Snowsky Retro Nano: FiiO’s new Walkman-inspired device is a music player, DAC and headphone amp rolled into oneFiiO’s new Snowsky Retro Nano music player packs big retro vibes into a tiny, modern package.
At just $59.99/£59.99, this budget-friendly music player is designed to make the most of high-res streaming services like Tidal. With support for Bluetooth AptX HD and LDAC, as well as the option to connect via a USB-C cable, it’s the perfect companion for enjoying your favourite tracks on a laptop, tablet, or on the go.

READ MORE: Native Instruments’ new Cremona Quartet Ensemble pack features sounds from four of the most venerated stringed instruments in the world

Wireless solutions aside, the Snowsky Retro Nano also comes with a 3.5mm jack as well as a balanced 4.4mm socket for you to get the best quality music from your wired headphones.
Under its hood, the player features a CS43131*2 DAC (Digital to Analogue Converter) and high power amplification (including a high-gain mode) that can easily drive in-ear or over-ear headphones to levels of performance far beyond smartphones and laptops.
Users can choose to operate the player wirelessly or via a lanyard. The device’s physical controls mimic the vibes of a 90s cassette player, as does its animated screen which starts to move as you play a track.
Image: FiiO
As FiiO describes, “Simply start an album from your smartphone and let the Snowsky Nano do the rest from volume control to track selection.”
The Retro Nano has full app control when using the FiiO Control app on Android or iOS phones. And thanks to a built-in microphone, you can even take calls on the player itself.
The device is powered by a 3.7v 10440 removable, rechargeable battery that can be charged using a USB-C cable. It is also eminently compact and portable, measuring just 55.1 x 37.5 x 13.7mm (way smaller than a credit card) and weighing a mere 28g with the battery.
Learn more at FiiO.
The post Snowsky Retro Nano: FiiO’s new Walkman-inspired device is a music player, DAC and headphone amp rolled into one appeared first on MusicTech.

Audio-Technica’s new ATM355VF clip-on microphone is designed for “high-accuracy, balanced capture” of string and woodwind instrumentsNAMM 2025: Audio-Technica has launched the ATM355VF, a compact condenser clip-on microphone designed specifically for “high-accuracy, balanced capture” of string and woodwind instruments like violins, violas and flutes.
The ATM355VF features Audio-Technica’s latest back-electret condenser design, with interchangeable capsules allowing users to choose between cardioid or omnidirectional and hypercardioid elements (sold separately).

READ MORE: NAMM 2025 Live: Latest rumours, news and products from the biggest music technology show in the world

The mic’s standard cardioid capsule boasts excellent frontal sensitivity and isolation, which helps you cut out unwanted ambient noises and feedback in live settings. A locking four-pin connector (with XLRM output) on its AT8543 power module also ensures secure connection, while the switchable 80Hz low-cut filter tackles low-frequency rumble with ease.
Another key feature of the ATM355VF is its lightweight, flexible gooseneck shape – a design that allows for precise microphone positioning while minimising mechanical noise and reducing strain on the 1.8-meter cable. The microphone is also fitted with a windscreen to isolate noise and protect it from accidental damage, ensuring consistent performance during professional live and studio sessions.
Image: Audio-Technica
A variety of dedicated mounts come shipped with the mic as well – violin and flute mounts are included, along with a joint adaptor to attach to the gooseneck for use in a variety of settings.
Audio-Technica says that the included mounts are designed to ensure minimal contact with the instrument to greatly reduce sound attenuation and prevent any loss in resonance. Contact surfaces are also made of a scratch-resistant material that will not damage instrument surfaces.
A wireless compatible version of the microphone, the ATM355VFcH, is also available.
The ATM355VF can be connected to Audio-Technica’s cW-style bodypack wireless transmitters, while the ATM355VFcH is compatible with Audio-Technica wireless products featuring the newer, more compact cH-style transmitters.
The ATM355VF will be available in the UK and Europe from February 2025.
Learn more Audio Technica.
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Solid State Logic releases rackmount USB audio interface designed to be the “ultimate studio centrepiece”NAMM 2025: Solid State Logic has officially released a brand new rackmount USB audio interface, the SSL 18.
The British brand, who announced the launch during a press conference at NAMM, says the new product is marking “the start of a new era in rackmount production technology” from the company, and that it is designed to be the “ultimate studio centrepiece” by enhancing production workflows.

