Build A High Voltage Supply For Vacuum Tube WorkIf you work on simple digital projects, just about any bench supply will offer the voltage and current you’re looking for. However, if you’re working with valves, you’ll often find yourself needing much higher voltages that can be tricky to source. [Chappy Happy] has shared a design for a simple HV power supply that should prove useful to vacuum tube enthusiasts.
The build is fairly basic in nature, lacing together some commonly available parts to generate the necessary voltages for working with common vacuum tubes from a 12 volt DC input. Inside the supply is a UC3843A DC boost converter, set up to output high voltage up to around 300 volts DC, with a ripple filter added for good measure. The output can be adjusted with a knob, with a voltmeter on the front panel. There’s also a 12-volt output, and a LM2596 step down converter to produce 6.3 volts for the filament supply. The whole project is built in an old Heathkit project box, and he demonstrates the supply with a simple single-tube amplifier.
If you find yourself regularly whipping up tube circuits, you might like to have something like this on your workbench. Or, you might even consider cooking up your own tubes from scratch if you’re more adventurous like that. Video after the break.

[Thanks to Stephen Walters for the tip!]

Warner Music Group strikes ‘landmark’ deal with Suno; settles copyright lawsuit against AI music generatorThe deal also settles previous litigation between the companies; Firms will collaborate 'on next-generation licensed AI music'
Source

Cherry Audio Mercury-8Cherry Audio Mercury-8 is a virtual instrument plugin that models the circuit behavior and signal path of the Roland Jupiter-8 synthesizer. Unlike sample-based libraries, Mercury-8 utilizes virtual analog synthesis to replicate the original hardware's dual VCOs, 12dB/24dB resonant low-pass filters, and cross-modulation characteristics. The engine features a dual-layer architecture, allowing users to stack two independent patches or split them across the keyboard, with 16 voices of polyphony available per layer. To simulate the variances of vintage hardware, the instrument includes "Drift" and "Condition" controls, which introduce adjustable instability to the oscillators, filters, and envelopes. Beyond the original specification, Mercury-8 integrates modern workflow enhancements including a modulation matrix with four slots per layer, assigning over 20 sources to 40+ destinations. The synthesizer also includes a comprehensive effects section with three independent chains (one per layer plus a global bus) featuring 20 algorithms such as reverb, delay, and a new "DCO Chorus." Uniquely, Mercury-8 supports bi-directional System Exclusive (SysEx) data transfer using the Encore Electronics format, allowing owners of MIDI-retrofitted Jupiter-8 hardware to swap patches directly with the plugin. Key Features Synthesis Engine: Virtual analog emulation of the Jupiter-8 dual-oscillator architecture with PWM, Sync, and FM Cross-Modulation. Dual-Layer Voicing: Two independent layers with 16 polyphonic voices each; supports Split, Stack, and Layer modes. Sequencing: Integrated arpeggiator and 16x4 polyphonic step sequencer per layer. Modulation: 4-slot matrix per layer with extensive source/destination routing. Effects: 20 studio-quality effects including Galactic Reverb, Tape Echo, and Panner; arranged in three customizable chains. Hardware Compatibility: Import/Export support for Encore Electronics format SysEx data. Library: Ships with over 600 presets, including the original factory banks. YouTube/CmO277yS6SU Read More

Mixed In Key launches Black Friday Sale (up to 73% OFF)
Mixed In Key launches its 2025 Black Friday Sale with deep discounts on DJ and production tools. Mixed In Key has launched its 2025 Black Friday sale, offering up to 73% off its catalog of DJ software, creative tools, and soundware bundles. If you’ve been meaning to pick up Mixed In Key 11 Pro, the [...]
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At $69, Cherry Audio’s Mercury-8 is looking like a very impressive Jupiter-8 emulationCherry Audio releases software emulations, alongside tools of its own design, at a remarkable pace. The latest is apparently its most-requested synth — its vintage hardware counterpart is tough to find, with used models fetching over £25K. Mercury-8 is an emulation of Roland’s legendary Jupiter-8, a mainstay of countless chart hits and film scores since the 1980s, coveted for its warm, versatile sonic palette.
The instrument completes Cherry’s Mercury Trilogy, joining the existing Mercury-4 and Mercury-6, but why has the company waited so long to model this much-requested synth? As the brand tells us, the emulation was no easy task — but it also wanted to update the synth with a considered set of modern features that the original didn’t have.
Cherry Audio’s marketing director, Robert St John, says that “following the overwhelmingly positive response to Mercury-6, Mercury-8 was bound to follow. However, like previous major releases such as GX-80, Rhodes Chroma and PS-3300, we knew it would take time to get it just right. The Jupiter-8 is renowned for its broad tonal sweet spot, while its multitimbral splits and dual layers offer nearly limitless potential. We carefully studied and measured a perfectly calibrated original to preserve its essence and achieve matching sonic results, regardless of the settings.”

