Extrasensory VEX Expressive MIDI ControlTurn any MIDI device into an expressive control instrument. Works with any VST, AU, or hardware that responds to MIDI. VEX is a MIDI FX plugin that transforms plain controller moves into rich, performance-grade modulation. Insert it on a MIDI track, feed it data from any controller, and route the output to your synths, samplers, and FX. Instead of drawing static automation or fighting stiff knobs and faders, VEX lets you shape how control signals behave over time—smoothing, curving, exaggerating, or "playing" parameters as if they were instruments of their own. Use it to breathe life into filters, reverbs, delays, granular engines, or any parameter that accepts MIDI CC, aftertouch, or other control data. Read More

Get the Wave Alchemy Reverb Bundle for only $20 until December 7
Wave Alchemy has unleashed a massive deal on its Reverb Bundle, which is now just $20 at Plugin Boutique until December 7. I was blown away (much like everyone else) with Wave Alchemy’s free Magic7 reverb. It’s a fantastic emulation of the legendary Bricasti M7 reverb and an absolute killer freebie. If you liked that [...]
View post: Get the Wave Alchemy Reverb Bundle for only $20 until December 7

Jorja Smith’s label FAMM seeks share of royalties from viral track ‘I Run’ amid AI allegations, calls for industry ‘guardrails’ to protect artistsLabel claims the track was created using AI trained on the British singer's music
Source

Get these solid closed-back studio headphones for just $49 in this lingering Cyber Monday deal at zZoundsOfficially, Black Friday and Cyber Monday are in the rear-view mirror, but as retailers try to outcompete each other for how long they can drag out their sales, that’s where you can jump in, take advantage and bag yourself a killer deal in the Cyber Weekend aftermath.
If you’re in the market for a new pair of studio headphones – either just a spare pair, or a replacement after the earcup cushions in yours started flaking (a curse I am currently afflicted with) – these AKG K92 closed-back studio headphones might just be the ticket.
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These cans were originally priced at $89, but for a limited time post Cyber Weekend you can grab ‘em for just $49. So what does $49 get you in this case?
The AKG K92s pack pro-grade 40mm drivers for the accurate playback of even the subtlest nuances; there’s no point having a monitoring system if you’re not confident your mixes will translate in different environments. And these cans deliver solidly here.

READ MORE: Cyber Monday music deals 2025: The best deals we’ve found on synths, DJ controllers and plugins

They deliver a balanced frequency range, with an extended low-frequency response which gives definition to elements like kick drums and bass guitar, while a detailed high-frequency response reveals the nuance in vocals, guitars and acoustic instruments.
The K92s’ closed-back design minimises audio leakage – but why is this important? Well, as the sound is kept to your ears only, you don’t need to worry about the bleed from a click track making it into your recordings, for example.
They’re ergonomic, too; an exposed headband design keeps the headphones comfortable and light, while breathable, lightweight ear pads encircle your ears rather than putting pressure on them. Visuals areimportant, too, right? So these headphones sport golden accents for effortlessly stylish appeal.
Don’t wait around, we don’t expect this deal to be live for much longer…
Get yours at zZounds.
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Suno has acquired Songkick: What it means for ArtistsControversial AI music platform Suno acquired Songkick as part of its new deal with Warner Music Group. But why would an AI music creation tool want to own a struggling concert listing service?
The post Suno has acquired Songkick: What it means for Artists appeared first on Hypebot.

Condenser mic specialist Soyuz launches its first dynamic microphoneSoyuz has long built a reputation for its handcrafted condenser microphones, but now the boutique LA audio brand forays into the world of dynamic mics with the V1 Dynamic.
The V1 Dynamic, Soyuz says, aims to bridge the gap between stage and studio, pairing condenser-like clarity with the more forgiving nature of dynamic microphones. Named after the Vostok 1 – the first spacecraft to launch a human into space, Yuri Gagarin, in 1961 – the V1 Dynamic celebrates Soyuz’s foray into “new creative and technical territory”.

