Suno CEO insists Suno is “responsible” and isn’t going to leave people behind: “Music is one of the oldest forms of human expression, and it has always evolved alongside technology”Suno Co-Founder and CEO Mikey Shulman insists that the company’s AI is the “future of music” and is being built “responsibly” in a new blog post.
With The Atlantic’s AI Watchdog recently exposing datasets of upwards of 12 million copyrighted songs being used to train AI, plenty of artists have spoken out against AI interfering with human creativity. SZA in particular has called AI a “vulture” training on music without permission. But Suno’s CEO asserts that Suno will preserve the irreplaceable “human experiences, emotions, and imperfections that make music meaningful“.

READ MORE: German court says Suno’s AI training infringed copyright in landmark ruling

Of course, AI needs human creation to learn from. Though Shulman doesn’t directly address Suno’s alleged use of copyrighted tracks in training, he insisted that Suno tries to “reduce the risk” of reproducing copyrighted content. “We use training strategies we call Original Creation, By Design to reduce the risk of unauthorised reproductions,” he writes.
“For example, we intentionally chose not to use artist names in our training metadata because our goal is to help people create original songs – not music that sounds like existing artists,” he continues. “AI should help people create something new, not imitate someone else’s work. This philosophy has guided how we’ve built our models and platform from the start.”
He rounds the point off by clarifying that “unlike many AI music platforms, we’ve never allowed prompts for specific artists or copyrighted songs”.
Elsewhere in the post, the CEO also clarifies that Suno aims to “contributing to a healthy and growing music ecosystem”. And, in his words, that future will not push human creativity to the side. “Music is one of the oldest and most universal forms of human expression, and it has always evolved alongside technology,” Shulman says.
He goes on to point out that technology has improved the ability to “find and listen to music” – the next stage of development (ie, AI) is just making it even easier to interact with and create music. “We believe this next wave will make it possible for far more people to experience the joys of creating it,” he says.
However, that isn’t handing over all the reigns to a machine. A core Suno principle is “great music is made by people”, with technology “[unlocking] new ways to create, but it can’t replace the human experiences, emotions, and imperfections that make music meaningful”.
Moving forward, the platform will begin enforcing download limits to encourage more “intentional” creation. “We will soon introduce a new downloads policy designed to limit the ability to mass distribute songs on streaming platforms, while preserving the professional, creative, and personal ways people use Suno,” he explains. “These changes won’t affect the vast majority of our users, but they will make large-scale abuse much harder.”
New “transparency tools” will also help users identify AI-generated tracks across platforms. “In the coming weeks, we will also be adopting new audio watermarking and fingerprinting technology so we can partner even more closely with distribution platforms on combatting fraud and misuse,” he explains.
“We believe this moment has the potential to bring more people into making music, create new opportunities for artists, and strengthen the music ecosystem,” he concludes. “Staying grounded in our principles, and continuing to listen, learn, and adapt, is how we’ll navigate that change as we help build toward that future.”
To read the full blog post, head to Suno.
The post Suno CEO insists Suno is “responsible” and isn’t going to leave people behind: “Music is one of the oldest forms of human expression, and it has always evolved alongside technology” appeared first on MusicTech.