READ MORE: NAMM 2025 Live: Latest rumours, news and products from the biggest music technology show in the world

The SSL 18 hosts 32-bit/192 kHz converters and has a dynamic range performance of 120 dB across all of its microphone, line-level and instrument inputs. It also has 125 dB dynamic range on the monitor and line outputs, and its integrated high-current amplifier features dual headphone outputs offering 120 dB dynamic range.
Featuring eight mic preamplifiers with switchable Mic/Line configuration, its inputs offer an ultra-low noise floor and allow “every detail of a performance to be captured with stunning accuracy”. Each input can also be switched into Legacy 4K Analogue Enhancement Mode, adding analogue saturation and a high-frequency boost.
Inputs 1 & 2 are located on the front panel and offer instrument/Hi-Z inputs to capture DI’d guitars and vintage synths/drum machines, while 10 balanced line-level outputs are then located on the rear of the unit. Line outputs 1&2 and 3&4 can be configured to +9 or +24 dBu, ensuring compatibility with an array of studio monitors and vintage equipment, while outputs 3 to 10 operate at +24 dBu, so they’re suitable for integrating professional outboard equipment.
All outputs are DC-coupled and capable of sending Control Voltage (CV) to synthesisers and/or modular rigs. Additionally, SSL 18 features configurable analogue insert points for inputs 1 and 2, and there is also a full monitoring control section with talkback input.

Senior Product Manager, Andy Jackson, comments, “Our engineering team applied their analogue and digital design expertise to exceed expectations. With the powerful SSL 360 software, SSL 18 delivers a world-class studio experience to any setup. We’re eager for everyone to experience its sound and workflow.”
Find SSL in Booth 18301 at The NAMM Show, or find out more via the Solid State Logic website.
The post Solid State Logic releases rackmount USB audio interface designed to be the “ultimate studio centrepiece” appeared first on MusicTech.

The new 32Classic Mix Strip combines Harrison Audio’s iconic sound with fresh features tailored for the modern hybrid studioNAMM 2025: Harrison Audio has launched the 32Classic Mix Strip (MS), a fully featured 19″, 1U channel strip based on the brand’s flagship 32Classic recording console.
Available for purchase at authorised retailers by the end of this month, 32Classic Mix Strip combines the warm, rich tones of Harrison’s iconic gear with innovative features tailored for the modern hybrid studio.

READ MORE: Behringer BX1 synth is inspired by the classic Yamaha CS-80 and DX1, with more teases at NAMM 2025

A defining feature of classic Harrison recordings is the high-performance transformer-coupled microphone preamp. The 32Classic MS mic preamp offers up to 70 dB of gain, providing “a full low-end, open mid-range, and super-smooth natural highs”, thanks to the Jensen JT-MB-CPCA transformer used.
The transformer’s gentle roll-off at each end of the frequency spectrum and delicate phase shift results in a remarkably sweet and musical sound, making it ideal for virtually any source material.
The 32Classic MS also brings the iconic 4-band parametric EQ from the original console to a 19” rack format for the first time. This is accompanied by High- and Low Pass filters that offer a musical 12 dB/octave slope. The High Pass Filter, ranging from 25 Hz to 3.1 kHz, includes a 3 dB resonant peak, while the Low Pass Filter spans 160 Hz to 20 kHz—ideal for eliminating rumble or smoothing high frequencies.
Connectivity wise, you’ve got dedicated Mic and Line XLR inputs on the rear panel and a front-panel input with selectable Instrument/Hi-Z and Mic options. The mic input features utilities such as 48V phantom power, a -20 dB pad, phase flip, and a tri-color LED meter. There are also independent gain controls on both the Mic and Line inputs for precise adjustments.
Output signals can be balanced using the Fader control and Pan controls, or you can engage the 0 dB Fader Bypass and record at unity gain.
Finally, the 32Classic MS is equipped with an integrated mix bus, allowing you to chain multiple units together. You can build your very own modular Harrison stereo summing mixer, ideal as a studio centerpiece or for enhancing any mixing and/or tracking workflow as a “sidecar” to any existing setup.
32Classic Mix Strip is priced at $1999/£1499.00+VAT/€1700.
Learn more at Harrison Audio.
The post The new 32Classic Mix Strip combines Harrison Audio’s iconic sound with fresh features tailored for the modern hybrid studio appeared first on MusicTech.

Plugin Alliance unveil SPL Machine Head Plugin This release marks the first and only fully accurate emulation of the original device, designed with the original chip-set and source code.

Ninajirachi’s free sample pack features 20 drum and synth loops and 100 one-shotsAd feature with BandLab Sounds
As a producer, you can never have too many fresh sounds in your sample collection. With that in mind, rising electronic music star Ninajirachi has teamed up with BandLab Sounds and MusicTech to create a sample pack featuring 120 free samples.
The pack, called Girl EDM Particles, includes 10 drum loops, 10 synth loops, and 100 one-shot sounds – all in the future-dance style the Aussie producer has become known for. With loops in a variety of tempos and a ton of creative one-shots to experiment with, this pack might just be what you need to get those creative juices flowing.
Ninajirachi’s love affair with sampling has been going on for years. Eight years ago at 17 years old, she took to Reddit to introduce her Ninajirachi project.

