fedDSP releases fedZEP guitar amp plugin with two original amps, three pedals, and a full FX rack
fedDSP has released fedZEP, a new guitar amp plugin built around two original amp designs, three preamp pedals, a dual-cab section, and a full FX rack. fedDSP is a small team from Sheffield, UK, led by producer and engineer Federico Telesca. Over the past few weeks, we’ve covered their first three plugin releases: the MORSO [...]
View post: fedDSP releases fedZEP guitar amp plugin with two original amps, three pedals, and a full FX rack

Nuvo Flight mic kit from AEA The latest arrival to the AEA line-up brings together three contrasting models from their Nuvo range, delivering a versatile miking kit aimed at both studio and live use. 

Luma launches AI-powered production studio with faith-focused Wonder ProjectThe studio's first project will be about Moses and star Academy Award-winner Ben Kingsley, to be released this spring on Prime Video.

Emperor Reigns at the WilternHowever closely associated one is to the infamous Norwegian black metal scene, the name of pioneering band Emperor is one that looms large. Maybe you saw the Lords of Chaos fictionalized horror-crime movie that centered on fellow black metal band Mayhem and the surrounding murders and church burnings. Or maybe you've marveled at former Emperor man and self-proclaimed goblin Mortiis. Either way, it's long been hard to ignore Emperor, even if you tried.

Emperor formed in 1991, and frontman Ihsahn has been there from the start. Guitarist Samoth joined shortly afterwards in '92, with drummer Trym Torson joining the Satanic ranks in '96. Thirty years later, the trio is joined by a few live musicians to fill out the sound.

We saw Mayhem live in L.A. a couple of years ago, and it wasn't good. Turgid and wooden, it felt like they were going through the motions. Meh, maybe it was a bad night. However, Emperor were superb at the Wiltern.

Long gone are the days of corpse makeup and weaponry. That said, they don't need it. There might be more years on the clock, but Emperor 2026 is as imposing, heavy and evil (musically) as they've ever been.

Early tracks "Wrath of the Tyrant" from the 1992 debut EP of the same name) and "I Am the Black Wizards" (from 1994's In the Nighttime Eclipse debut full-lengther) sounded raw and just plain nasty.

The most recent Emperor album is 2001's Prometheus: The Discipline of Fire & Demise, and we got a brutal "In the Wordless Chamber" from that. Killers from the sophomore Anthems to the Welkin at Dusk included "The Loss and Curse of Reverence" and "With Strength I Burn."

But it was those wide-eyed, gnarly songs from the first album that were the highlights for us. "Inno a Satana" was particularly moody and gloriously grim.

The legend of black metal has calmed down a bit. Everybody got old, and church-burning isn't on the agenda when you've got kids to pick up from school. That said, there's still a huge market for the scene. The line for the merch went on forever.

You can't keep a good devil-worshipper down!

The post Emperor Reigns at the Wiltern first appeared on Music Connection Magazine.

FPGA Powers DIY USB Scope and Signal GeneratorOscilloscopes and to lesser extent signals generators are useful tools for analyzing, testing and diagnosing circuits but we often take for granted how they work. Luckily, [FromConceptToCircuit] is here to show us how they’re made.
[FromConceptToCircuit] starts by selecting the hardware to use: an Artix-7-based FPGA and an FT2232 USB-serial converter. RS245 in synchronous FIFO mode is selected for its high bandwidth of about 400 Mbps. Then, they show how to wire it all up to your FPGA of choice. Now it’s time for the implementation; they go over how the FT2232 interfaces with the FPGA, going through the Verilog code step-by-step to show how the FPGA makes use of the link, building up from the basic transmission logic all the way up to a simple framed protocol with CRC8-based error detection. With all that, the FPGA can now send captured samples to the PC over USB.
Now it’s PC-side time! [FromConceptToCircuit] first explains the physical pipeline through which the samples reach the PC: FPGA captures, transmits over RS245, FT2232 interfaces that with USB and finally, the software talks with the FT2232 over USB to get the data back out. The software starts by configuring the FT2232 into RS245 mode, sets buffer sizes, the whole deal. With everything set up, [FromConceptToCircuit] explains how to use the FT2232 driver’s API for non-blocking communication.
As a bonus, [FromConceptToCircuit] adds a signal generator feature to the oscilloscope using an I2C DAC chip. They start by explaining what exactly the DAC does and follow up with how it’ll be integrated into the existing system. Then it’s time to explain how to implement the I2C protocol bit-for-bit. Finally combine everything together for one final demo that shows a sine wave on the DAC’s output.