The developer used advanced circuit and behaviour modelling techniques — virtual analogue synthesis rather than samples — to allow both a compact footprint and complete control over all aspects of the sound. Impressively, this approach also enables SysEx data exchange with pre-MIDI Jupiters that have been updated with the Encore Electronics kit. Identifying this as the product’s most unique feature, Robert explains, “Mercury-8 can import patch data from — and even export data to — these Jupiter-8s, and the sound is absolutely identical. With several SysEx banks available online, what started as part of our deep analysis process has evolved into an exciting feature for users to enjoy.”
The Mercury-8 uses Cherry’s familiar GUI, a friendly and approachable system that provides easy access to MIDI, mapping and control functions as well as a large bank of presets. Though the interface has many controls like the original, the zoom and focus features make it a breeze to quickly enlarge any parameters. And sonically it doesn’t disappoint, capable as it is of character-drenched tones and textures across a range of styles from fat basses to frenetic sequences, blissed-out pads and spiky rhythms. Browse through the presets and you’re instantly transported to the worlds of John Carpenter, The Prodigy and many other classic electronic tracks.
Cherry has upgraded the Jupiter on a number of technical levels, all without overcrowding its interface. There’s a new four-slot mod matrix, an enhanced Jupiter arpeggiator with humanise controls and a 16-step, 4-pattern polyphonic sequencer. “We added a multi-voice mode, repurposed the original digital display to provide context-sensitive settings for trigger, note priority, condition simulation and analogue drift and more, all without the need for menu diving,” explains Robert. “All of these, including expanding the voice count from 8 in the original to 16, are on a per-layer basis.”
Perhaps the biggest upgrade is the new effects system, which the company developed for this synth (and presumably we will see in others going forward). Essentially, there’s now a modular three-part effects system — one for each layer and one global — with a modulator for each layer and a choice of 20 effects that can be arranged, edited and saved within the synth.
Cherry Audio Mercury-8. Image: Press
Pop out the Effects section, and each of the effects has a proper, full-sized controller section and chain system that makes them flexible. Best of all, they’re actually useful — Cherry seems to have really thought about what is going to make the Mercury-8 shine, including lo-fi, filter, echo, distortion and delays that add grit, movement and depth to your patches.
The company has also managed to maintain its affordable pricing — Mercury-8 comes at a nice price of $69, and that’s not just an introductory offer. A lifetime license for Roland’s own Cloud Jupiter-8 softsynth is £196 and doesn’t pack some of these updated features.
Still, it’s not the only game in town; Arturia’s Jup-8V is €149 and has a lot of extra tech, including a pop-out modulation/sequencer section. And TAL’s J-8 is around the same price as the Cherry Audio, with a similarly real-time synthesis (rather than sample-based) engine.
So there is competition at this price point, with the other models all coming with various flavours of free trial — you may want to give some of them a spin to see which suits you best.
We’ll have a full review of Mercury-8 online soon but upon our first look, we’re very impressed by the synth’s sound and features.
Cherry Audio’s Mercury-8 is available now for $69.
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Ben Billions on low-end production, plugin obsessions, and why AI “comes down to taste”Ben Billions didn’t hear his work on Lil Wayne’s The Carter VI until the rest of the world did. The three-time Grammy-winning producer and engineer left his mark on the album’s fourth track, Hip-Hop, which critics hail as one of the high points on the album, and brings Billions’ signature trills and bass-heavy beats to the forefront.
“I felt like a kid,” says Ben Billions at Warner Chappell Music’s 2025 Songwriting Camp in Las Vegas. “Nowadays, most of the time I’ve heard the song before it comes out, [So] I rarely get that feeling like a listener, which is fun.”
Having collaborated with hip-hop and R&B’s biggest stars — from Beyoncé, Doja Cat and The Weeknd to Snoop Dogg, Mary J Blige and Kodak Black — the multi-platinum producer has learned to read the room. He knows when to step in and push an artist and when to just let them cook.
“Wayne’s one of the greatest ever,” Billions continues. “I think he just likes to rap, he doesn’t really want to be produced. A lot of artists these days – especially rappers – want to do it on their own. Sometimes it’s good to have a producer in there to help guide the process, but it’s [all about] however they feel most comfortable.”