W. A. Production Make Me Scream 2Two-Stage Saturation In a music production world with endless options for distortion and saturation, where do you turn when you want an effect that really slams? The answer is the newly evolved Make Me Scream 2. At its core, Make Me Scream 2 relies on a powerful 2-stage approach: an adjustable tube preamp feeds directly into a smart, transient-following distortion module. This gives the main saturation stage a rich, overdriven signal to latch onto, yielding a far more dramatic and responsive result than standard single-stage plugins. With this latest update, that core engine is more versatile than ever, now featuring 6 distinct distortion types and 6 complementary timbre modes. But we didn't just expand the sound set - the entire user experience has been upgraded. The plugin now features a fully resizable user interface that adapts perfectly to modern high-resolution screens. Behind the scenes, we've optimized the engine for greater CPU efficiency and rock-solid session stability. Paired with an expanded library of presets, perfect for vocals, drums, bass, and full mixes, Make Me Scream 2 offers everything you need to take your music into overdrive. NEW - 6 Distortion Types With a range of different distortion types, Make Me Scream can handle tasks from subtle saturation and excitement to batter-the-door-down distortion. The 6 types each produce a different character and it's easy to see which mode you're currently using with the handy interface graphics. NEW - 6 Timbre Modes Depending on which distortion type and mode you use, you'll hear the audio mangled in different ways. The 6 mode buttons allow access to different styles of processing, with each effecting the signal frequencies in their own way. 4 modes have been retained from the previous version; Fuzz, Wall, Cliff and Make Me Scream (of course). New modes Vintage Scream and Make Me Scream 2 bring alternative character to the sound, with analog warmth and musical overdrive. Preamp Tube & Boost Prior to the signal entering the distortion module, you can add analog tube saturation with the Preamp Tube slider. Then feed the signal level into the distortion unit as carefully or as recklessly as you like by using the Boost dial. This increases the gain on the incoming signal by up to +40db. Filtering, Emphasis & Envelope Follower The smart filter controls allow you to shape your distortion far more musically than more vanilla distortion plugins. Set the filter to High, Low or Band pass modes and then set the Filter Cutoff to your taste. For example, you might only want to emphasise the highest frequencies on a whole track, or maybe just the lowest frequencies for a snarling bass line. The Emphasis dial sets the level of frequency boost, for a more pronounced effect around the cutoff frequency that you've chosen. The Envelope Follower dial makes the plugin react to the transients of the signal, creating a rhythmic and musical auto-wah feel. Oversampling, Output & Ratio Set the amount of internal oversampling from the default x1 up to x16, allowing users with enough CPU power to limit the unwanted non harmonic artefacts in the processed audio. Use the Output slider to compensate for any gain boost or reduction caused by the distortion unit, allowing for very accurate comparisons when A/Bing. Use the Dry / Wet ratio control to dial in as much (or as little) of the distortion as you need. Use a conservative ratio for subtle top-end sparkle or push the dial further to bust your bass bins. Visual Feedback The live visual meter to the top right of the interface shows exactly what's happening to the signal as it's being processed in real time. This allows for accurate monitoring each time you decide to make a change to the parameters. The boundary lines at the top and bottom of the meter show when you're pushing the output signal beyond 0db, so it's easy to tell the difference between the characterful distortion of the plugin and the digital peaking being driven beyond its limit. Presets Make Me Scream includes 20 brand new presets, whilst also retaining the 30+ presets of the previous version. It's easy to find the perfect starting point for your own journey into distortion and saturation. Tailored to specific instruments, genres and effects, these factory options can be used on many types of audio. The presets include everything from subtle saturation to completely strangled and squashed processing. W. A. Production are real-life producers making creative plugins to help you achieve studio quality processing quickly and easily. Enjoy. Features: 2-stage Screaming Distortion & Saturation. NEW: 6 Distortion types & 6 Timbre modes. NEW: Resizeable user interface. NEW: Improved stability and performance. Additional tube preamp module. Musical-sounding transient follower. Frequency filtering. Visual feedback. Responsive & CPU friendly. Factory presets. Full PDF Manual & Tutorial video. Video preview: https://youtu.be/LkeMA3SkW-0 Read More

Zrythm FREE and open-source DAW v2 Alpha is available for testing
You can now access and test the Alpha version of Zrythm v2, a free and open-source DAW. When it comes to digital audio workstations, especially free options, there have been plenty of changes in recent years. We’ve seen old favourites discontinued, rebranded, and, in some cases, limited features and a push towards subscription models. We’ve [...]
View post: Zrythm FREE and open-source DAW v2 Alpha is available for testing

PSP Audioware launches BBDelay vintage BBD ambience processor
PSP Audioware has released PSP BBDelay, a new analog-inspired delay and ambience processor for macOS and Windows. Following last month’s PSP Levelizer release, PSP Audioware describes BBDelay as one of its most ambitious effects projects in recent years. It is inspired by the Dynacord VRS 23, a classic 1980s BBD delay and ambience processor known [...]
View post: PSP Audioware launches BBDelay vintage BBD ambience processor

Lewitt update Space Replicator plug-in The latest version of Space Replicator introduces a new standalone version as well as offering some technical improvements and new features.

