OMNi (alpha v0.1), a FREE Rust-based DAW with native AI sample generation
From developer Tomasz Głuc comes the alpha version OMNi, a free Rust-based DAW. While our favourite plugins may change over time, it’s not uncommon to stick with the same DAW for the entirety of our musical lives. After a brief spell with Cubase, I made an early jump to Logic Pro, and other than making [...]
View post: OMNi (alpha v0.1), a FREE Rust-based DAW with native AI sample generation

German court says Suno’s AI training infringed copyright in landmark rulingA German court has ruled that AI music platform Suno infringed copyright by training its music generation model on protected songs without permission, marking one of the most significant legal victories yet for creators in the fight over generative AI.
The ruling, handed down by the Munich Regional Court on Friday, found that Suno unlawfully processed, stored and reproduced musical works represented by German licensing agency GEMA as part of training its AI system.
Crucially, the court also held that Suno’s AI training in the United States does not exempt it from copyright liability in Europe. According to GEMA, it is the first time a European court has ruled on AI training carried out in the U.S.

READ MORE: AI artists are already making millions from Spotify and YouTube – and they’re only getting bigger

The lawsuit, filed in January 2025, centred on six songs from GEMA’s repertoire, including Forever Young, Big in Japan, Rasputin, Daddy Cool, Mambo No. 5 and Atemlos. GEMA argued that Suno used these works to train its model without obtaining the necessary licenses or paying creators.
The court agreed, ruling that both the training and commercial exploitation of copyrighted works require permission from rights holders, and that AI service providers must pay the creators appropriate remuneration. Suno has been ordered to pay damages – amount yet to be determined – and disclose revenue related to the infringement.
“This ruling sends a powerful international message: creativity has value, and creators’ rights must be respected in the age of artificial intelligence,” says GEMA Supervisory Board chairman Dr Ralf Weigand.
“Through this decision, GEMA has set an important precedent not only for its more than 100,000 members, but for creators worldwide. The fact that we can now enforce our rights in countries including the United States gives creators hope and confidence at a time of profound technological transformation.”
GEMA CEO Dr Tobias Holzmüller also called the judgment “a landmark” for creators, adding: “All generative AI is based on human creativity; artificial intelligence is nothing without humans. Today, the Chamber made one thing crystal clear: AI models built on stolen intellectual property have no protection under the law. AI service providers must pay for licences rather than helping themselves to our members’ works free of charge.”
“Today, the court’s verdict has significantly strengthened Europe’s position as a cultural centre. When AI service providers operate their systems in Europe, claims can be brought against them in European courts. This is vital for proper enforcement of the law.”
The decision marks GEMA’s second major courtroom victory over an AI company after its successful case against OpenAI last November, further strengthening its push to ensure AI developers license the music they use to train their models.
Since generative AI entered the mainstream, record labels, publishers and collecting societies have been battling AI firms over whether copyrighted works can be used for training without permission. Suno has become one of the highest-profile companies in that debate, previously arguing that AI training constitutes fair use under US law.
Following Friday’s decision, Suno has said it disagrees with the ruling and is considering “all available options”, including an appeal.
The post German court says Suno’s AI training infringed copyright in landmark ruling appeared first on MusicTech.

Anukari is a unique modelling synth that dares to be different, but how does it fit into my workflow?£135 (currently on offer for £90), anukari.com
Anukari provides a virtual 3D environment for sound creation and effects processing with a flexible modular workflow that lets you build patches piece by piece like a Meccano model.

READ MORE: UVI Rumble complements your most trusted synths, but should it do more?