NatLife Sounds Pirin V1 for Behringer DeepMind 12D/12/6/XPirin V1 for Behringer DeepMind 12D/12/6/X by NatLife – is a new collection of mix sounds between Melodic Techno, Trance & Ambient. This is the complex ARP programs(inspired by Martin Roth, Ben Böhmer & Anjunadeep style) together with deep atmosphere in PAD sounds(inspired by Trilucid & Colorise style), Synth, Modular, SFX, Plucks and punching modulated Bass (inspired by Stephan Bodzin & Ben Böhmer styled). You will not find anything similar to this collection. The Soundbank contains 50 Behringer Deepmind 12D/12/6/X presets, which are: 10 Sequenced ARP's. 3 Bass. 5 Modular sounds. 18 Pad patches. 8 FX. 2 Synth. 3 SEQ. 1 Pluck. I developed these sounds in a place completely remote from civilization, high in the mountains, around wild forests, fields, rivers and lakes, where nature itself told me how a synthesizer should sound. My main goal was to make an exceptional atmosphere in one library, where I worked hard on every sound for days to make it sound exactly how it should. https://youtu.be/4dphi8_rDic?si=evRfjlaTLJGClnHA Read More

As K-pop concert revenues rise, HYBE, SM Entertainment, JYP, and YG plot music festival joint ventureNews arrives as live music becomes an increasingly important revenue stream for K-pop's biggest companies
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Nugen Audio update Halo Vision Halo Vision has just received a significant update that introduces some powerful new features designed to provide audio professionals with even greater accuracy, clarity and control. 

Phantom Sounds releases Intermod, a FREE spectral modulation effect
Intermod is a new audio plugin from Phantom Sounds, the developer behind Orbit (spatial reverb) and 56K (digital decay). We covered Orbit earlier this year, and if you missed it the first time around, it’s worth checking out. Intermod offers something a little different; it’s a self-intermodulation effect that multiplies the strongest components in your [...]
View post: Phantom Sounds releases Intermod, a FREE spectral modulation effect

“Adapt or give up and become an Uber driver”: Diplo has harsh words for music producers sceptical of AIWhen it comes to the controversial topic of using AI in the recording studio, you’ll often hear the argument that AI “isn’t here to replace musicians”. However, prominent producer Diplo has come forward and admitted that, in his case, it apparently has.
In a recent appearance on the Behind The Wall podcast, Diplo explains that he now relies on AI instead of real singers, as it always provides him with the “best voice” for his tracks. “I don’t even need a voice any more – I can get the best voice from AI,” he claims. “I don’t need anybody to sing the song any more.”

READ MORE: Gary Numan thinks AI music hype is short-lived: “It will go full circle and people will want to go back to sharing a human experience rather than just brilliantly copied one”

“I’ve had some voices that I’ve made with AI, and I’m like, ‘damn, I couldn’t even get this take out of the best singer,’” he continues. “I wouldn’t have said that to you three months ago, but the way it’s changed in the last three months, the advances are just like ‘…fuck!’”
While his stance is sure to raise some eyebrows, the producer insists that musicians need to adopt AI practices, or they’re just doing themselves a disservice. “You’re not going to win, there’s no fighting AI…” he says. “You’re wasting your time [because] everybody else is going to just use it and not give a fuck what you think.”