READ MORE: Score Tekno for just $69 as Baby Audio slashes prices up to 89% for Cyber Week

As Soyuz explains, the V1 Dynamic features a cardioid polar pattern, and boasts a “naturally extended top end” and balanced midrange, as well as a “focused low end”, and requires “no EQ to come alive”. There’s also a controlled proximity effect, meaning performers can play close to the grille without fear of sonic mud.
At the mic’s core is a custom Soyuz transformer, with a precision-machined headbasket which is not only aesthetically pleasing, but which also “serves as an acoustic component” before sound even reaches the capsule inside.
“The V1 Dynamic is an important milestone for us,” says David Brown, President and Co-Founder of Soyuz Microphones.
“We had always considered building a dynamic mic someday, but we held off until we could create something truly unique that felt genuinely like a Soyuz in both sound and design. It’s durable, musical, and simple. It’s a dynamic sounding dynamic.”
Credit: Soyuz
The V1 Dynamic arrives as the result of hands-on testing and direct feedback from a range of working artists, including Beck, LCD Soundsystem, My Chemical Romance and more.
“I love this Soyuz V1 microphone,” said Nathan Willett of Cold War Kids. “The tone is clear, responsive, bright, and true. It looks great – like it would be on the do-not-touch-without-permission shelf in a fancy studio…Singing with it makes me feel like I’m Serge Gainsbourg or Iggy Pop in the 60s on a legendary TV performance.”
“I absolutely love the mic,” adds indie band Hand Habits. “It’s been my new live mic lately. It rejects a lot of the background sound so impressively. It also almost feels like it compresses internally, giving it a nice dynamic response when singing. Nice top end. Highly recommend it.”
The V1 Dynamic comes in Silver and Matte Black finishes, and comes with a custom mic clip and canvas carrying bag. Price-wise, the V1 Dynamic clocks in at $279.
Learn more at Soyuz Microphones.
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Sonica is a New Music Platform Putting Artists Back in ControlNo hidden fees, no commissions, no algorithms, no AI — Sonica is the latest startup offering artists ethics-aligned streaming with 100% ownership of revenues and rights.
The post Sonica is a New Music Platform Putting Artists Back in Control appeared first on Hypebot.

Drawmer unveil 1979 channel strip Drawmer say that their latest release has been designed to offer a modern take on the classic channel strip, combining a versatile mic preamp with a comprehensive EQ section and vintage-style compression. 

Get 90% off the United Plugins WideFire + get UVI Model D for FREE
WideFire is an analogue-style saturation plugin by JMG Sound/United Plugins that takes an interesting approach to audio widening, and now you can get it for 90% off at AudioDeluxe! The WideFire plugin typically sells for $29, but with a 90% discount, you can pick it up for just $3 (I’m not sure how long the [...]
View post: Get 90% off the United Plugins WideFire + get UVI Model D for FREE

Cyber Weekend is over, but you can still save up to 55% on Korg plugins all of this week!If you didn’t manage to grab any bargains during last week’s Black Friday madness, you’re in luck. Plugin Boutique has rolled out a fresh Cyber Week sale featuring deep discounts across Korg’s classic software lineup – from legendary synth emulations to modern effects – with prices starting at just £23.
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The sale covers many of Korg’s most recognisable plugins, including up to 54% off iconic synths such as the MonoPoly, M1, MS-20, and Wavestation. Whether you’re chasing rich analogue pads, classic digital textures, or unmistakable Korg filter grit, now is a great chance to expand your sonic arsenal without breaking the bank.
Producers looking for an all-in-one workflow can also pick up Korg Gadget 3 at half price (£90). The award-winning DAW/groovebox hybrid packs over 40 small synths/drum machines or “gadgets” that can be mixed and matched inside a clean, intuitive interface. It’s one of Korg’s most flexible creative environments, and it’s rarely this affordable.

