.

The DS200 marks the company’s first release since it was acquired by Bose in 2024.
Learn more at McIntosh Labs.
The post Take your music streaming to luxurious new heights with McIntosh’s $4,000 DS200 Streaming DAC appeared first on MusicTech.

SSL Native X-Saturator is Just $10 until February 2
Solid State Logic’s (SSL)  Native X-Saturator analog-style saturation plugin is available for just $10 until February 25, which slashes 92% off the $119 list price.  The deal is available at both the SSL and Plugin Boutique web stores.  However, if you buy from Plugin Boutique, you can also pick up the site’s February gift, a [...]
View post: SSL Native X-Saturator is Just $10 until February 2

23DSP BloomBloom – Harmonic Enhancer & Loudness Expander Bloom is a harmonic enhancer designed to add presence, density, and perceived loudness while preserving dynamic integrity. Utilizing... Read More

These researchers used NPR Sunday Puzzle questions to benchmark AI ‘reasoning’ modelsEvery Sunday, NPR host Will Shortz, The New York Times’ crossword puzzle guru, gets to quiz thousands of listeners in a long-running segment called the Sunday Puzzle. While written to be solvable without too much foreknowledge, the brainteasers are usually challenging even for skilled contestants. That’s why some experts think they’re a promising way to […]
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How Hard is it to Write a Calculator App?How hard can it be to write a simple four-function calculator program? After all, computers are good at math, and making a calculator isn’t exactly blazing a new trail, right? But [Chad Nauseam] will tell you that it is harder than you probably think. His post starts with a screenshot of the iOS calculator app with a mildly complex equation. The app’s answer is wrong. Android’s calculator does better on the same problem.
What follows is a bit of a history lesson and a bit of a math lesson combined. As you might realize, the inherent problem with computers and math isn’t that they aren’t good at it. Floating point numbers have a finite precision and this leads to problems, especially when you do operations that combine large and small numbers together.
Indeed, any floating point representation has a bigger infinity of numbers that it can’t represent than those that it can. But the same is true of a calculator. Think about how many digits you are willing to type in, and how many digits you want out. All you want is for each of them to be correct, and that’s a much smaller set of numbers.

Google’s developer, [Hans-J. Boehm] tackled this problem by turning to recursive real arithmetic (RRA). Here, each math function is told how accurate it needs to be, and a set of rules determines the highest required accuracy.
But every solution brings a problem. With RRA, there is no way to tell very small numbers from zero. So computing “1-1” might give you “0.000000000”, which is correct but upsetting because of all the excess precision. You could try to test if “0.00000000” was equal to “0”, and simplify the output. But testing for equality of two numbers in RRA is not guaranteed to terminate: you can tell if two numbers are unequal by going to more and more precision until you find a difference, but if the numbers happen to be equal, this procedure never ends.
The key realization for [Boehm] and his collaborators was that you could use RRA only for cases where you deal with inexact numbers. Most of the time, the Android calculator deals with rationals. However, when an operation produces a potentially irrational result, it switches to RRA for the approximation, which works because no finite representation ever gets it exactly right. The result is a system that doesn’t show excess precision, but correctly displays all of the digits that it does show.
We really like [Chad’s] step-by-step explanation. If you would rather dive into the math, you can read [Boehm’s] paper on the topic. If you ever wonder how many computer systems handle odd functions like sine and cosine, read about CORDIC. Or, avoid all of this and stick to your slide rule.