Despite Diplo being met with criticism in light of his comments, he doubled down on X. “If you are a creative, you need to adapt or just like give up and become an Uber driver…” he writes. “I know it’s not cool or classy to speak like this, but I’m not gonna candy-coat the future. It is what it is. Sorry for [the] bad news, my purists.”
Though, he does add that AI still needs some kind of human direction. In particular, he notes that the creatives with mental health disorders and neurodivergent minds will always have a unique approach to songwriting, something that technology can’t quite emulate. “There will always need a human mind and touch because AI will never suffer from bipolar disorder and autism like me and other creative people,” he concludes.

if you are a creative you need to adapt or just like give up and become an uber driver until everyone has a waymo. I know it’s not cool or classy to speak like this but i’m not gonna candy coat the future – it is what it is . sorry for bad new’s my purist . there will always need… https://t.co/SXswII51wv
— diplo (@diplo) April 14, 2026

Diplo’s final comment is often the first point musicians will raise when criticising the usage of AI in creative spaces. In fact, Blur and Gorillaz frontman Damon Albarn told The Needle Drop that it “isn’t possible for AI to make soulful music” due to their lack of human experience back in March.
Elsewhere, Flying Lotus seems to be on the total opposite side of the AI spectrum than Diplo. Rather than seeing AI’s output as the ‘best’, he believes that AI will inevitably lead to an increased demand for human singers and instrumentalists. “Be better than the machine, be greater,” he told MusicRadar.
Artists have also started fighting against Suno AI, with February marking the start of the ‘Say No to Suno’ campaign. The movement shared an open letter, claiming that it was taking a stand against AI “hijacking the world’s entire treasure-trove of music” as it “floods platforms with AI slop and dilutes the royalty pools of legitimate artists from whose music this slop is derived”.
On the flip side, Diplo has actually gone out of his way to back AI movements, with the producer investing in AI company Aaru just last month.
The post “Adapt or give up and become an Uber driver”: Diplo has harsh words for music producers sceptical of AI appeared first on MusicTech.

Fiedler Audio release Armada Fiedler Audio have just released a powerful new plug-in wrapper that brings full VST3 processing to Dolby Atmos and other immersive audio formats.

FREE PLUGINS: Universal Audio is giving away a bundle of eight classic UAD plugins for nothing – here’s how to get yoursUniversal Audio is giving away a bundle loaded with eight of its legendary UAD plugins – plus its LUNA DAW – totally free. Yep, for absolutely nothing.
UAD Explore FREE – cooked up by the generous folks at Universal Audio – delivers the authentic analogue sound of the brand’s trusted professional-level plugins, at no cost at all. So you can significantly upgrade your production arsenal right now.

READ MORE: Splice introduces raft of new generative AI features which ensure fair compensation for original sample creators

It’s available on Mac and PC, and even better – this bundle requires no additional Universal Audio hardware, so you can download and explore right away. Compressors, EQs, reverb, and other production tools are covered, and because it also features the LUNA DAW, it’s literally everything you’ll need to record, mix and produce.
Here’s what’s included:

UA 1176 Classic FET Compressor
Teletronix LA-2A Tube Compressor
UA 610 Tube Preamp & EQ Collection
Pure Plate Reverb
Vibe Analog Machines Essentials
Showtime ’64 Tube Amp
Century Tube Channel Strip
PolyMAX Synth
LUNA Digital Audio Workstation

“UAD Explore FREE puts the tools that defined the sound of modern recording within reach of every creator,” says Jor Van Gelder, Senior Product Manager at Universal Audio.
“Whether you’re just starting out or expanding your toolkit, this bundle is the most complete free studio we’ve ever offered… and it costs nothing.”
Some highlights… PolyMAX Synth is perfect for anyone looking to make retro tunes. The oscillators were modelled after analog synthesizers. And it’s polyphonic, so it’s easy to create gorgeous, full textures.
Then, if the goal is to make everything in the session sound analog, Vibe Analog Machines Essentials is available. This plugin has four virtual analog tone machines that can give any instrument, vocal, or sample that sought-after warm tape feel.
For the guitarists out there, the Showtime ’64 Tube Amp will provide the classic tone that legendary artists such as Dick Dale, Keith Richards, Jack White, and Nels Cline have all rocked. The plugin also has a series of esteemed virtual microphones to record the amp, so you can dial in precise vintage sounds.
To get your UAD Explore FREE bundle, head to Universal Audio.
The post FREE PLUGINS: Universal Audio is giving away a bundle of eight classic UAD plugins for nothing – here’s how to get yours appeared first on MusicTech.

