Cherry Audio releases Korg-inspired Trident Mk III synth pluginRoll out the red carpet – Cherry Audio has released its own Korg Trident-inspired emulated synth. Pushing the boundaries of the original ‘80s tech, the Trident Mk III offers a versatile “orchestra-in-a-box” experience, already earning itself the title of a “Swiss army synth”.
The synth plugin comes as an unofficial third instalment in Korg’s Trident series with the Trident and Trident Mk II releasing in 1981 and 1982 respectively. And it’s a hefty upgrade, expanding the original Trident’s potential, increasing the voice count from 8 to 16 for each section.

READ MORE: I got lost in Moog Messenger’s massive Res Bass sounds

As the Trident name suggests, the synth offers three timbres to experiment with: synth, brass and strings. All three can be mixed, split and layered across the keyboard. While each synth section is fully polyphonic with two oscillators and a filter per voice, the brass and string sections capture the paraphonic abilities of the original Trident, with oscillators running through a single filter and envelope.
But it’s not all nostalgia. Cherry Audio has also thrown in some other modern upgrades, such as velocity sensitivity and aftertouch, polyphonic aftertouch and MIDI mapping.

There’s also 17 effects on offer, both old and new. There’s the flanger, ensemble and vibrato effects you’d expect from the Trident, as well as a compressor, ring modulator, lo-fi, a 7-band EQ alongside multiple delays and reverbs that can be used across four customizable chains.
Users can toy with Motion and Effects tools in drag-and-drop areas, while there’s also the option of using templates to quickly split and layer your tracks with ease. As for the Motion panel, it also also offers a 32-step polyphonic sequencer and dual arpeggiators. There’s also MIDI mapping and 380 professionally designed presets on offer.
The Trident Mk III comes as Cherry Audio’s latest reimagining of a Korg classic, with the company having previously tackled the PS-3300 synth and KR-55C drum machine. The Trident Mk III comes as a welcome addition to Cherry Audio’s library of virtual instruments,
Cherry Audio’s Trident Mk III is available now for $69. There’s also a free 30-day trial to try before you buy.
The post Cherry Audio releases Korg-inspired Trident Mk III synth plugin appeared first on MusicTech.

AV‑Ylänne releases Church Bells, a versatile FREE library for Decent Sampler
Church Bells is the latest Decent Sampler library from Joonas Ylänne, the developer behind AV‑Ylänne, and it’s one of those brilliantly unexpected additions. If you’re not using Decent Sampler, you’re missing out on a world of free sounds, many of which are brilliantly unexpected. Decent Sampler is free to download in AU, VST, VST3, and [...]
View post: AV‑Ylänne releases Church Bells, a versatile FREE library for Decent Sampler

Sequential Fourm is like a Prophet, minus one voice and several thousand dollars£799 / $1000 / €950, sequential.com
For most of us, it’s not realistic to splash thousands of dollars on instruments that, for all their history, rarity and desirability, have exceptionally limited capability when compared to modern software synths.

READ MORE: I got lost in Moog Messenger’s massive Res Bass sounds

Recently, though, we’ve seen a number of the ‘old-guard’ synth manufacturers releasing instruments that authentically embody the classic sound and character of their sought-after classics, but at prices that don’t demand an understanding bank manager and/or a significant lottery win — think Moog’s Messenger and Oberheim’s TEO-5.
Now, Sequential is getting in on the act with the release of its most affordable synth ever: Fourm.