READ MORE: Cyber Monday music deals 2025: The best deals we’ve found on synths, DJ controllers and plugins

For those who’d rather go all-in on the vintage-meets-modern bundle, the full Korg Collection 6 – which now includes the Trinity, PS-3300, and the Kronos Piano engine SGX-2 – is available for £270, a tidy 25% saving off its usual £360 price tag.
Entry-level picks are discounted too: MDE-X, Korg’s multi digital effects plugin, now starts at £23, making it an easy add-on for producers wanting versatile delays, modulation, and other classic Korg effects.
The deals run until 8 December, so there’s still time to bolster your plugin arsenal before the year wraps up.
Check out the full sale over at Plugin Boutique.
The post Cyber Weekend is over, but you can still save up to 55% on Korg plugins all of this week! appeared first on MusicTech.

Score Tekno for just $69 as Baby Audio slashes prices up to 89% for Cyber WeekBaby Audio’s inventive and playful plugins are turning heads in studios everywhere, and this Cyber Week at Plugin Boutique is your chance to snap them up at jaw-dropping prices. From drum synths to vocal processors and multi-effects, the lineup is packed with tools that let you get creative and experiment without breaking the bank.
First up, we have Tekno, Baby Audio’s newly released drum synth that’s quickly become a favourite for crafting cutting-edge beats. It’s currently going at $69, a solid 46% off the usual price. If you’re after effects that go far beyond simple transitions, Transit 2 is a multi-effect powerhouse at the same price, giving you everything from subtle tweaks to wild, unexpected transformations.
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For precise EQ and tonal shaping, Smooth Operator Pro is a must-have. You can grab the full version for $69, or upgrade from the original Smooth Operator for just $29, saving a whopping 77%. Baby Audio’s TAIP Tape Emulation is another standout deal, priced at only $9.99 – an incredible 89% off and perfect for adding vintage warmth to any track.

READ MORE: Cyber Monday music deals 2025: The best deals we’ve found on synths, DJ controllers and plugins

There are plenty more highlights to explore. The IHNY-2 Compressor brings punchy dynamics for $39, while Crystalline and Spaced Out Reverbs offer lush atmospheres at $39 each. Fans of nostalgic textures can also check out Super VHS, a multi-effect inspired by “lofi magic of the VHS era”, now priced at $29. Meanwhile, Atoms and BA-1 Synths are both $49, giving you rich, playful synth sounds at half the usual price.
For producers who want the complete package, the Baby Audio Complete Bundle combines every plugin and expansion pack for $279, saving 30% off the regular price and unlocking the full creative arsenal in one go.
Check out the full list of Cyber Week deals at Plugin Boutique before they vanish.
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Jorja Smith’s label condemns AI “clone” vocals on viral track I Run: “This isn’t just about Jorja. It’s bigger than one artist or one song”Jorja Smith’s record label, FAMM, has taken aim at the British dance act Haven over their viral track I Run, alleging that the song was created using an AI “clone” of Smith’s voice. The label also calls the case a troubling snapshot of how quickly artificial intelligence is reshaping the industry — and how slowly regulation is keeping up.
I Run went viral on TikTok in October, boosted in part by its smooth, soulful female vocals. While the original singer was never credited, listeners have drawn comparisons to the BRIT Award winner – and as chart success in both the UK and US loomed, the song was pulled from streaming services following complaints of impersonation and copyright violation.