Analogue Productions Releases Definitive Audiophile Reissue from the WhoAnalogue Productions just announced an expansive new series of definitive audiophile reissues from The Who, spotlighting four of the band’s most essential recordings: My Generation, Live At Leeds, Tommy, and Who’s Next. Spanning the explosive early years of what would become one of the most celebrated bands of rock 'n' roll, these releases present each album in its highest-fidelity form across multiple premium formats, including 180-gram 45 RPM vinyl, Hybrid SACD, Ultra High Quality Record (UHQR) editions, and Ultra Tape reel-to-reel. 

Sourced from the original analog master tapes and meticulously mastered by Chris Bellman at Bernie Grundman Mastering (with SACD editions mastered to DSD), each release is pressed at Quality Record Pressings and housed in deluxe Stoughton Printing Old Style tip-on gatefold heavyweight jackets with scuff-resistant matte finishes, ensuring both sonic and physical presentation meet the highest audiophile standards. 

My Generation (1965) 

Produced by Shel Talmy at IBS studios, The Who’s explosive debut remains one of the most ferocious opening statements in rock history. Peaking at No. 5 on the U.K. charts, My Generation captured the raw energy of the mid-’60s mod scene while introducing the band’s classic lineup: Roger Daltrey, Pete Townshend, John Entwistle, and Keith Moon.

Featuring era-defining tracks like “My Generation,” “The Kids Are Alright,” and “The Ox,” the album’s aggressive sound and power-chord attack helped lay the groundwork for hard rock and punk. Now available as a 180-gram 45 RPM 2LP set, Hybrid Mono SACD, and Ultra Tape reel-to-reel edition, these new versions unlock unprecedented dynamic range, transient attack, and low-end depth – bringing the band’s raw, volatile energy into startling focus. 

“Pete Townshend was much more into early blues and what he could do with his guitar and loved sound,” Shel Talmy explained to me in a 2017 telephone interview.

“Of course, I encouraged all the power chords and all that kind of stuff and that’s what attracted me when I first heard them. I thought they were the first rock ‘n’ roll band I heard since I came to England. When I first arrived, I thought everything was incredibly polite.

“In Los Angeles and Hollywood for my sessions, I insisted on being there for the mastering on everything I did. I started as an engineer with Phil Yeend. I spent a lot of time trying to perfect the sounds we were getting at Conway Studios. We spent time isolating instruments and working on drum sounds. Working on guitar sounds. Microphone placements we did were utilized with the Who, Kinks, and David Bowie.

“I brought with me from Conway a way to use the equipment of making everything louder, apparently louder than it actually was. I did that by bringing up a guitar through channel one, which was right at the beginning of distortion, and the other one, which was normal. So, I used to bring up the distorted one underneath the good one and the entire level went up. And I always tried to do everything I could without distorting. So, I was always near the red line of the meter. I brought that with me. I liked hearing records that I think actually expand the vocal audio range of what you’re hearing.

“The UK technical people didn’t think I was weird. They thought I was different because I was pretty much the first American producer there. The first place I went to was IBC on Phil’s recommendation. That’s where Phil worked. And they were way ahead of everybody else. In terms of gear, they had young engineers who were willing to experiment.

“Pianist Nicky Hoplins was one of my favorite people. A really nice guy. Easy to work with. A heavy-duty, talented musician. I had him playing live with all these people, by the way. I didn’t bring him in for overdubs. I don’t know how to describe him. When you hear something undefinable but you know it is brilliant. That’s what I saw with Nicky Hopkins. All the bands loved him that I introduced him to.”  

“I always felt the song was seventy-five per cent of the record. But I still subscribe to the fact that if you’re gonna hear a great song you’re gonna pretty much know it in the first eight bars. And then it continues to develop: three to four minutes is about the right amount of time for it.

“Shel Talmy is the Brilliant producer that developed the Hard Rock part of the British Invasion, which was the birth of the Hard Rock period,” emailed musician, producer and actor Steven Van Zandt in a May 2022 correspondence. “And Shel did it with half instinctive genius and half outrageous chutzpah! If he’d done nothing but the first five Kinks’ albums, he’d belong in the Rock and Roll Hall of Fame. Then again, if he did nothing but the first Who album, he’d belong in the Rock and Roll Hall of Fame!”  