Such a skillset proves invaluable at the Songwriting Camp, where the Warner Chappell team bring producers, songwriters and artists together to collaborate spontaneously. Ben Billions has been in several day-long sessions before our interview, often not meeting his collaborators before stepping into the studio. His 20-year career as an engineer and producer has tempered him for stints like this. Plus, he’s in love with music production: “I’m gonna make music till I die. It’s got its ups, its downs, but it’s a great gig.”
Billions’ first studio gig was an internship at Circle House Studios, Miami, where he learned how to become an audio engineer. There, he worked with some high-profile artists such as DJ Khaled, but also honed his skills working on some less inspiring material. “We called it trash for cash,” he chuckles. “From that, you learn how to make things sound good. You’d take things that were horrible and try to make them presentable.”
But whether it’s Lil Wayne walking into the studio or an upcoming act, he advises to keep an open outlook, adding that it’s crucial to “treat all artists the same.” At the Songwriting Camp, he’s walking into unfamiliar studios with unfamiliar people, but this doesn’t faze him.
“From being an engineer, there’s always some familiarity; we know our way around all these studios,” Billions says. “Plus, when you’re actually [working] with somebody with talent, it’s actually pretty easy — that’s a blessing.”
Billions’ new studio in Miami is still under construction. It’s being built in his home, and he’s being intentional about what his dream setup might look like, taking the comfort of his collaborators into consideration. “I was gonna do the whole ‘speakers in the wall’ thing,” he says, “but I’ve done enough jam sessions now that I’m like, ‘I’ll just put the speakers on the floor.’ I want it to be more cosy for people.”

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Beyond the big monitors he has his eye on, Billions isn’t desperate to deck out his studio with high-end hardware, but is instead on the lookout for more plugins. A self-confessed “plugin nerd,” the producer is often seeking inspiration from new software and emerging technology.
“[I’m] always on whatever the new plugins are because that’s what makes things [sound] new,” he explains, chuckling. “I keep telling myself I gotta stop buying this stuff just because I’ve used it a couple times, and I gotta make sure that it’s really gonna work into my way of making music.”
“I’m using Ableton Live, so I use a lot of its stock plugins,” he says of his main go-to tools. “If the session crashes, the stock plugins always open back up easily. But I go through phases, and it depends on what music I’m working on. When I was engineering, the Waves RVox was my go-to; for production, it changes because I’m always trying to find new ways to work.”
The Miami producer is renowned for his ability to bring out the low frequencies in a mix, but he assures that there’s no secret plugin or piece of gear behind the technique. It’s simpler than that: “You just gotta make sure you leave room for the low end. That’s the big secret. As an engineer, I’m always conscious of how the speaker moves, and really picking sounds that’ll move the speaker. If you really want it to knock, don’t let anything else get in the way of the low end.”
Like many producers, Billions has found it tough to ignore new generative AI platforms Udio and Timbaland-backed Suno. He’s keen to stay ahead of the curve and is taking a more optimistic approach, despite the brands facing copyright concerns.
“It’s a very gray area; it’s cool, but it’s also scary in many ways,” says Billions. “It really just comes down to taste more than anything now. That’s what music is anyway, but with AI, it’s like ‘alright, this can make anything,’ but somebody has to like the record for it to be good. It’s cool, and it’s fun, but I’m interested in seeing where it actually goes.
Billions is confident that generative AI is here to stay. He cites the Amazon and Suno partnership as a sign that big corporations are backing it; the recent news that Suno is valued at £2.45 billion is also an indication that producers will be competing or collaborating with gen AI for years to come.
“Suno is making a DAW now where you can prompt the bass line into the production,” he continues, suggesting the potential ways songwriters can harness generative AI. “It’s hard for me to feel attached to a song that I just prompted, but if you prompted a bass line, it’s at least like you’re being creative with the AI.”
Breaking through as a producer, however, isn’t about only relying on tools or techniques, says Billions — you have to connect with other artists and producers, and no technology will do that for you.
“The hermit in me wishes I didn’t have to [go out and meet people], but it’s definitely the name of the game,” he says. “I mean, some people are talented enough that they can just be in another country and send out beats. But I always have to be there, and it’s part of what I like. I like recording them, getting them mixed, and [seeing them] all the way through.”
Billions’ unwavering taste and commitment have kept him in the game since the mid-00s, and there’s sure to be more work coming his way. But whether he’s landing more Grammys or just making beats for more casual artists, he’s not expecting anything to stop him making music — disrupting tech or otherwise.
“I’m gonna make music forever, and God willing, we’ve got another 50 years.”
Read more music production interviews
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“This isn’t just a new keyboard. It’s a new era”: Arturia expands its AstroLab lineup with new 37-key modelArturia has unveiled the AstroLab 37, the most compact and portable addition to the AstroLab line yet.
Joining the range’s existing 61- and 88-key AstroLab models, the AstroLab 37 is a lightweight performance-ready instrument designed for producers on the go.