READ MORE: “Music producers are rejecting AI”: Study reveals over 80% of producers are against AI-generated songs

FAMM now says it is seeking compensation for the song, arguing that I Run was created using an AI model trained on Smith’s discography, and that this training unfairly exploited the work of Smith and her co-writers.
Although Haven later re-released the track with new vocals, the label maintains that “both versions of the track infringe on Jorja’s rights and unfairly take advantage of the work of all the songwriters with whom she collaborates.”
“This isn’t just about Jorja. It’s bigger than one artist or one song,” FAMM writes in a statement. “We cannot allow this to become the new normal”.
The label argues the case underscores a broader industry crisis, warning that AI is advancing “at an alarming rate and substantially outpacing regulation”.
“If we are successful in establishing that AI helped to write the lyrics and melody in I Run and are awarded a share of the song, we would seek to allocate each of Jorja’s co-writers with a pro-rata share,” says FAMM. “This allocation would be based on the [percentage] of Jorja’s catalogue that they have contributed to, as, ultimately, if AI helped to write I Run, it would have been trained on Jorja’s catalogue of songs.”
According to Billboard, the track’s producers Harrison Walker and Waypoint (real name Jacob Donaghue) have acknowledged using AI in the song’s creation. Walker insists the original vocals were his own but heavily transformed using Suno, an AI music generation platform often described as ‘ChatGPT for music’. Donaghue similarly confirms that AI was used to “give our original vocal a female tone”.
“As a songwriter and producer I enjoy using new tools, techniques and staying on the cutting edge of what’s happening,” says Walker. “To set the record straight, the artists behind Haven. are real and human, and all we want to do is make great music for other humans.”
For FAMM though, the issue goes far beyond one viral track. Without transparency requirements – such as clear labels on AI-generated or AI-altered material so the public may choose whether or not to consume them – the label argues that artists risk becoming “collateral damage in the race by governments and corporations towards AI dominance.”
Its concerns echo a wave of growing alarm across the music community. Early this year, over a thousand artists – including Kate Bush, Hans Zimmer, Paul McCartney and Imogen Heap – released a silent album in protest against the UK government’s proposed AI copyright exemptions.
Elsewhere, controversies such as the Velvet Sundown saga – in which an AI-generated track was falsely marketed as the work of an emerging artist, complete with a fabricated persona and backstory – have fuelled broader fears that AI tools can easily blur, distort or outright replace an artist’s creative identity.
The post Jorja Smith’s label condemns AI “clone” vocals on viral track I Run: “This isn’t just about Jorja. It’s bigger than one artist or one song” appeared first on MusicTech.

Erin LeCount: “Nobody wants to be a good female producer – just a good producer”Erin LeCount’s makeshift garden shed studio is her “safe space”. Though unfinished and not soundproofed, the DIY alt-pop star likes that “it’s not too perfect, otherwise that could psych me out”. Sticking to making her ethereal music where she feels most comfortable is paying off; however. The Essex-born artist went viral on TikTok in late 2024 and has since enchanted a young, cult-like fanbase with over 180,000 followers at the time of writing.

READ MORE: “It’s not as laid-back as everyone thinks it is”: How Tanis scores movies and makes music from her NYC apartment