Tommy (1969) 

The Who’s groundbreaking rock opera Tommy marked a turning point in the band’s career, transforming them into international superstars and establishing new possibilities for the album as an art form. 

Written by Pete Townshend, the album’s narrative of a “deaf, dumb and blind” boy unfolds across iconic tracks like “Pinball Wizard,” “I’m Free,” and “We’re Not Gonna Take It / See Me, Feel Me.” Now, for the first time, Tommy receives the UHQR treatment, pressed on 200-gram Clarity Vinyl for maximum transparency and minimal surface noise. 

Also available as a Hybrid Stereo SACD and Ultra Tape reel-to-reel edition, these releases reveal new layers of depth and detail in one of rock’s most ambitious and enduring works. 

Live At Leeds (1970) 

Recorded at the University of Leeds in February 1970, Live At Leeds captures a performance so visceral and unrelenting it remains the gold standard for live rock recordings. 

Celebrated for its raw authenticity and explosive interplay, the album features blistering takes on “Magic Bus,” “My Generation,” and “Shakin’ All Over,” alongside ferocious covers like “Summertime Blues.” Available as a 180-gram 45 RPM 2LP, Hybrid Stereo SACD, and Ultra Tape reel-to-reel edition, these reissues preserve every ounce of the performance’s intensity, placing listeners as if they’re standing just feet from the stage.

I asked photojournalist Heather Harris about Live At Leeds. “Why The Who Live at Leeds and why now? The original gig was performed in Feb. 1970 and released a mere 3 months later for a reason: it instantaneously became obvious that this was The Who. In Their Absolute Prime. 

“Better than Monterey, better than Woodstock. And, oddly, better recorded than ever before. And we need that so very much right now. Previous studio albums buckled under the limited technology of the times. This live recording, however, separated the sounds of each virtuoso far more plainly, and one could hear what they were actually doing, unoverdubbed, for the first time. Yes, Moon really did play 32/4 pretty much the whole time, without oxygen breaks. My photo from the same era shows how astonishing beyond belief they were, insofar as it's a document of what the audience saw going on for 2+ hours onstage.

“Lastly, this Deluxe edition with the original Tommy material restored contains the one track I would select for extraterrestrials or similar to explain exactly what the very best of genuine hard rock and roll sounded like live: "Sparks." An instrumental, Townshend and chums successfully explore an onslaught of the musical ideas of their head songwriter, occasionally approaching actual narrative, always ferocious.

“Saturday Night Live once dramatized sending a goodie bag into outer space containing our best cultural items, with the extraterrestrials responding ‘Send more Chuck Berry!’ We should have sent ‘Sparks’ by The Who in Live at Leeds. So powerful that no life form in the universe would dare attack us.”

 “At the time of the Leeds recording in February 1970, The Who could easily be considered the most exciting band to see live,” reinforced longtime Who fan and collector, Alan Watts. “While The Rolling Stones were riding their wave of being culturally dangerous, catching a Who show live—with the up-front trio of Daltrey, Moon, and Townshend—you might consider them more of a physical threat; you definitely would not want to get in their way! Although their performance at Monterey in June 1967 had put them on the map, two events in 1969 pushed them to the forefront of the era’s premier rock bands. The first was the release in May of 1969 of Tommy, a novel ‘rock opera’ built around the deaf, dumb, and blind pinball wizard. Tommy was followed by their defining appearance at Woodstock in August. By then the band was in the midst of an almost continuous string of shows in the US, Canada, and Europe. These began with a US tour in May and went through until their last gigs of the year in England in late December; over 100 shows in total. By the end of 1969, the band had become the incredible well-oiled machine that we were to hear going full throttle on Live at Leeds.

“The idea of recording shows for a live album first appeared during their first Tommy tour in mid-1969. The base recordings for such an album were made by their sound engineer, Bob Pridden, during the Fall tour. However, Townshend was not impressed, and he famously announced that they were deliberately destroyed in a backyard bonfire. Fortunately for us, some survived, and can be pretty easily located on fan-made CDs. They show a band at the top of their game.

“At the start of 1970, the band decided to try again, and recorded two gigs: one at Leeds University on February 14th 1970, and another the following day just down the road at Hull City Hall. Most of the Leeds recording was deemed satisfactory despite the infamous “crackling noise” from poorly connected sound leads. The resulting single-disc 38-minute album was released three months later.