Splice introduces raft of new generative AI features which ensure fair compensation for original sample creatorsMusic creation platform Splice has announced a new suite of AI tools which extend the company’s creator payments model further into the world of generative AI.
The suite comprises three new tools – Variations, Craft and Magic Fit – all of which utilise generative AI, are in keeping with Splice’s philosophy that “every sample remains traceable to its original creator”, ensuring fair compensation.

READ MORE: Moog unveils super-limited Bob Moog Tribute Edition Minimoog Model D

But how do each of the three new tools actually work and what do they do?
Variations – available via the Splice Sounds plugin – lets producers create new versions of any Splice sample, tweaking things like structure, key and BPM while preserving the character of the original sample. As Splice explains, the creator of the original sample is compensated each time it is used as a source and a variation is downloaded.
Craft, meanwhile – available in the INSTRUMENT plugin – transforms samples into fully playable instruments, while Magic Fit aligns any Splice sound to match the harmonic and rhythmic context of a production session.

“Producers have always used samples as a foundation for new ideas; these tools extend that tradition, enabling sounds to be reshaped and reimagined,” says Splice CEO Kakul Srivastava. “Grounded in deep, long-standing relationships with producers and sound creators, they reflect real creative workflows and reinforce the value of original work.”
“Our first generation of tools helped producers discover sounds,” adds Alejandro Koretzky, VP of Applied AI Research at Splice. “Now we’re making the catalog itself more adaptable and contextual, so any sound can be transformed while still preserving its DNA.”
Belgium-based Founder of Music Tech Company and Samples Label Afroplug, Ms Mavy, says, “The pay-on-download model for original creators is exactly what the industry needs as AI tools scale. It creates more opportunities for our sounds to be used – and more ways for us to earn.”
Elsewhere, sample creator duo Oliver – who notably created the sample pack that was used in Sabrina Carpenter‘s mega-hit Espresso – also commends Splice’s human-first approach to AI.
“With so many AI tools rushing to market, artists often feel like an afterthought,” they say. “Splice has taken the opposite approach, building with creators to ensure this technology supports artists, rather than replacing them.”
Learn more about Splice.
The post Splice introduces raft of new generative AI features which ensure fair compensation for original sample creators appeared first on MusicTech.

No ARA? No problem. Waves’ Sync Vx vocal alignment plugin is now compatible with all major DAWsWhen Waves Audio launched Sync Vx last year, it quickly became a favourite among producers and engineers working in ARA-enabled DAWs like Pro Tools and Logic, offering a fast, precise way to tighten vocal stacks without the usual headache.
Now, Waves is opening the doors to everyone else.

READ MORE: What’s new in Waves’ ILLUGEN 2.0 update? These are the new features for its “most advanced music-creation AI model”

With newly added support for VST, AU and AAX formats – alongside ARA and AudioSuite – Sync Vx is now compatible with virtually every major DAW, including long-awaited platforms like Ableton Live and FL Studio. In short: no ARA, no problem.
At its core, Sync Vx is designed to streamline one of the most time-consuming aspects of music production: vocal alignment. The plugin allows users to align both the timing and pitch of multiple vocal tracks, helping create more cohesive and polished vocal arrangements.
All of this happens within a single, intuitive interface, where users can set multiple reference tracks, fine-tune timing and pitch at a global or track level, and even experiment with creative touches like transposition and formant shaping.
The updated version sticks to that all-in-one, single-window workflow, while offering the power to align up to 16 tracks at once – making it far easier to organise and clean up even the most complex vocal stacks.
Beyond music production, Sync Vx also offers powerful applications for post-production, including ADR and dialogue alignment, providing a fast and precise solution for matching re-recorded audio to original performances.
The updated version is available now as a perpetual license, as part of the Waves Ultimate subscription, and within the Mercury bundle. Existing Sync Vx (V16) users can upgrade at no extra cost, while new users can purchase the plugin at just $49.99 for a limited time.