It’s all in a name
Let‘s get one thing out of the way: Despite the synth’s name reading like something from a Swedish furniture maker’s showroom, I can confirm it’s pronounced “Form”. The unconventional spelling is simply an allusion to the synth’s four-voice architecture.
Given this architecture is based on the Prophet 5, and given the synth bears more than a passing resemblance to Sequential’s other example of a cut-down Prophet, 1981’s Pro One, I’m mildly surprised it isn’t called Pro Four. But OK, Fourm it is.
The synth is built into a mid-sized enclosure that’s surprisingly yet satisfyingly weighty for its size and, like the Pro One, features a three-octave keyboard. This so-called Tactive keybed, custom-designed by Sequential, features mid-sized keys. They’re not as small as the keys on something like Arturia’s MiniFreak, though not as large as standard keys, and the keyboard has a high quality feel thanks to a smooth, well-balanced action. The keybed is velocity sensitive and, more excitingly, features true polyphonic aftertouch; I love how this detailed expressiveness interacts with Fourm’s gorgeous-sounding synth engine.
Fourm sports a full complement of MIDI ports (in, out and thru), or can be connected to a computer via USB. There’s also a socket for connecting an expression pedal or footswitch, a headphone output, and a single mono line output.
Image: Press
Fourm’s Prophet-like tendencies
Fourm’s synthesis circuitry is 100% analogue, and closely follows the architecture (not to mention control layout) of the legendary Prophet series. So we have a pair of VCOs that can combine saw, pulse and, for Oscillator B, triangle waves, and deliver classic Sequential-style hard syncing of Oscillator A. Oscillator B can also serve as either a static or key-tracking LFO for those occasions when you need more than the single dedicated LFO.
The oscillators feed through a mixer, where noise and feedback can be added, and into a four-pole, resonant low-pass filter. This has been designed to embody the best qualities of the Prophet revs 1 and 2 filters, and delivers the characteristic smooth, rich filtering, powerful-yet-not-intense resonance, and ability to self-oscillate, just like the classic designs. Sequential has also added bass compensation to the VCF to counter a characteristic of many filters that causes low frequencies to become weaker as the resonance is increased. This deviation from the classic Prophet filter may not please purists, but it does make Fourm a more versatile bass machine.
Fourm’s pair of envelopes – one dedicated to controlling the amp, the other hard-wired to the filter and available as a modulation source – are of a classic ADSR flavour and have been designed to match the response characteristics of the Prophet. Sadly, I don’t have a Prophet 5 on-hand with which to make a direct comparison, but they certainly sound and feel like Prophet envelopes to me.
The synth’s modulation system is almost a direct facsimile of that found on the Pro One. The three sources – filter envelope, Oscillator B and LFO – can be mapped to destination parameters either constantly, under the control of the mod wheel, or a blend of the two. The keyboard’s polyphonic aftertouch has its own set of destinations.
Unison mode offers a choice over the number of unison voices, detuning amount, and an optional, rave-tastic auto-chord function. Detuning can also come from the Vintage parameter which introduces randomness to voice tuning, filter cutoff and such. Finally, there’s an arpeggiator / sequencer that, when operating as the latter, offers a choice between note or modulation sequences of up-to 64 steps in length.
Notable in absence are any on-board effects, but this is entirely in keeping with Fourm’s analogue credentials. After all, what’s the point of having all of that lovely rich-sounding analogue circuitry if you’re just going to push it through an AD/DA converter cycle just to add effects?
Image: Press
What is Sequential’s Fourm like to use?
Fourm provides dedicated controls for its most important parameters, consisting of conventional pots, backlit buttons, and a small number of continuous rotary encoders. It also has extensive digital control elements such as program storage and recall (four banks of 128 programs), automatic voice and filter calibration, and a fair few parameters that are only accessible via the synth’s display and menu system. The menu is navigated using the Select/Value continuous rotary controller located beneath the display – turn the rotary to select a parameter, press it to switch it to Value mode and turn again to set the desired value.
The ‘one-control-per-parameter’ paradigm is one of the big attractions of analogue synths, making the need to menu-dive annoying. Yet Sequential have done an excellent job of blunting the inadequacies that can stem from this cost versus functionality balancing act. Many of the buttons adorning Fourm’s fascia have a secondary label written in blue below the main label. When the button is pressed the secondary parameter’s page is called up on the display from where it can be adjusted using the Select/Value rotary. It’s a graceful solution that doesn’t break your flow.
The majority of knobs are conventional pots, and so have a natural and fluid feeling in use, but also raise the spectre of value-jumping when adjusting a parameter whose current value does not match its current pot position. Sequential has addressed this with three ‘Pot Mode’ options, Jump, Passthru and Relative, that determine how the synth reacts in this situation. In Jump mode, parameter values jump to the pot position, which is convenient during sound design. Passthru and Relative eliminate jumps and so are better when performing. The former holds a parameter’s value until the pot position passes through that value; the latter assumes a pot is positioned at the current value and increases/decreases the value from that point, although this means the full range of values isn’t available until the pot has been moved through its entire range.
Image: Press
Is Fourm a solid investment?
For an affordable and attainable price, Fourm boasts the classic Sequential looks while still appearing modern. It delivers an authentic Prophet-like sound without the headaches of working with a true vintage analogue synth. And it oozes genuine Sequential pedigree from every pore.
Fourm’s affordability may come with a menu-diving trade-off, but this has been so gracefully implemented that it rarely breaks your flow or interferes with a performance. And with modern benefits like USB connectivity, auto-calibration, and the VCF’s bass compensation, it’s a whole lot easier to live with than a vintage analogue beast.