“And what an album it was! The entire show was over two hours long, but the album was pared down by omitting the mammoth Tommy section. But what remained on the album was as good a record of their live performances as you could wish for. Having ‘Young Man Blues’ as the opening track was perfect; it hit you like an express train! ‘My Generation’ was a powerful and raucous 15-minute anthem of teen angst mixed in with a Tommy medley. It ended with the trademark cacophony of feedback. ‘Our hymn … One huge deafening din!’ was how Townshend introduced the song.

“The original vinyl album was marketed with the famous pseudo-bootleg cover (not a million miles from the cover of the famous 1969 Stones bootleg LIVE R THAN YOU’LL EVER BE), along with a fascinating collection of Who artifacts, which included photos, a copy of their Woodstock contract (they were paid $12,500 for an hour), a poster, etc. The whole package made for a very appealing memento of the times. Is it the best live album of all time? Maybe. But it’s hard to think of a better document of a single gig from a band at the height of their powers.

“Later releases have thankfully filled in the gaps of the original, and you can now hear virtually the whole show. Although if you look carefully enough there are more complete versions floating around that have the entire show in the correct running order with all the extensive Townshend banter between songs.

“For me, this is the most consequential album of my formative years. By late 1970 I had been going to live gigs for about a year, and had loved Get Yer Ya Ya’s Out. Although I’d heard many Who singles, I was more interested in British blues, and that’s something that The Who were not. But then came Live at Leeds to change my entire perspective. All I wanted to do now was to see The Who live. In December 1970 they played at my home town university in northern England, but unfortunately these gigs were off limits to me as you had to be at least 18 to get in. I finally got my wish the following July with a pre-Who’s Next gig in my local hometown hall. It still remains the best live concert I ever saw—and they still looked dangerous!”

Who’s Next (1971) — UHQR Edition 

Few albums match the power and legacy of Who’s Next, The Who’s 1971 masterpiece that cemented their status as arena rock legends. Featuring timeless tracks like “Baba O’Riley,” “Behind Blue Eyes,” and “Won’t Get Fooled Again,” the album remains a cornerstone of rock history. 

Pressed as a UHQR edition on 200-gram Clarity Vinyl, this release delivers extraordinary sonic realism – uncovering new detail in everything from Keith Moon’s thunderous drums to the album’s pioneering synthesizer textures. Originally conceived from Townshend’s ambitious Lifehouse project, Who’s Next stands as a defining achievement in the band’s catalog and one of the greatest albums of all time.

Across all formats, Analogue Productions’ meticulous approach, from mastering and plating to pressing and packaging, ensures these releases represent the definitive listening experience for both collectors and devoted fans. From the explosive beginnings of My Generation to the arena-shaking heights of Who’s Next, this series captures The Who at their most vital, restoring the full force, clarity, and immediacy of recordings that changed rock music forever. 

For the March 8, 1975 issue of Melody Maker, I interviewed Keith Moon in his rented Laurel Canyon home.  

“Everybody labors under the misconception that Pete Townshend is the leader of the band,” emphasized Moon. “There is no leader. It’s the Who. Tommy never stopped growing. When Pete was writing it, he got to the point where he was saying, ‘Where do I go from here?’ We were sitting in a boozer in London, which is most unlike us, throwing ideas around. And I said, ‘Well, what about a holiday camp?’ So, it was Tommy’s Holiday Camp. This is how the Who works. Everybody contributes, everyone is part of what we are involved in. The involvement is total, with no one person in control.” I did ask him, looking back, did he have any favorite Who songs or albums?

“Well, The Who Sell Out, and parts of Quadrophenia. To me, these works express the way the Who is. It really depends what mood I’m in. I’ve forgotten half the stuff we’ve done, and all of a sudden, I’ll hear one of our numbers on the radio, and I remember it.”      

In 2007, I interviewed Pete Townshend via email about the June 1967 Monterey International Pop Festival.   

“It was more of a revelation to others than to us. Bob Pridden, our sound man, had worked in the UK with Charlie Watkins (of WEM) to produce a line array speaker system we used (that was used big time at the first Isle of Wight Festival a little later).