After three years of development and prototyping with a lengthy beta phase, Anukari v1.0 is finally available. The brain child of former Google engineer Evan Mezeske, Anukari’s 3D physical modeling engine relies on GPU acceleration, processing at 48 kHz internally. The reason behind this is that a GPU is better suited to making thousands of calculations than a CPU, but as a result, Anukari requires either an Apple Silicon-based Mac or a Vulkan-compatible GPU on Windows.
The Anukari modelling engine operates as a simulation of 3D space and is capable of connecting hundreds of virtual objects, anchors, and springs to generate and modulate the sound. Using a virtualisation process known as 1:1 mapping or GPU pass-through, each object within the Anukari environment is managed by its own processing thread with threadgroup memory and barriers to keep every element synchronised.

The way of Anukari
When you dive into Anukari, it’s confusing at first. The fundamental difference between this and other synth plugins is not the fact that it’s using a physical simulation or modeling synthesis; it’s the idea that the structure of the instrument is patch-dependent. This means there is no familiar standard signal flow, as you would find in a subtractive synthesizer that follows an oscillator to filter to envelopes direction. Instead, Anukari has different objects which can be placed in the virtual 3D environment to create a patch.
The basic premise of building sounds in Anukari is similar to an acoustic environment in that you need a sound source and a transmission device to complete the virtual circuit and allow the instrument to be triggered by the keyboard’s note input and carried to the main outputs. Each of these tasks can be performed by a number of different objects, but luckily there are categories that show you where to look.
In the Core section, you can find components that will make up the primary physical structure of your instrument.
This includes a Body, which is a moving object mounted onto one or more Springs, which can then be connected to an Anchor to restrict the Spring’s movement. Where it gets slightly more complex is that sound is created when an Exciter acts upon a Body which is linked to a Microphone. That means without the Exciter, which could be a mallet, audio input, oscillator, bow, or plectrum, there is no sound being created, and without the Microphone, there is no sound being captured. Once you understand this workflow, you can start experimenting with different objects, and you quickly learn that different Exciters create different timbres.
Image: Press
The limitless flexibility of Anukari
Although the process sounds rather abstract, the visual 3D environment actually makes it rather intuitive, and you can always flip through the preset library to find a template to build from or simply find out what is sonically possible with Anukari. As you load more elaborate patches, you’ll notice that they require more resources to run smoothly. Another key difference between Anukari and most other synth plugins is that there is little limitation on how many sound generation devices you can run within a single patch.
Naturally, this presents somewhat of a conundrum for inexperienced users. A MiniMoog, for instance, has a finite structure with three oscillators, a filter, and two envelopes, which clearly defines the creative playing field for building sounds. Anukari, on the other hand, puts this power in the hands of the user, which could be a little overwhelming if you don’t fully understand the scope of tools or don’t have a specific sound design concept in mind.
Once you’ve explored a little and gotten over these learning hurdles, you can start tinkering with Anukari’s more powerful sound manipulation tools, including its range of modulators and effects. Modulation is extremely versatile within Anukari, giving you access to LFOs, and Macros, which can receive automation data from your DAW, as well as MIDI CC, Pitch Bend, Pressure, After Touch, Note Follower, Trigger Envelope, and Envelope Follower devices. Each Modulator can be linked to almost any object in Anukari, including another Modulator, allowing you to determine how your keyboard is interacting with the instrument you’ve created, or providing the control to shape the sound according to the musical arrangement in your DAW.
There is also a range of 16 different effects modules that can be added between the source and capture points. Some of the highlights include a reverb with six algorithms, a formant filter, a grain delay, a vocoder, and a frequency shifter. Each effect can also be altered with one of the Modulation objects, which is ideal if you already have something textured or rhythmic going on. Furthermore, Anukari can also be used as an insert or send effect in your DAW. This is also a useful way to introduce yourself to the 3D environment, as you are using another instrument as your sound generator and Anukari becomes a platform for adding weirdness in varying degrees.
Image: Press
Can Anukari find a place in my next pop, hip-hop, or EDM track?
Probably not. If you’re looking for an instantly gratifying plugin that churns out usable presets, look elsewhere, as this is certainly not what Anukari is designed to be. Instead, it’s a flexible platform for sonic exploration, which is likely to appeal to a different group of users. A sound designer, for instance, who works in motion pictures or games, especially in the fantasy/sci-fi genre, will quickly find a way to put Anukari to use in their workflow. Equally, an electronic music artist on the minimal, experimental side of the spectrum will appreciate its open-endedness as an instrument or effects processor.
While there are times when I discover sounds reminiscent of modeling synths like AAS Chromaphone or Logic Pro’s Sculpture, I couldn’t compare the user experience to any other software, except perhaps Bitwig’s The Grid environment, a modular synth like VCV Rack, or the Kyma sound design platform from Symbolic Sound. The difference is that Anukari relies on virtual 3D physics, which puts it in a category of its own. While this makes Anukari a niche tool, it’s definitely an engaging creative instrument if you give yourself the time to step outside the norm.
Above all, I find Anukari’s strength to be its ability to create something unexpected. Like any instrument, the fun starts once you’ve separated the aspects you like from the ones you don’t, and the environmental nature of the platform makes it ideal for those who like to think conceptually about sound. So, I wouldn’t be at all surprised if I heard Anukari used on Max Cooper’s next EP.
Image: Press
Key features