The 22-year-old has come a long way from the finals of The Voice Kids in 2017, and later creating “tinny” backing tracks on GarageBand, hunched over a laptop in her bedroom. “I just found it fun,” the producer, vocalist and songwriter recalls of uploading these covers to TikTok during her late teens. “A lot of it happened in lockdown,” she says, adding that she first got into producing as a way to boost her confidence and battle imposter syndrome.
“As soon as I got in rooms with songwriters, I would freeze up. Any environment that was too professional or clinical would instantly bring it on.”
Because she also suffered from stage fright, posting to social media felt “more private – even though these videos were out there for anyone to see”. It was also, she adds, “the first time it had been fun in a long time”.
Image: Press
However, there was an issue with her bedroom setup at the time: Erin’s posture was suffering; “It was terrible, so my dad kindly suggested that we build a shed, or just somewhere out of the house, for me to make music in”. Plus, her neighbours weren’t always fans of the noise: “I would be recording and they would bang and shout on my walls,” Erin recalls. “It got to the point where there was either negative or positive feedback,” she laughs. “It was borderline necessity at that point, otherwise we were going to have the council called on us!”
Fast forward to 2025, and the garden shed studio — which remains acoustically untreated — boasts her essentials — a laptop with Logic Pro, a tiny Akai APC Key, a Focusrite Scarlett Solo — plus prized gear for use on the stage as well as studio. This includes a Sequential Prophet, a Boss RC-505 that she uses to loop vocals on stage, a “tiny but powerful” Novation Bass Station, two drum pads, a MIDI Fighter Twister that she uses to affect reverbs and delays, two mics (one that she uses for lead and the other that she’s affecting and looping on) and then Ableton Live which runs on the side of the stage.
“It’s like a playground on stage,” Erin summarises. “I’m dancing and twirling between all these little stations. It’s sort of childish in a way,” she enthuses. “It’s like play, and I love having that.”
Much of her current collection has also expanded thanks to pieces she has borrowed and is yet to give back: “I’ve got very lucky with just being cheeky, and people lending me things,” she says, highlighting her Moog Grandmother and a Native Instruments Maschine MK2. “No piece of equipment has driven me more mad than that,” she says of the latter. “I love the concept, and it looks so beautiful, but I could just never get to grips with it”.
Image: Press
Perhaps the most basic piece of equipment that she owns is her mic, a second-hand Neumann TLM 103, which came wrapped up in a tea towel. “It was not fresh and new,” she admits, adding that she’s been enjoying growing her range of equipment. “I’m at the point where I’m stopping stealing from everyone I know and getting some nice stuff for myself, but I’ve been in the box for so long that anything else is a luxury.”
More recently, Erin has been breaking down the creative process behind her songs for TikTok and Instagram. In one such video, she reveals that the harps and strings that feature prominently on ‘Mable Arch’ were actually played on her APC. Not only did she find this approach fascinating, but she loved the “slightly shitty quality of it”. This, Erin says, is why she named her latest collection I Am Digital, I Am Divine: “it’s got this divinity to it, but it literally is MIDI and plastic.”
“I love these massive orchestral sound options that, more often than not, come from a machine or a box,” she continues. “There is something so interesting and amazing about simulating those kinds of instruments,” she continues, referencing the work of her producer heroes Sampha, Imogen Heap, Björk and Kate Bush.
Image: Press
Sharing her behind-the-beats videos has not only helped minimise her imposter syndrome, but she says that “people appreciate it and are interested and fascinated by it”. One clip, in which she dissects Silver Spoon, has received over 600 comments and been loved by 11,000 TikTok users. “I think people are interested in how songs can come from that, as opposed to sitting at a piano and writing, because that’s never been how I’ve approached it,” she considers. “But I care about songs with good melodies and good structure.”
Having previously been unsure if her singular approach to bedroom production was the correct one, the response to her videos has given her “validation that there is no wrong way to go about making a song”. And, while Erin admits that she’s “not the most musically fluent person in the world”, she thinks that “finding out that the instruments are not real is part of the charm. The laptop and my voice are my favourite instruments, which is why most things I do are off of vocal chops, or drones of long reverbs.”
The technique breakdown videos have also helped to subtly negate doubt over how much involvement Erin has in her songs, which is something she has faced for many years due to outdated stereotypes: “So many times, I’ve walked into rooms with people who were there to have meetings with me about my music,” she recalls. “It’s only midway through the conversation that they realise, whilst talking to me, that I make it all,” she says. “But this isn’t something that I’ve hidden. I’m proud of it, and I show as much as I can, because it’s all I do. I do this all the time.”
Image: Press
As someone who loves self-produced artists and takes a keen interest in who produces her favourite songs, Erin says it’s “lazy when people say they don’t know enough female producers, or that there are not enough”. She couldn’t disagree more: “There are women doing it, but they’re either not calling themselves producers or are not being put in the right rooms. I know so many people who make beats and make tracks and then go ‘but I’m not a producer’, even though that’s exactly what it is.”
Reflecting on her own experience, she says, “You can feel a sort of condescension sometimes, or the idea that you can do maybe 60 per cent of it, and then they’re surprised when you want to do the last 40 per cent as well”. While Erin believes things are improving, she feels that more needs to be done to level the playing field.
“There is a lot of performative-ness and inclusivity for the sake of it,” she says. “But nobody that I know, including me, wants to be known as a ‘good female producer’. They just want to be a good producer.”