“I really love recording sounds from around my house and seeing what I can do with them,” she wrote at the time. “It’s fun to show someone a demo and then tell them that the snare came from a toaster.”
In a recent interview with MusicTech, she told us how she’s always on the lookout for interesting sounds from everyday life to use in her music. “I’m voice memo-ing all the time,” she said. “I like to be surprised by stuff that I hear just going about my day. It’s so much fun.”
The Ninajirachi sample pack is available on the BandLab Sounds platform or via the free BandLab Assistant App, where you can drag-and-drop samples straight into your DAW. With BandLab Sounds, you can audition individual samples before downloading them, edit their tempo and key, adjust parameters for attack, release and tone, reverse them and more. Additionally, the samples are organised by key, tempo, character, length and instrument, so you don’t need to spend ages finding the perfect sounds for your project.
Ninajirachi also told MusicTech she sometimes likes to resample her own material in order to give it new life.
“Sampling is so fun, because samples are so frequency rich,” she says. “You kind of put a whole song in one little bit of audio. And by doing that from my own discography, I also avoid any copyright problems.”
To download Girl EDM Particles, head to BandLab Sounds.
The post Ninajirachi’s free sample pack features 20 drum and synth loops and 100 one-shots appeared first on MusicTech.

Producer Crosstalk: Charlie PeacockGrammy-winning writer, musician and producer Charlie Peacock is the child of a musician and music educator. As a lifelong fan of literature, his love of music and words blended early to create a passion for songwriting. He struck upon his talent for production in 1979 when he was invited to produce a single for a friend’s punk band. A decade later he relocated from California to Nashville. Over the years, he’s aided artists including The Civil Wars, Switchfoot and Amy Grant. He’s also composed for a number of films and TV shows. In February, his memoir Roots & Rhythm: A Life in Music will be published.His latest record Every Kind Of Uh-Oh dropped on August 30 by way of his label Re:Think, which is distributed by Universal. As a seasoned producer and music pro, he found that the biggest challenge was the idea that artists create their best work between the ages of twenty and thirty. “To be fifty years into my career and say ‘I’m going to do something that’s unique and different,’ it’s easy to look around and think that my moment has passed,” Peacock admits. “But I’m still an artist; I dream like an artist; I wake up each morning as an artist. Ultimately there was still a reason to do this. It was worthwhile, viable and beautiful.“My son [Sam Ashworth] writes for Universal but the person who made the [distribution] deal for me there was once a jazz bass student who’d write to me for advice,” he continues. “He went on to become the president of a record label. There’s a real serendipity and connectedness to a life in music. It’s one of the reasons that you begin healthy relationships and build as many bridges as you can. You never know when someone you met 20 years ago will play a huge role in your life.”Peacock has created a wealth of music for film and TV. One of the key lessons he’s learned is that fewer lyrics are often more effective. “Most of the songs that succeed in film and TV are generally the ones that are evocative of a particular feeling,” he observes. “Lyrics-wise, the songs that do well are the ones that have some space in them. A Paul Simon song might be amazing but it may not work well for a sync placement because there’s no room for the film or dialog to come through, so leave space for it. Sometimes great songs aren’t used in film or TV because they’ve got too much going on.”The biggest challenge that the producer has faced over the span of his career is the occasional loneliness of self-reliance. “I talk about this in the first chapter of my book,” Peacock says. “[When you’re producing] There’s no one to complain to, there are no excuses to make. You’re either going to rise to the occasion or you’re not. There was a time when it rested on me to finish The Civil Wars’ last album [2013] when the duo had just broken up after a huge deal with Columbia Records had been signed. There was a lot on the line. The record was only half finished and it was up to me to complete it. Ironically, it went to number one. I’ve never not finished a record.”When Music Connection spoke with him, Peacock was in promotion mode for his book and latest record. He has some jazz projects that he’ll complete in the New Year including one with John Patitucci and Eric Harland. He’s built several sonic spaces over the years including The Arthouse. Now, though, he works largely out of his home studio. Visit charliepeacock.comThe post Producer Crosstalk: Charlie Peacock first appeared on Music Connection Magazine.

Elizabeth Warren proposes Elon Musk pay more taxes for gov’t efficiencySenator Elizabeth Warren urged DOGE Chair Elon Musk to cut wasteful spending, proposing full IRS funding and closing the carried interest loophole.