Modelling synthesizer
VST3, AU, AAX and standalone
Flexible visual 3D environment
Powerful effects and modulation
Multichannel audio compatible (up to 50 channels I/O)
MPE and microtuning support
Video and audio capture (including DAW mix)

The post Anukari is a unique modelling synth that dares to be different, but how does it fit into my workflow? appeared first on MusicTech.

The global memory shortage hits the MacBook AirThe global memory chip shortage appears to be affecting the availability of Apple’s most popular Mac.

An Automated Water Tank Controller[Jumpor] lives in a part of India where the water infrastructure is a little frustrating to use. Water gets delivered to underground tanks outside of homes, and must then be regularly pumped into rooftop tanks prior to use inside the building. Typically, this pumping is handled manually—by switching on a pump and running it until water comes out of an overflow pipe to indicate the rooftop tank is full. [Jumpor] decided to improve this wasteful and time consuming process with a little automation project.
The build is based around an ESP32 microcontroller. It’s hooked up to an ultrasonic sensor which can measure the water level inside the rooftop water tank. When the sensor detects the level descending below a set point, the microcontroller fires a relay to trigger the lift pump to fill up the tank. Once the sensor detects the tank is full, the pump is shut off, saving liters of water compared to waiting for water to pour out of the overflow as an indicator of the same.
It’s a simple enough project, but [Jumpor] was sure to include the important practical considerations. Since the rig was being installed in a rental, it was desirable to not make any permanent modifications to the water system. Thus, a fresh cap for the water tank was modified to host the electronics and level sensor, such that the original could be replaced at a later date. Due consideration was also paid to things like avoiding crossing the minimum detection threshold of the sensor, which could lead to accidental overflows if not managed correctly.
The aim of this project was to ease the day to day burden of maintaining a basic utility. That’s the sort of project we love to see around these parts.