Learn more at Waves.
The post No ARA? No problem. Waves’ Sync Vx vocal alignment plugin is now compatible with all major DAWs appeared first on MusicTech.

“I’ll never go back to 440Hz”: How Ziggy Marley found his new frequencyAfter nearly five decades making music, Ziggy Marley could be forgiven for resting on his laurels. With nine Grammy wins, an Emmy, countless high-profile collaborations—not to mention being the son of one of the most famous musicians in history, Bob Marley—he’s reggae royalty through and through.
Yet with his ninth solo album, Brightside, Marley not only set out to build a new studio and adopt new songwriting techniques, but he also challenged himself to sing, play, and record tuned to 432Hz, instead of the standard 440Hz.
“I’m a musical explorer, you know?” he offers by way of explanation. “To do something new is always refreshing to me, as an artist.”
Artwork for Ziggy Marley’s 2026 album, Brightside
440Hz, commonly referred to as A440, is the standard reference pitch across Western music; it’s the A above middle C on the piano, which most other instruments are tuned in relation to. In recent decades, an increasing number of musicians have instead used 432Hz as their reference pitch, with many claiming that the tuning can aid meditation and help mental well-being.
The science is far from settled on the matter, but to Marley, the benefits are clear. “It’s just a different vibe,” he puts simply. “I tried it for my live shows, I liked it, and I saw the audience responding to it. It felt more comfortable to me, and I felt like I could express myself, vocally, much better in that frequency. So, 432Hz is like getting a new toy – it inspires me to sing different, play different. I’ll never go back to 440Hz.”
Recording at a new frequency was no small commitment. As Mike Schuppan, who mixed and engineered Brightside, points out, not only did the strings, brass, and pianos all need re-tuning, but all the electronic instruments as well. “There are no virtual instruments on this record,” Schuppan emphasises. “We couldn’t just pull up the computer and change the tuning. So, the Rhodes, the clavinet, the analogue synths, they were all tuned to 432Hz. There was no cheating.”

“For the Hammond B-3 organ, we didn’t know if it could be done,” Marley adds. “We had specialists come in, and the guy said it’s just the amount of electricity that goes to the organ. He fine-tuned it so that we could click a switch and have it go to 432Hz, which was mind-blowing to me because I didn’t even know that was possible.”
For Schuppan, the album also presented a unique challenge to mix. “It’s a bit of a learning curve to get your ear to 432Hz,” he reflects. “For me, being in the pop world and tuning vocals for years in 440Hz, I know that tuning really well. So, I’d hear something and it would feel a little bit flat, but then I’m like, ‘oh, wait, it’s in 432Hz.”
Despite the tricky logistics, Marley and Schuppan believe that the end result was worth the effort. “There were a couple of times during rehearsals and pre-production where we went back and forth between 440Hz and 432Hz,” recalls Schuppan. “We all preferred 432Hz. It’s funny because it’s sort of unexplainable – the science doesn’t necessarily make sense, it just feels good, it feels right, and I think that’s what’s so cool about this record.”