Key features

2 voltage-controlled oscillators (VCO)
Noise generator
Mixer feedback
4-pole resonant low-pass filter with bass compensation
ADSR filter and amp envelopes
LFO with saw, triangle, square and sample-and-hold waveforms
Unison mode with optional auto-chord
Flexible modulation routing
Arpeggiator / sequencer with up-to 64 steps
3-octave, velocity sensitive keyboard with polyphonic aftertouch
2 user preset banks; 2 factory preset banks; 128 presets per bank
Mono line output and headphone output
MIDI in, out and thru sockets
Single pedal socket
USB port for connection to computer

The post Sequential Fourm is like a Prophet, minus one voice and several thousand dollars appeared first on MusicTech.

Why Sequential’s Fourm has a whole new mode of expression“It’s not a toy; it’s a serious, pro-level instrument, just in a smaller form factor. No pun intended.” That’s Sequential product designer Carson Day assuring me that the brand’s latest synthesizer, Fourm, is ready for the big time.
A compact four-voice poly analogue synth that weighs just 4kg and costs £800 ($999), Fourm is diminutive compared to any other instrument that Sequential currently stocks — you can see why some synth-lovers might worry that the brand founded by the late legend Dave Smith has strayed into cheap and cheerful territory. Thankfully, this is not the case. Fourm is a powerful and expressive instrument with a clear goal in mind: to offer a more accessible way into Sequential’s iconic lineup of synthesizers.

READ MORE: Sequential Fourm is like a Prophet, minus one voice and several thousand dollars