Lo-bit record Plate core 12AU7 VCA core 26xModeled Gated Reverb Plugin Combining Analog Plate Reverb & VCA Dynamics. 『Plate core 12AU7 VCA core 26x』 Released. Product Overview. 『Plate core 12AU7 VCA core 26x』 is a gated reverb processor that combines a high-density plate core modeled after the reverberation structure of the legendary EMT 140 analog plate reverb with 12AU7 tube saturation and VCA Core dynamics (Gate / Compressor). From classic snare gated reverb processing to tight reverb decay control, its intuitive interface allows you to effortlessly craft rich, high-quality audio textures. Key Features. 1. 【High-Density Plate Core Based on EMT 140 Modeling】. Faithfully recreates the dense, smooth plate reverberation characteristic of the industry-standard EMT 140 plate reverb. 2. 【VCA Core Dynamic Gate & Compressor】. Equipped with a VCA-spec dynamics circuit acting directly on the wet reverb tail. ・Features a fast-responding gate with switchable Hard/Soft modes, providing a versatile decay range from tight cutoffs to natural fade-outs. ・Combining it with the VCA compressor evens out the reverb sustain right up to the gate closure, delivering a distinct, punchy gated effect. 3. 【12AU7 Pure 2nd Harmonic Drive (200% Scale)】. Modeled after 12AU7 tube circuitry, it adds pure 2nd-order (even) harmonics without any harsh odd-order harmonics. By targeting key frequency zones (120 Hz / 250 Hz / 2 kHz), it adds warmth and body without causing drastic volume spikes. 4. 【Multi-Impulse Equal-Power M/S Width Engine】. Utilizes a multi-impulse diffuser matrix alongside an M/S synthesis circuit. Even when expanding the Width up to 200%, it maintains the solid phantom center core (Mid component) while adding natural stereo width to the sides. 5. 【Post-Reverb 16kHz Air EQ】. Features a 16,000 Hz (16 kHz) ultra-high shelf EQ placed at the output stage of the wet signal path. It adds silky high-end air exclusively to the reverb tail while keeping the original dry signal untouched. Controls. 【Tube Saturation & EQ】. ・Valve Drive [0.0 ~ 36.0 dB] : Adjusts the amount of 2nd-order even harmonics generated by the 12AU7 tube modeling, adding warmth and body. ・Valve On/Off : Enables or bypasses the tube saturation circuit. ・HPF [20 ~ 500 Hz] : Adjusts the low-cut frequency for the reverb send signal, preventing low-end muddiness. ・Air EQ [Off / 3dB / 6dB] : Boosts frequencies above 16 kHz on the wet reverb tail to add natural airy brilliance. 【Reverb】. ・Decay Time [0.5 ~ 10.0 s] : Sets the decay time (RT60) of the plate reverb. ・Damp [1,000 ~ 20,000 Hz] : Adjusts the high-frequency damping cutoff of the reverb tail. ・Width [0 ~ 200 %] : Adjusts stereo width. Retains the center core image even at maximum 200% width. 【VCA Dynamics (Gate & Compressor)】. ・Gate On/Off : Enables or bypasses the gate circuit. Turning it OFF allows the plugin to function as a standalone plate reverb. ・Comp On/Off : Enables or bypasses the VCA compressor dedicated to the wet reverb tail. ・Gate Hard/Soft : Switches between "Hard" mode for sharp, instant cutoffs and "Soft" mode for smooth, natural decay. ・Sidechain Source [Int / Ext] : Toggles the gate/comp detection signal source between internal wet reverb (Int) and external sidechain input track (Ext). ・Gate Threshold [-60.0 ~ 0.0 dB] : Sets the threshold level for gate opening and closing. ・Gate Hold/Release [10 ~ 500 ms] : Adjusts the gate release speed. Shorter values create a tight, punchy gated reverb. ・Comp Threshold [-40.0 ~ 0.0 dB] / Comp Ratio [1.0:1 ~ 20.0:1] : Sets the operating threshold and compression ratio for the VCA compressor. 【Master Output】. ・Gain [-24.0 ~ +12.0 dB] : Adjusts the master output level. ・Dry/Wet [0 ~ 100 %] : Controls the balance between the dry original signal and the wet processed signal (reverb + gate/comp). Read More

Shadaloo Audio DSP releases APD Compressor vocal compressor for FREE
Shadaloo Audio DSP has released APD Compressor, a free/pay-what-you-want vocal compressor plugin for macOS and Windows. We recently covered several plugins from Fabio “Shadaloo” Caterino, including the free H tone and loudness enhancer, the Wide spatial enhancement plugin, and the excellent Vinland Drive tape emulator. APD Compressor continues the developer’s pay-what-you-want approach. You can enter [...]
View post: Shadaloo Audio DSP releases APD Compressor vocal compressor for FREE