“In the USA they were still using Bill Graham’s chosen system – big cinema speakers. So, it was good sound, but we weren’t overly impressed. We were using line array speaker sets thirty years before some audio scientist declared they were the way forward, and are used today, of course. everywhere.

“We were pretty scared. We’d done a package in New York City with Cream, and it seemed as though we’d missed a beat. We were still displaying Union Jacks and smashing guitars while Cream played proper music and had Afro haircuts and flowery outfits. Jimi had already hit in the UK. This was a divine opportunity. A side issue was that we played at the Fillmore on this trip, and that was probably more important to us, because Bill Graham insisted we play a longer set than we were used to. So, we had to really begin to play proper music, like Cream, I suppose. It was around this time we began to include songs like ‘Young Man Blues’ and ‘Summertime Blues.’

“It was exciting to go to San Francisco for the first time, but also quite strange. The music industry people were pretty whacked out by LSD already in a way that hadn’t happened in the UK.   

“I remember Brian Jones, sweet as ever. Eric Burdon himself was solid as ever, at least face-to-face he was a good bloke. Jimi was out of his tree. Derek Taylor was frightened to come out of his little box from where he handed out passes. The beautiful people gazed at each other. Mama Cass was adorable. John Phillips was too. It was a nice vibe, as we used to say. But we were keen to stay true to our thesis, which was that this is a crock of shit and the war isn’t over yet—we meant World War II, not fucking Vietnam. So, to say the least, we were slightly out of step. The Who was a pretty tough band to be in. I took my girlfriend; we hung on to each other.

“We [the Who and the Jimi Hendrix Experience] were both competitive. He felt like something of a newcomer, and standard-bearer for black blues, I think—that he may have felt had been plundered by the British sixties bands. But he and I debated about who should go on first. I felt he was a master, a genius. I was not prepared to follow him, not because I was afraid to follow him but because in my old-fashioned showbiz mind the best artists go on latest in the set. In the end we tossed for it, and Jimi lost. We went on first; he then announced that if we preceded him, and set the crowd alight with our destruction act, he too would set them alight. So, the crowd got two mind-f**ing sets.

“Others may remember it differently. I couldn’t see how the Grateful Dead, Janis Joplin, or Country Joe could be taken seriously. Their sound was so ragged, so raw. I was used to a slicker sound. Now I see better what they were doing, and just like the Who, it was not just about music; it was about message and lifestyle and change. The three bands I mentioned all had manifestos that were not just about the music. It took me a while to understand that.”

Pete also cited the Monterey and Woodstock festivals.

“Woodstock: another shitty movie that changed our world. I mean a shitty movie in my head. The real movie made us stars. I hated Woodstock, every moment of it bar standing at the side of the stage to watch Sly and the Family Stone, and meeting Richie Havens. F**king hippies, yuppies, yippies, floppies. The warm, soft side of me found my teacher Meher Baba in London in 1967, soon after Monterey and a horrible acid trip on the way home. It was a lovely moment for me to see Meher Baba’s face on a poster fixed high on a telephone pole when I got out of the car into the mud at Woodstock. Both Festivals were ambitious dreams that worked for some people, not for others. For the Who as a band, they made us first famous, then even more famous in the USA. For me as an individual, they challenged everything I thought I knew about showbusiness and the world.”

In 2007, I conducted a phone interview with Roger Daltrey.

“I could feel the influence of Monterey on the rock festivals that followed, of course. It was the first. Then you say that, and there was the Newport Jazz Festival, which was very similar. So, it wasn’t really the first of anything. It was the first for my era, and my music, and that’s why we remember it. In August 1965 we played the Richmond Jazz Festival with Solomon Burke. A tiny affair with a tent and a cricket pitch.

“I didn’t see anyone at Monterey. We were just ushered in and put under the stage a couple of hours before we went on. And then we were kind of escorted out after the set. They weren’t best with us because we broke the equipment up and they were very worried about their microphones and all that kind of stuff. [Laughs.] It was quite funny, and we weren’t allowed or welcomed to stay. [Laughs.] We reminded them that this world was in a shit state, it wasn’t peace and love at all. [Laughs.]  Monterey Festival. Great sex… It was the third day of discovering the wonders of the American motel room. (laughs).