Fourm boasts a voice descended from the famed Prophet-5 synthesizer. First released in 1978, the Prophet series were the first programmable synthesizers on the market. The pioneering vision of Dave Smith led to his sound appearing on the records of music royalty going back decades. Kraftwerk, Madonna, Michael Jackson, Phil Collins, Radiohead — the ‘Sequential Sound’ has its sonic fingerprints all over the last four and a half decades of music history.
From head to toe, Fourm’s circuitry is fully analogue with callbacks to previous models that core Sequential fans will be happy to hear. As Carson explains, “The foundation for all of our instruments is having a great-sounding base signal path. In this case, it’s 100% analogue. We have VCOs using some SSI chips that are really fantastic. Those go through the analogue filter that we use in the Prophet Rev 4 […] and then into analogue VCAs. We wanted to make something that sounds great and has that classic Sequential Prophet sound.”
Sequential synths have mainly been the domain of dedicated synthesisists willing to pay high premiums. Previously, the Take-5 held the spot for the most affordable synthesizer, and even then, it costs £400-500 more than the Fourm. Being able to access the Sequential sound at a significantly lower price is certainly attractive. Dave Gibbons, CEO of Sequential, makes clear that the company wants to welcome synthesis newcomers. “The primary target was [making] something for people who are not the usual buyer of our stuff and who are looking to get into it for the first time, maybe a bit intimidated by the complexity and the price point of the higher instruments.”
Image: Press
While Fourm boasts a high-quality analogue sound engine and premium build quality, it also keeps its user interface deliberately simple. Most features have been given a physical home on a button or knob, with very little hidden inside the display menu. Its features include two analogue voltage-controlled oscillators, a classic 4-pole resonant lowpass filter with bass compensation, two ADSR envelopes, a Pro-One style top-panel modulation matrix, aftertouch controls, a low-frequency oscillator and an arpeggiator.
The one-function per dial design means the Fourm keeps all the core synthesis tools at easy reach, ideal for quick switching between performance and sound crafting. It’s a design ethos clearly intended to reach average musicians and keyboardists.
“We wanted to make something that’s accessible to non-synthesists,” Carson says. “Let’s say a bassist, or a guitarist, or a drummer, or a lead singer. They can have something that has great sounds, is portable, easily put on stage, but then also has an interface that, if you want to start exploring synthesizers and synthesis, you can just grab knobs and see what happens and start your learning.”
Many of Sequential synths are large instruments with full-size keys, but the Fourm sports smaller-sized ‘slim-keys’ — another reason some might dismiss it as toy-like. But Gibbons assures that, while they are shorter in width, they are still quite long, allowing room for the hand to manoeuvre and stretch out. Smaller keys also means that the Fourm covers 3 full octaves. A dedicated synth player might not have any trouble flipping between octaves using buttons, but a keyboard player, on the other hand, will appreciate having access to a wider range of playable notes in front of them.
Image: Press
Perhaps the biggest drawback is the noticeable lack of onboard effects processing, which cuts into its utility as an all-in-one touring instrument. But Sequential tries to make up for this by providing a rare feature that hasn’t been seen in a Sequential instrument for a long time: a custom-designed polyphonic aftertouch keybed. This is the first time that Sequential has worked with the technology in 40 years.
If you’re not familiar with polyphonic aftertouch, the premise is simpler than it sounds: sensors are installed underneath the keys to record the individual pressure of each note (up to four in this case). So, while you hold down a note or chord, you can simultaneously press and ease the keys to change the sound. Without lifting your hands, you can control settings such as the frequency, filter, LFO and more.
Rubbing, kneading, massaging — however you want to describe the action, it’s an unusual technique to try out, and one that lots of synth players seek out. Sequential’s 20-person team worked on developing the keyboard — now trademarked as Tactive — in a way that was tightly integrated with Fourm’s sound engine. Over regular meetups that brought together mechanical engineers, software engineers, electrical engineers, designers and players, the team laboured over getting the polyphonic aftertouch feature working just right. Refining in this way and choosing not to use off-the-shelf technology is what Gibbons describes as the “magic sauce”, adding that their success was due to “the ability to have control of all those variables, and to have the people who are designing around them react all at the same time.”
Image: Press
Bending notes individually or opening filters with the press of a finger are a couple of ways the Fourm creates a brand new way of playing. In Gibbons’ opinion, aftertouch could even be used to shortcut what normally requires added setup to achieve: “It didn’t take too long after we started playing with it, before you realise ‘I’m kind of doing something with the aftertouch now that I would have set up a split to do on a bi-timbral keyboard before.’”
As a whole, the Fourm fills a long-time gap in Sequential’s catalogue. Its small form-factor, coupled with the classic Prophet sound, will be a drawcard for fans who have never had the ability to invest in a Sequential synth in the past. To bridge the gap left by the lack of onboard effects processing, the polyphonic aftertouch offers an interesting alternative to layering expression and sculpting sounds. With all these features elegantly packed into a small frame, the Fourm is an unusual but powerful analogue synth.
As Carson reflects, the team at Sequential set themselves a clear goal: “Let’s get something that sounds like our instruments and that delivers in a weight, an impact, and a beauty that has been reflected in our instruments for years.”
The post Why Sequential’s Fourm has a whole new mode of expression appeared first on MusicTech.