JetBrains launches Junie, a new AI coding agent for its IDEsJetBrains, the company behind coding tools like the IntelliJ IDE for Java and Kotlin (and, indeed, the Kotlin language itself), on Thursday launched Junie, a new AI coding agent. This agent, the company says, will be able to handle routine development tasks for when you want to create new applications — and understand the context […]
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James H Ball sosciSosci is a super-realistic software oscilloscope that simulates the look and feel of a real analogue oscilloscope from the 20th century. Based on the amazing XXY Oscilloscope by Neil... Read More

James H Ball osci-renderOsci-render is a synthesizer for making music by drawing objects, text, and images on an oscilloscope using audio output. This allows for 3D rendering of .obj files, .svg images, .txt files,... Read More

This QR Code Leads To Two Websites, But How?QR codes are designed with alignment and scaling features, not to mention checksums and significant redundancy. They have to be, because you’re taking photos of them with your potato-camera while moving, in the dark, and it’s on a curved sticker on a phone pole.  So it came as a complete surprise to us that [Christian Walther] succeeded in making an ambiguous QR code.
Nerd-sniped by [Guy Dupont], who made them using those lenticular lens overlays, [Christian] made a QR code that resolves to two websites depending on the angle at which it’s viewed. The trick is to identify the cells that are different between the two URLs, for instance, and split them in half vertically and horizontally: making them into a tiny checkerboard. It appears that some QR decoders sample in the center of each target square, and the center will be in one side or the other depending on the tilt of the QR code.
Figuring out the minimal-difference QR code encoding between two arbitrary URLs would make a neat programming exercise. How long before we see these in popular use, like back in the old days when embedding images was fresh? QR codes are fun!
Whether it works is probably phone- and/or algorithm-dependent, so try this out, and let us know in the comments if they work for you.
Thanks [Lacey] for the tip!
 

Court rejects crucial part of Limp Bizkit’s claim in $200m lawsuit against Universal Music GroupLimp Bizkit's lawyers have until February 3 to amend their lawsuit, or face total dismissal of the case, a federal court judge has ordered
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Behringer BX1 synth is inspired by the classic Yamaha CS-80 and DX1, with more teases at NAMM 2025NAMM 2025: Upon its hotly-anticipated return to the NAMM Show, Behringer has debuted the BX1 synthesizer, inspired by Yamaha’s DX1 FM synthesizer and the Yamaha CS-80. We played the functional unit but we’re told that it’s on show only as a prototype. Behringer’s Pro-16 and JT-16 synths are also on show as prototypes.
READ MORE: NAMM 2025 Live: Latest rumours, news and products from the biggest music technology show in the world
We figured that Behringer would be showing off some new gear at the show but, honestly, the BX1 is a surprise. Usually, the brand is keen to share updates on upcoming products with its audience, however, it’s remained pretty quiet about any DX1 emulations. It did reveal that it acquired and was restoring an “ultra-rare” DX1 in 2020 — the new BX1 is evidently the result of this endeavour.
Behringer’s BX1 synth at NAMM Show 2025. Image: Sam Willings for MusicTech
The BX1 is much more compact than the original DX1 and, of course, much more affordable. Only 140 DX1 synths were made in 1983 and so a second-hand purchase would set you back some £32,000. A representative from Behringer told us that there is no official price yet, but it’s likely going to be a little more expensive than the UB-Xa, which is around £730. It also has a filter section that’s inspired by the filters of the Yamaha CS-80 — the same Behringer rep told us that the company wanted to get “the best of both worlds” from Yamaha’s classic synths. And we all know how much a second-hand CS-80 costs…
It boasts 32 playable voices and an FM synth engine with a visual display designed to make patching and routing easier than on the original DX1. A Modern/Vintage button lets you change the character of the synth’s sound for a dustier, detuned vibe, and an arpeggiator is onbard with a hold function to create quick sequences.
Another standout feature of the BX1 is its SD Card slot, which is for transferring SysEx patches to and from the synth. That means you can transfer patches from other DX hardware, such as the Yamaha DX7 and the original DX1, and even patches from software emulations of DX gear.
It admittedly doesn’t feel like a premium product — the side panels are not wood but plastic — but it sounds pretty versatile from our brief experience.
Elsewhere on the Behringer stand is the JT-16 and Pro-16. The former is an emulation of the Roland Jupiter-8, the latter inspired by the Sequential Pro One. These aren’t currently plugged in and are seemingly just for show.
Behringer’s Pro-16 synth at NAMM Show 2025. Image: Sam Willings for MusicTech
Behringer’s JT-16 synth at NAMM Show 2025. Image: Sam Willings for MusicTech
There’s no word on a release date of the BX1, JT-16 or Pro-16 yet, but Behringer tells us the response from show attendees so far has been pretty positive.
Keep up with NAMM 2025 as it happens. 
The post Behringer BX1 synth is inspired by the classic Yamaha CS-80 and DX1, with more teases at NAMM 2025 appeared first on MusicTech.

Weverse hit 150m lifetime downloads, saw 19% user growth in 2024, as Ariana Grande, Dua Lipa join superfan platform'2024 was a transformative year for Weverse,' said Joon Choi, President of Weverse Company
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