“There was a lot of camaraderie at Monterey with the bands. And I’m sure it’s the same with young bands today. Incredible camaraderie, and because we didn’t know what we were doing. Any of us. It was a young business. No one had written the rules. The rules were there to be made, and we made our own. We played it as we went along. And it was fantastic. It was a very liberated period in that sense. But then, you know, ultimately it became manipulated by business, and we find ourselves in the state it is in today. It wasn’t peace and love at all. (laughs).”

(Harvey Kubernik is the author of 21 books, including 2009’s Canyon Of Dreams: The Magic And The Music Of Laurel Canyon, 2014’s Turn Up The Radio! Rock, Pop and Roll In Los Angeles 1956-1972, 2015's Every Body Knows: Leonard Cohen, 2016's Heart of Gold Neil Young and 2017's 1967: A Complete Rock Music History of the Summer of Love.

Sterling/Barnes and Noble in 2018 published Harvey and Kenneth Kubernik’s The Story Of The Band: From Big Pink To The Last Waltz. In 2021, they wrote Jimi Hendrix: Voodoo Child for Sterling/Barnes and Noble. 

Otherworld Cottage Industries in 2020 published Harvey’s Docs That Rock, Music That Matters. His Screen Gems: (Pop Music Documentaries and Rock ‘n’ Roll TV Scenes) was published in February, 2026 by BearManor Media. Kubernik is currently working as Creative Director on a book on the Beatles for a UK publisher scheduled for a 2027 publication date.

Harvey spoke at the special hearings in 2006 initiated by the Library of Congress held in Hollywood, California, discussing archiving practices and audiotape preservation.

In 2017, he appeared at the Rock & Roll Hall of Fame in Cleveland, Ohio, in its heralded Distinguished Speakers Series, and as a panelist, where he discussed the forty-fifth anniversary of The Last Waltz at the Grammy Museum in L.A, in 2023).

Photo © 1970 Heather Harris. All Rights Reserved. The Who in San Diego, Unretouched, non-AI photograph.The post Analogue Productions Releases Definitive Audiophile Reissue from the Who first appeared on Music Connection Magazine.

Vienna Symphonic Library (VSL) Synchron Solo Violin 2 (sordino)Synchron Solo Violin 2 (sordino) by Vienna Symphonic Library was recorded in Stage A at Vienna Synchron Stage, it features Vienna Synchron Orchestra concertmaster Damir Oraščanin performing on a muted violin to complete a full con sordino string quartet setup. Key Features Authentic Con Sordino Performance: Every articulation recorded with a physical mute applied for a warm, intimate, and refined tone. Distinct Solo Voice: Performed by concertmaster Damir Oraščanin on a distinct instrument, providing proper acoustic contrast when layered with Synchron Solo Violin 1. Comprehensive Articulation Set: Short Notes: Spiccatos, staccatos, détachés, and ricochet. Legato & Longs: Normal, agile, slurred, portamento, and zigane legatos, along with varied release samples and slides. Expressive Techniques: Sforzatos, tremolos, trills, artificial and natural harmonics, and pizzicatos. Synchron Player Integration: Powered by the dedicated Vienna Synchron Player, featuring an advanced Crossfade Editor for seamless morphing between articulations and dynamic layers. Pristine Stage A Acoustics: Captured with multiple microphone positions to integrate into orchestrations or stand out as a lead soloist. Read More

How to use Drum Machine Designer in Logic Pro: A step-by-step tutorial
Learn how to add and edit samples in Logic Pro's Drum Machine Designer to create your own custom kit.

Nikita Bier steps down as X’s head of productThe serial entrepreneur is stepping down a little over a year after taking the "24/7 job" of overseeing X.

Senator Warren questions US AI chip policy after Trump crypto investment: ReportThe lawmaker reportedly sent a letter to the Commerce Secretary demanding answers about the administration’s treatment of the UAE following investments in the Trump family’s crypto company.