Suno and Udio SUED By Indie Musicians – The Lead Attorney Tells AllThis week, Ari is joined by Top Music Attorney, Miss Krystle, to discuss the legality of AI generative music.

BOE signals flexibility on stablecoin caps amid industry pushback: ReportThe Bank of England may relax proposed caps on corporate stablecoin holdings after industry backlash, as the UK races to stay competitive in the $314 billion market.

Trump’s DOE proposes cutting billions in grants for GM, Ford, and lots of startupsTrump's Department of Energy wants to cancel billions more in awards that were granted by the Biden administration, and startups are in the crosshairs.

VINCE GILL SIGNS LIFETIME RECORD DEAL WITH MCAPhoto ID (L-R): MCA’s Mike Haris and Rob Femia, Larry Fitzgerald, Vince Gill, MCA’s Katie McCartney and Stephanie Wright (Photo credit: Chris Hollo)

He's going to be the main feature in our November issue, and news just dropped that MCA has announced that country music icon Vince Gill "has signed a lifetime record deal with the label, cementing decades of partnership and collaboration. As part of this unprecedented agreement, Vince will release an EP featuring new music every month for the next year, giving fans a consistent stream of original material from one of country music’s most celebrated voices."

"The series, titled 50 Years From Home, will showcase Vince’s artistry through a combination of new music and carefully selected catalog tracks that complement each EP’s theme," they said in a statement. "The first EP, 50 Years From Home: I Gave You Everything I Had, is set for release on October 17 and will include the recently 2x Platinum-certified classic, Go Rest High on That Mountain."

“Vince has been a major part of the MCA family for decades,” said Mike Harris , President & CEO, MCA.  “This lifetime agreement reflects our unwavering commitment to supporting his artistic vision and providing him artistic freedom while ensuring his legacy continues to grow.”

“I’m feeling the most creative I’ve ever felt in my career these last few years,” shared Vince Gill. “I’ve collected a treasure trove of songs and with my friends and partners at MCA we’ve come up with a way to release all this new music. It’s a partnership that’s lasted 36 years and I’m grateful for it.” 

Vince’s longtime manager Larry Fitzgerald added, “MCA Records has been Vince’s home since early in his career, and now he knows their partnership will endure into the future. Vince’s fans wanting his music won’t have to look any further than MCA to find it.  My relationship with Vince began 41 years ago and I’m thrilled to stand with him at this important moment.”

"This lifetime deal is a testament to the long-standing partnership between Vince Gill and MCA," they said. "It reflects the enduring trust and commitment that has defined their relationship while positioning Vince as a timeless figure in country music, continuing to influence both the current landscape and future generations of artists and fans alike."

"During his time at MCA, Vince has amassed 1.7 Billion global streams and 19.4 Million in domestic album sales. He is up to 28.5 Million in total RIAA certified units with 24 Million in RIAA album certifications and 3.5 Million in RIAA single certifications. He has 2 Gold albums, 5 Platinum albums, 6 Multi-Platinum albums, 3 Gold singles and 1 Multi-Platinum single."

"Throughout his illustrious career, Vince has earned numerous accolades, including 18 CMA Awards, 22 Grammy Awards, and induction into the Country Music Hall of Fame in 2007. He became a member of the Grand Ole Opry in 1991 and was honored with a star on the Hollywood Walk of Fame in 2012. His songwriting contributions were recognized with induction into the Nashville Songwriters Hall of Fame in 2005, and in 2014, he was awarded the prestigious BMI Icon Award."The post VINCE GILL SIGNS LIFETIME RECORD DEAL WITH MCA first appeared on Music Connection Magazine.