READ MORE: Black Friday music deals 2025: The best early deals we’ve found on synths, DJ controllers and plugins

It boasts 37 slim keys with aftertouch, 44 onboard instruments, 11 sound engines, and over 1,800 presets, with 10 instant-access preset buttons for quick recall. There are also four macro knobs with LED feedback, four FX knobs including a dedicated Delay and Reverb, a Vocoder-ready mono input, and a colour display for fast browsing.

In terms of connectivity, the AstroLab 37 features MIDI I/O, USB C and A, balanced mono I/O, a mic input, Bluetooth, WiFi and a pedal input, if required.
The AstroLab 37 also sports a wealth of onboard performance tools, including an arpeggiator, chord mode and scale mode.
“Instantly access a universe of reference synths, classic keyboards, acoustic instruments, and cinematic hybrids – all deeply customisable via onboard controls. The 37 slim-key slim keyboard with aftertouch, vocoder, and performance modes turns ideas into fast-moving solos, dynamic leads, and unforgettable hooks.”
“Engineered for liftoff, AstroLab 37 redefines what a compact performance keyboard can be. Combining an unrivalled sound palette with intuitive controls and a seamless studio-to-stage experience, it empowers musicians to perform with confidence and limitless sonic freedom.”
The AstroLab 37 is priced at $799. Learn more at Arturia.
The post “This isn’t just a new keyboard. It’s a new era”: Arturia expands its AstroLab lineup with new 37-key model appeared first on MusicTech.

Get 72% off Soundtoys Decapitator at Plugin Boutique for a limited time
Hot on the heels of the UAD Moog Minimoog promotion (81% off for a limited time), Plugin Boutique is back with another huge Black Friday discount. This time, we can save 72% on Soundtoys Decapitator, an ever-popular analog saturation modeler plugin. Decapitator is available in 64-bit AU, VST2, VST3, and AAX formats for macOS (10.15 [...]
View post: Get 72% off Soundtoys Decapitator at Plugin Boutique for a limited time

Splice is now integrated in Ableton Live 12.3+
Splice is now integrated into Ableton Live—discover, audition, and drop in sounds from Splice without ever leaving the DAW.

AI-powered streaming startup KLAY signs licensing deals with the “big three” major labelsThings are looking promising for LA-based AI streaming startup KLAY, which has just signed licensing deals with the big three major labels, Universal Music Group, Warner Music Group and Sony Music Entertainment (SME).
It hasn’t been smooth sailing for many AI music companies, with Udio – one of the biggest AI music generation platforms – having fought a legal battle with UMG in 2024, with the latter accusing it of “unimaginable scales” of copyright infringement. Many remain sceptical about the legality of AI music generators, and have concerns over the correct licensing being obtained to train models on popular music.