Addressable LEDs Make Giant 16×2 Character DisplayWe’ve always taken a certain childlike joy in seeing tiny things made big, and big things tiny. Evidently [Uncle Stem] is the same way, if this 7x sized 16×2 “LCD” display is any indicator.
“LCD” is in scare quotes there, because while the original display is a character LCD, [Uncle Stem]’s embigginated recreation is not. Liquid crystal displays are beyond all but the most dedicated DIYers, so [Stem] recreated the whole thing with addressable LEDs instead — over a thousand of them. Each character got its own PCB, and rather than pay for assembly [Stem] used a 3D printed stencil to help apply solder paste, an idea we’ve seen before. His choice of long lengths of nickle strip — the stuff you spot weld to Li-ion batteries — to join the LED-holding PCBs is also worth noting.
In order to get his giant display to act like the I2C-operated module he loves, [Uncle Stem] equipped it with an RP2040 pre-programmed with the LCD character set. That way he can plug it into any Arduino project that uses the LiquidCrystal_I2C library and have the authentic 1602 experience. The green “PCB” the display is mounted to is actually laser-cut plywood, while some acrylic sits in front of his PCBs with office paper to act as as a diffuser. A 3D printed frame completes the illusion. He even goes so far as to replicate the pin headers at 7:1 scaling with brass rods.
He also connects it to a over-sized Arduino, with giant jumper wires. But for the record, not the giant Arduino we featured previously. Like we said, hackers like to mess with scale, and we’ve seen everything from giant benchies to a working Mac Classic for Barbie.

UMG asks court to dismiss US musicians’ union lawsuit over Udio AI dealUniversal Music has asked a federal court to dismiss the lawsuit brought against it by the American Federation of Musicians
Source

KRK introduce the V Series Five KRK’s flagship studio monitor range now includes KRK Mesh, a technology that offers wireless control of the system via the KRK Control App. 

LEWITT’s Space Replicator 2.0 has arrived – here’s what’s newWhen LEWITT shared news of its Space Replicator plugin last year, it came as a convenient solution to test out your mix in its intended environment. Now, the virtual space emulator has had a facelift, with LEWITT releasing the Space Replicator 2.0 update to further tailor the listening experience.
While the plugin initially promised a wide range of acoustics spaces, from “million-dollar mixing studios”, to effortlessly emulating the sound of a tinny Bluetooth speaker, Space Replicator 2.0 is upping the ante. Now, users have more control over ambience, EQ and more.

READ MORE: I swapped Ableton Live for Fender’s Studio Pro 8.1 DAW – but is it compelling enough for the change to stick?

From pushing a room up and pulling it back, the enhanced customisation is also aided by each space having its own global EQ as well. That means you can truly shape each space to capture an authentic sound through your headphones.
The update also sees two new rooms being thrown into the mix. One room comes as the ‘ideal mixing room’, designed according to the official standards of the European Broadcasting Union, while there’s also an analytic space, which serves as a crossfeed with headphone correction to capture a “natural, speaker-like stereo image” with no frills.

Elsewhere, the update also introduces a new standalone mode, meaning you don’t need to use it with a DAW, as well as three new headphone emulations. There’s also a few overall improvements on audio quality, performance and the addition of saving your favourite setups as presets.
Back in June, we gave the plugin a 6/10 with hopes that it would improve down the line and – this update could very well be the improvement it needs. All of the improvements come as the brand responding to user feedback over the past year.
“LEWITT has always been a user-focused company,” Moritz Lochner, Head of Product Management, explains. “We treat your feedback like a treasure and are happy to implement so many requested features in the 2.0 update. With the new customization options, you can now really make Space Replicator your own.”
The Space Replicator 2.0 update is a free for all pre-existing users. If not, Space Replicator is available for $99 and Space Replicator Essential costs $49.
For more information, head to LEWITT.
The post LEWITT’s Space Replicator 2.0 has arrived – here’s what’s new appeared first on MusicTech.

Nathaniel Wing’s N-Stereo for macOS, Windows, and Linux is FREE for a limited time
Developer Nathaniel Wing’s N-Stereo for macOS, Windows, and Linux is now available for free for a limited time. Stereo enhancers and effects plugins have been relatively popular in 2026, with multiple freebies coming just in the last few months. In July, we had a couple of stereo-widening freebies with Spread by Angelic Vibes and Buchart Audio’s [...]
View post: Nathaniel Wing’s N-Stereo for macOS, Windows, and Linux is FREE for a limited time