Having only been afforded the opportunity to rehearse at local gig venues and community hubs “out of the kindness of people’s hearts”, Erin feels that music production should be accessible for everyone – especially young women. How can this be achieved? An overhaul of school curricula, perhaps.
“Arts and music are being defunded so quickly, which is awful,” she says, “but there needs to be space and accommodation, in or out of school, that is ideally free. Because it was for me, and I wouldn’t make music if I didn’t have that”.
Not only is Erin LeCount one of the most honest and innovative producers around right now, but she’s also unafraid to speak up for the next generation – a role model for other upcoming producers.
Erin LeCount tours the UK in December and the US next February
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ValhallaDSP FutureVerb review: I can’t believe a $50 reverb can sound this good$50, valhalladsp.com
ValhallaDSP is an outlier in the world of plugin developers. For years, it has steadfastly stuck to its rule of $50 per plugin, with no annual sales. Through high-quality algorithms, positive word of mouth and free updates, it has cemented itself as a developer to trust, especially when it comes to reverb and delays. FutureVerb is its latest release, which has apparently been eight years in the making.

READ MORE: Best reverb plugins: Our favourite free and paid-for reverb plugins

When you look at what’s on offer, FutureVerb appears to be the culmination of all the releases that have come before; providing lush, crystal-clear algorithms, surprisingly deep sound design potential, and vintage grit on tap, should you want to get lo-fi.
Could this be ValhallaDSP’s magnum opus, and does it stand out in a year that’s seen a flood of reverb releases?
Valhalla’s goal with FutureVerb was to create the most transparent and realistic-sounding algorithmic reverbs possible. It includes a reverb section with five real-world acoustic spaces, two huge ambient spaces, and a tight nonlinear effect. To dramatically increase the sonic flexibility, there’s also an Echo section that lets you add extra colour and dirt. By default, the Echo will feed into the reverb, but this can be swapped if you prefer, which can result in a more washy or characterful sound.