READ MORE: Black Friday music deals 2025: The best early deals we’ve found on synths, DJ controllers and plugins

But KLAY is looking to dispel such doubts, as it says its proprietary AI is “trained entirely on licensed music”. KLAY becomes the first AI startup to sign licensing deals with the big three major labels.
In a statement shared on its website, KLAY says the deals will “help further evolve music experiences for fans, leveraging the potential of AI, while fully respecting the rights of artists, songwriters and rightsholders”.
“At a time when many AI projects are accused of unethical training protocols and practices towards the artistic community, KLAY has, from the beginning, taken a unique path,” the company continues.
“Working in partnership with the music industry to pioneer a new active listening model designed to enhance both human creativity and the consumer experience.”
On its deal with KLAY, UMG writes in a statement on its website: “KLAY is not a prompt-based meme generation engine designed to supplant human artists. Rather, it is an entirely new subscription product that will uplift great artists and celebrate their craft. Within KLAY’s system, fans can mold their musical journeys in new ways while ensuring participating artists and songwriters are properly recognized and rewarded.”
In any case, it seems the major labels are softening in their stance towards AI-powered music platforms; despite a highly-publicised legal battle last year, Universal recently settled its dispute with Udio, and the two firms even announced plans to collaborate on a new music creation, consumption and streaming experience.
Elsewhere, Suno just raised $250 million in its latest funding round, leading to a post-money valuation of $2.45 billion.
Learn more about KLAY.
The post AI-powered streaming startup KLAY signs licensing deals with the “big three” major labels appeared first on MusicTech.

Game My Fan and Primary Wave Bring Albums to Life as Mobile GamesGame My Fan, a direct to fan music distribution platform, is teaming up with Primary Wave to create a new potential path for artist revenue generation and fan engagement.
The post Game My Fan and Primary Wave Bring Albums to Life as Mobile Games appeared first on Hypebot.

Stedman's new PS101 V2 pop filter Stedman Corporation have recently introduce the PS101 V2, a new pop filter that builds on the success of their best-selling model. 

Why Every Musician Should Use Bandsintown: Top Reasons It’s Become an Essential Touring ToolIn today’s competitive touring market, musicians need more than great songs and a van to succeed. They need smart tools that help them reach fans, sell more tickets, and make better touring decisions. Learn why every musician should use Bandsintown and how the leading live-music discovery platform has become an essential free hub for artists at every level.
The post Why Every Musician Should Use Bandsintown: Top Reasons It’s Become an Essential Touring Tool appeared first on Hypebot.

Best Black Friday Deals under $20 (+ Plugin Boutique Freebies)
Black Friday is packed with deals this year, and I’ve pulled together the best offers under $20. We’ll also have separate lists for deals under $10 and under $5, so those aren’t included here. Before we get into the plugins, here’s a quick reminder: Plugin Boutique purchases come with a free gift, and the list [...]
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The MusicTech Magazine November/December 2025 issue is coming: here’s how to get your copyThe MusicTech Magazine November/December 2025 issue is coming this week, bundled with NME Magazine. Here’s how you can get a copy.
In April, we announced the relaunch of the MusicTech print edition after a four-year hiatus, starting with the July/August 2025 issue with producer Blake Slatkin on the cover. Now, we’re gearing up to launch the November/December 2025 issue, which will as always come bundled with a copy of NME Magazine.
Mark your calendars for Thursday November 27 at 2pm GMT – that’s when the cover stars of both magazines will be revealed and the mags go on sale exclusively via retailer Dawsons. The waiting room is open, so check it out now.
Besides MusicTech, Guitar.com has also returned to print. Guitar.com, MusicTech and NME are sister publications under NME Networks. The new Guitar.com and MusicTech print editions alternate with every bi-monthly edition of NME Magazine – which itself was relaunched in 2023 – meaning three print editions per calendar year for each brand.
Subscribe here for more information about MusicTech Magazine and for the chance to receive an exclusive queue jump opportunity, where readers can get their hands on a copy before anyone else. MusicTech will be sending out queue jump tickets shortly before the magazine goes on sale to randomly chosen subscribers.
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