ZL Audio releases ZL Spectrum Equalizer, a FREE dynamic spectrum EQ
ZL Audio has released ZL Spectrum Equalizer, a free and open-source dynamic spectrum equalizer plugin for Windows, macOS, and Linux. I already expected something like this coming from ZL Audio at some point. The developer is behind the excellent ZL Equalizer 2 and ZL Compressor, both of which received some fantastic feedback from the BPB [...]
View post: ZL Audio releases ZL Spectrum Equalizer, a FREE dynamic spectrum EQ

Acustica introduce Dangerous Music BAX EQ Plugin Following on from the launch of the 500-series version of their BAX EQ unit, Dangerous Music have now teamed up with modelling experts Acustica Audio to create an officially licensed plug-in.

Inside the London hacker house taking a stand against founder burnoutHow one founder house is betting work-life balance can beat burnout .

Onchain, in court: What happened in crypto legal news this weekA case tied to defunct crypto exchange FTX moves forward, a soldier seeks to dismiss over a Polymarket bet and a former congressman was ordered to pay $35,000 for manipulative trading.

Get Native Instruments Reaktor Synthesizer Bundle for $99 at Plugin Boutique
Plugin Boutique is offering the Native Instruments Reaktor Synthesizer Bundle for $99 until August 16th. Reaktor Synthesizer Bundle normally lists for $1,109, so this is a pretty heavy discount if you want a lot of Reaktor-based instruments in one purchase. Native Instruments has had a complicated year, as James recently covered in our articles, including [...]
View post: Get Native Instruments Reaktor Synthesizer Bundle for $99 at Plugin Boutique

Open Source Stream Deck Targets FlexibilityStream decks are very useful when you’re live on camera and you need to hit some complicated macro at a glance. However, there is sometimes a perception that commercial options are a touch expensive for what they are, an attitude which has spawned many DIY builds. [Fady Faheem] has developed just such a device of his own.
Named Stream32, the build is intended to be simple to understand and adapt to one’s own individual workflow. Putting one together is as easy as buying a display, hooking it up to an ESP32, flashing the firmware, and then adding pages of shortcuts as desired. [Fady] has designed the firmware to be flexible with regards to screen choice — currently, it can be set up for a 4″ Waveshare LCD or a nice roomy 10.1″ display from Elecrow. Since it’s open source, adapting to a wider range of displays is a potential exercise for the builder.
The great thing about custom stream decks is you have all the freedom in the world to customize them to your own specific setup. Play with the code, the functionality, the visual layout—all to suit your own needs. If you’re working on your own custom hardware, be sure to tell us on the tipsline.

Remi Blaze Tunix RawTunix Raw is a one-knob pitch corrector for macOS. A single TUNE knob takes a vocal from natural, transparent correction to a hard robotic snap, addressing quick pitch fixing and the hard-tuned vocal effect without setup. Key features: A single knob spanning natural correction through to a hard robotic snap. No key or scale to set: it snaps to the nearest note automatically, so it works on any vocal in any key. Level-matched output, so turning the knob never changes your gain staging. Formant-locked, so the voice never chipmunks, and consonants stay crisp. Low-latency corrector you can monitor through, reported to your DAW for clean bypass. Formats: AU, VST3, and Standalone. Universal Binary (Apple Silicon and Intel), code-signed and notarized by Apple. Read More

Auburn Sounds releases Psypan 2 Free, a stereo multi-effect plugin
Auburn Sounds has released Psypan 2 Free Edition, a free stereo multi-effect plugin for Windows, macOS, and Linux. We have covered several Auburn Sounds plugins on BPB over the years, including Panagement, Lens, and Inner Pitch. Psypan 2 follows the same Free/Full model, with a very usable free version and a paid upgrade for the [...]
View post: Auburn Sounds releases Psypan 2 Free, a stereo multi-effect plugin