At the same time, Marley was also experimenting as a songwriter. “On previous records, I was excited to get into the studio and start making music, figuring it out as I went along,” he concedes. “But on this record, I wanted to focus on the songs, the lyrics, the arrangements. I really wanted them to feel good, to be what they are, before going into the studio.
“That was a different approach for me,” continues Marley. “But I felt like I needed to do that as an artist, as a musician. I needed to redirect that energy into the songwriting.
All of this new creative ground was being broken in Marley’s newly completed Rebel Lion Studio. “It’s been years that I’ve been dreaming about it,” Marley says of the desire to build his own recording space. “I’ve had little studios in my house, but I always had to go to other studios if I wanted to record a bigger setup like live drums or horns. I was always shuffling around.
“I think I’m following the example of my father, because he did the same thing too,” Marley continues. “It’s just that independent spirit that I grew up with. Having my own space, I create my own energy, my own vibes. It’s really great to work in that way where you’re not under any kind of constraints or limitations.”
Together with Schuppan, who has worked on numerous releases with Marley, the pair set about designing the ideal recording setup – with a custom-fitted Rupert Neve Designs 5088 console as its centrepiece.“It’s a great console,” Marley offers without reservation. “Over my years, I’ve had different consoles in my home studios but I was not satisfied. I wanted a different feel, a different sound. I was always looking up this Rupert Neve stuff, and so finally we pulled the trigger on it.”
Image: Wonder Knack (courtesy of Tuff Gong Worldwide)
“It was my first time installing and working on it, and I absolutely love it,” interjects Schuppan. “They really simplified it: it has the classic analogue console that we all know and love from tape, but then they’ve stripped out the things that we don’t use anymore. Most of us are on Pro Tools, and we don’t really need a big matrix or DIs on the back of everything. They simplified it without making it useless.
“Being able to mix and match whatever preamp and EQ you want to is also really cool,” continues Schuppan. “We were able to load the first half of the console with 16 BAE 1084 preamps, and then the rest of the console has the Shelford 5053s in it. So you’re not limited to one thing; you kind of have a bunch of different flavours.”
Helping guide the studio build-out also meant that, when it came time to start work on the new album, Schuppan was already an expert on the spaces’ workflow and on what the new gear could offer. “Mike knows all the crevices, he knows every little secret,” laughs Marley. “He put the studio together, then he recorded Brightside, he mixed it. He was there from birth to the delivery, so it was just great.”
“It was amazing,” agrees Schuppan. “I was there pulling wire through the walls, soldering everything up, getting it all worked out with a console, and then recording the album and mixing it in-house. I’ve built a bunch of studios, but to be able to take things full circle was a first for me.”
From tuning to songwriting to workflow, Brightside has precipitated many new turns for Marley, but perhaps the most striking change is who the artist had in mind while he was writing it – himself. “I wasn’t thinking about what the people want,” he says thoughtfully. “I think that was one of the things I did on this record that was different: I wasn’t writing this album for the people, I was just writing it for me.”
Image: Wonder Knack (courtesy of Tuff Gong Worldwide)
As a lifelong activist and humanitarian, Marley has penned many anthems that shine a light on the injustices of this world and encourage positive action to affect change. The artist sees recent world events, including the devastating Hurricane Melissa, which hit Jamaica in late 2025, as moments that “call us to action.”
But while the album’s lead single, Racism is a Killa, and tracks such as Hey People Now, certainly still rouse a sense of activism, by Marley’s own admission, these new songs are unabashedly personal.“I think people get tricked sometimes by the idea of what reggae is, or who I am,” he says. “But there’s a lot of inward, introspective thinking going on for the music and for the lyrics. When I sing these songs, I have a deep emotional connection to them because of what they mean to me personally. Really, a lot of these songs are about me.”
Brightside is Marley’s most emotionally charged album, and it’s also his most therapeutic. In that context, the artist’s decision to work at 432Hz was less about giving audiences a soothing or meditative experience and was instead something that Marley himself needed. “I wrote a lot of songs for my own mental and emotional health,” he emphasises. “Tuning to that frequency just worked out well for me personally. In dealing with my issues, in dealing with how I was feeling, to be in that frequency was healing for me.”
Ziggy Marley’s Brightside is available now. 
The post “I’ll never go back to 440Hz”: How Ziggy Marley found his new frequency appeared first on MusicTech.