The user interface follows in the footsteps of Valhalla’s other plugins, with a clear, if somewhat uninspiring layout. You get Mix and Width controls on the left, a handful of Echo and Reverb controls in the middle, then Modulation and output EQ controls on the right. Some of the main controls change depending on which mode is selected. It’s a no-nonsense approach that makes you use your ears, but multiple options and a lack of visual feedback mean you’ll have to spend some time learning what everything does to fully understand what’s going on. Thankfully, there are tooltips for every control and mode, displayed in the corner.
In the Reverb section are controls for Decay, Size, Density, and Early/Late reflections, which changes to an Attack control for the non-realistic spaces. This is enough to make broad changes without becoming overwhelming. The modes include Room, Chamber, Plate, Hall, Cathedral, Space, Frozen and Nonlin. True to their word, the acoustic spaces sound incredible and surprisingly lifelike for algorithms.
I test FutureVerb alongside a range of other reverb plugins, including Sonible smart:reverb 2, FabFilter Pro-R 2, SoundToys SuperPlate, Universal Audio’s Lexicon 480L, Logic’s ChromaVerb, and also Valhalla’s own VintageVerb. In terms of clarity, three-dimensional depth and general smoothness, it outshines them all. Eight years of research and development were well spent.
Image: Press
The other three reverb modes are more tailored for ambient spaces and sound design. Space can create epic, gentle swelling washes, and Nonlin is a classic nonlinear/gated reverb that’s great for adding thickness without huge tails. The unique new Frozen algorithm is a bit of a cross between the two, as it’s like a thick nonlinear reverb that can sustain and hang in space until it fades away. I fine tune the timing settings to use this for a staccato chord progression, to sustain the notes before they drop away for the next chord.
If you simply want to add a clean pre-delay, then this can easily be done with the Echo section. However, it’s also capable of dense detuned echoes, warm and warbling tape delays, and reversed and pitch-shifted delays. There are twelve modes to choose from, which can be used to add depth and character to the pristine reverbs. These include a clean Modern setting, plus Tape, Digital, Analog and LoFi modes that all have different types of saturation and grit accessible via the Drive dial. There are also a range of detuning, reversing and pitching options that swap the Drive dial for Detune. Of particular interest is the Sparkle mode that uses granular pitch-shifted delays to create ethereal shimmer patches, or the Swarm mode for more dissonant results.
On top of the standard delay time and feedback controls, you get a unique Spread dial that transforms the simple stereo delay into a four- or eight-voice feedback delay network. Increasing the dial fades in the extra voices and spreads them in time. This adds an extra lushness to sounds, and can also be used with short delay times to add convincing width to mono signals. You could easily turn off the reverb and just get wild doing sound design with the Echo section, but combine the two and you have a huge number of options.
Alongside the High-Cut and Low-Cut EQs that shape the final output, there’s also a Color menu that lets you change the overall equalisation and high frequency decay. The Bright and Neutral settings make reverbs sound more present in the mix, whereas the Dark setting gives a duller vintage sound, and the Studio setting rolls off frequencies below 600 Hz to help it sit further back in the mix. It will also slightly change the colours of the interface, which is fun, but doesn’t really bring anything practical.
FutureVerb Reverb Modes. Image: Press
There is vast amount of presets, which really helps to show off how this plugin can be used for a broad range of functional reverb tasks alongside more experimental effects and character work. With so much on offer, it takes a while to learn how all the different modes sound and interact, but it’s versatile enough to easily become your go-to reverb for most tasks — especially when you consider just how pleasant it sounds.
The only feature really missing is an internal ducking control, which is something that’s found on most reverbs these days. It seems the developer considered including one, but decided to keep the interface cleaner instead. Maybe they’ll reconsider for a future update, as it could be a useful addition to help create more mix space for your sounds.
If you’re the kind of person that likes to delve deep into editing a reverb’s parameters and how it decays across the spectrum, then there are other plugins such as FabFilter’s Pro-R 2 that offer more control. Where FutureVerb shines though, is the way it encourages you to playfully explore what it sounds like to add pitch, width and saturation effects into the reverb tail. In that respect, it feels a bit like a hardware pedal where you can lose hours turning dials and experimenting with different combinations.
Overall FutureVerb is a versatile and stunning-sounding reverb that’s well worth the reasonable asking price, and like VintageVerb before it, I can see this becoming a future classic.
FutureVerb Echo Modes. Image: Press
Key features

VST/AU/AAX plugin
7 Reverb algorithms (Room, Chamber, Plate, Hall, Cathedral, Space, Frozen and Nonlin)
Echo section with Drive, Detune and unique Spread control
12 characterful Echo algorithms (Modern, Tape, Digital, Analog, Detune, Reverse, ReverseOctUp, ReverseOctDown,
ReverseOctUpDown, Sparkle, Swarm, LoFi)
Independent level controls for Echo and Reverb
Color section with 4 profiles
Lush sounding modulation
HighCut and LowCut EQ
Mix and Width controls, plus Mix Lock feature
Large collection of presets

The post ValhallaDSP FutureVerb review: I can’t believe a $50 reverb can sound this good appeared first on MusicTech.

For a Life of Sin: Rob Miller and the Making of Bloodshot RecordsBloodshot Records co-founder Rob Miller tells the story behind the "insurgent country" movement where punk rock met twang in his new book "The Hours Are Long, But the Pay Is Low: A Curious Life in Independent Music." AllMusic runs through the setlist and the backstage rider.