JawnCon Returns This WeekendFor those local to the Philadelphia area, a “jawn” can be nearly anything or anyone — and at least for this weekend, it can even be a hacker con building up steam as it enters its third year. Kicking off this Friday at Arcadia University, JawnCon0x2 promises to be another can’t-miss event for anyone with a curious mind that lives within a reasonable distance of the Liberty Bell.
The slate of talks leans slightly towards the infosec crowd, but there’s really something for everyone on the schedule. Presentations such as Nothing is Safe: An Introduction to Hardware (In)Security and Making the GameTank – A New, Real 8-Bit Game Machine will certainly appeal to those of us who keep a hot soldering iron within arm’s reach, while Rolling Recon & Tire Prints: Perimeter Intrusion Detection and Remote Shenanigans via Rogue Tire Stem RF and Get More Radio Frequency Curious will certainly appeal to the radio enthusiasts.

Speaking of which, anyone who wants to make their interest in radio official can sit in on the Saturday study group led by Ed “N2XDD” Wilson, the Director of the American Radio Relay League (ARRL) Hudson Division. After lunch, you can take your exam to become a licensed ham, and still have time to check out the lockpicking demonstrations from the local TOOOL chapter, the Retro Show ‘n Tell area, and rummage through the self-replenishing table of free stuff that’s looking for a new home.
Attendees can also take part in a number of unique challenges and competitions inspired by the shared professional experience of the JawnCon organizers. One of the events will have attendees putting together the fastest Digital Subscriber Line (DSL) broadband connection, as measured by era-appropriate commercial gear. Easy enough with a spool of copper wire, but the trick here is to push the legendary resilience of DSL to the limit by using unusual conductors. Think wet strings and cooked pasta. There’s also a Capture The Flag (CTF) competition that will pit teams against each other as they work their way through customer support tickets at a fictional Internet service provider.
We were on the ground for JawnCon in 2024, and even had the good fortune to be present for the inaugural event back in 2023. While it may not have the name recognition of larger East Coast hacker cons, JawnCon is backed by some of the sharpest and most passionate folks we’ve come across in this community, and we’re eager to see the event grow in 2025 and beyond.

Project: BIAS X from Positive Grid Project: BIAS X promises to transform the way that guitarists and producers craft, explore and refine their sound.

HoRNet HoRNet ZeroCompHoRNet ZeroComp is an intelligent compressor plugin that automatically learns audio material characteristics and configures compression parameters without user intervention. The plugin analyzes crest factor, dynamics, and transients in real-time to calibrate threshold, ratio, attack, release, knee, and makeup gain settings. Key Features: Three Compression Models: Smooth: Musical compression for vocals and master bus applications. Tight: Fast, precise response for drums and acoustic instruments. Fat: Full-bodied compression for bass and aggressive sources. Instant model switching during playback without audio interruption. Intelligent Processing: Real-time crest factor analysis for automatic parameter calibration. Convergence indicators show learning progress for each model. Stable processing engine prevents parameter oscillations. User Controls: Compression (0-100%): Single control for compression amount. Distortion: Pre-compression harmonic saturation. Bypass: A/B comparison switching. Real-time meters: Input, output, and gain reduction monitoring. Read More

Supreme Court snubs Live Nation as multiple cases move forwardThe U.S. Supreme Court has has refused to review whether Live Nation and Ticketmaster’s arbitration plan to deal with customer complaints is protected by federal law. The defeat comes as multiple important federal cases against the concert giant move forward.
The post Supreme Court snubs Live Nation as multiple cases move forward appeared first on Hypebot.

Samantha Saturn exits role as Chief Marketing Officer at SESAC Music GroupSaturn says she's about to start "a new chapter" in the music industry, but hasn't offered details
Source

What is a key change and why does it matter?
In this guide, we explore what a key change is and how you can use the technique in your own music.

Artists announced for ROSTR & Bandsintown EARLY showcaseROSTR x Bandsintown's new live showcase EARLY debuts on October 16, 2025 in Los Angeles.
The post Artists announced for ROSTR & Bandsintown EARLY showcase appeared first on Hypebot.