BlackGummy: “People get caught up in rules about mixing, loudness or arrangement but creativity doesn’t follow a formula”Releasing a debut full-length concept album Ra(z/is)e this month via deadmau5’s label mau5trap, Blackgummy is the alter ego of Los Angeles-based producer Iman Marouf. Following his own headline tour and standout performances at festivals such as EDC Las Vegas, EDC Mexico, EDC Guangdong, Lollapalooza, and Shambhala — among many others — BlackGummy strives to push the boundaries of electronic music.

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We catch up with him to discuss adapting studio tracks for the live arena, his passion for synths, thinking about sound on fundamentally new levels and what he learned from his mentor, Steve Duda. He also tells us why stepping up his studio monitor game led him to new creative directions.
Image: Press
Hi Iman! Ra(z/is)e is your debut full-length album following on from the acclaimed EPs Singularity, Impactor and Monolith. What’s it about?
Ra(z/is)e is about destruction becoming rebirth — the dual meaning of ‘raze’ and ‘raise’. The album exists in a world that has collapsed and is now rebuilding itself not just physically but spiritually and technologically. My earlier EPs — Singularity, Impactor, and Monolith — each explored isolated stages of transformation. This album unites all those phases into a single narrative; a journey from darkness to light, from destruction to rebirth.
Potatoes & Meat serves as the first doorway into that world — a strangely human moment within the wasteland. It’s raw, imperfect and built around a distinctive groove in the first drop that evolves into a second drop with a unique driving force. It felt like the right way to introduce the world of Ra(z/is)e, especially since it had become one of the most requested tracks from my live sets. It made sense to let fans have it first.

The album features tracks that span many genres, including experimental, electro house, techno and trance. How challenging is it to switch up genres so frequently?
I like exploring different genres because each one offers a unique emotional colour. On Ra(z/is)e, the range wasn’t a deliberate decision to show variety — it happened naturally as the concept evolved. Each track represents a different point in the cycle of destruction and rebirth, and each moment calls for its own sonic language. Sometimes that meant dark techno, other times it leaned into something melodic or something that didn’t fit anywhere at all.
The diversity of styles came naturally as I tried to capture contrasting states: chaos versus clarity, decay versus renewal. The challenge wasn’t switching genres but making all of them feel like they belonged to the same universe.
Image: Press
Tell us a bit about your studio workflow and how your setup helps inspire you to create.
Every track usually starts from a different place. Sometimes it begins with a synth idea, a sound design experiment, a melody hook or a drum or bass element. Other times it starts as something more functional like a DJ tool I want for my sets, and then grows into a full piece. There’s something special about opening a new blank project file and seeing where the inspiration takes me. I don’t really have a fixed process; I just follow whatever idea feels most exciting in that moment and build around it.
My setup plays a big part in keeping that inspiration flowing. Having both analogue and digital gear lets me move between precise control and total unpredictability. I might start with an analogue synth then run it through an effects pedal or resample it in Ableton using plugins like Turnado, Infiltrator, Portal or Thermal. Each piece of gear pushes me in a slightly different creative direction, and that mix keeps things feeling fresh every time I sit down to create.
Image: Press
You’ve performed at festivals including EDC Las Vegas, Shambhala and Lollapalooza. How do you translate your studio setup into a live arena?
My live sets are an extension of the studio but built for a completely different kind of energy. I use CDJ-3000s and a DJM-V10 with an RMX1000, which gives me the flexibility to blend and layer tracks and experiment in real time.
Before certain shows I’ll often make special edits or reworks of songs, or create loops I can use during the mix to build uniquely layered moments. It all depends on the energy of the track that came before and where I want to take the set next. Sometimes I’ll test alternate versions of album tracks or combine elements from different songs to create something that only exists in that moment.
The goal isn’t to perfectly recreate the studio versions but to reimagine them for the environment I’m in. Every crowd and every space has its own energy and I like to reflect that as much as possible.

Under the mentorship of producer Steve Duda, you contributed to the development of the legendary synthesizer Serum. What did the experience teach you about designing sounds for your own productions?
Having Steve Duda as my mentor while he was developing Serum gave me an inside look at the mechanics and details that make the synth as special, unique, and forward-thinking as it is. From his ability to achieve higher bit depths in the wavetable than other VST synths available at the time to the way he approached sound at its most fundamental level, it definitely changed how I listened in general.
Instead of just focusing on how something sounds, I started paying attention to why it sounds that way — what makes a waveform feel alive or warm, how modulation affects emotion and how small imperfections can make something more human. His thought process and overall perspective were incredibly enlightening for me.
That experience gave me a deeper appreciation for sound design. I stopped relying on presets and started treating every sound as something that should have its own identity and purpose. A lot of the synths and textures on Ra(z/is)e came from that mindset — shaping raw waveforms, experimenting with movement, and building sounds that feel like they belong to that world.
Image: Press
Were there any synths or plugins that were crucial to the making of Ra(z/is)e?
Yes, as far as analogue synths the MFB Dominion, the Roland JP-8000 and Moog Sub 37 were used quite a bit in addition to plugins like Driver, Trash, Turnado, Thermal and of course Serum.
What’s been the biggest investment in your studio setup?
Purchasing the HEDD Type 20 MK2 speakers was a pretty significant moment for me. I had produced my first three EPs on Yamaha HS8s with the HS8S subwoofer, and often relied on Audeze LCD-X headphones for reference. Adding the HEDDs was my first time owning a pair of three-way speakers, and they gave me a new level of clarity and detail that’s helped me improve the way I hear and balance my mixes.
Image: Press
Do you have a dream piece of gear?
I really love the Moog One and have always wanted to add it to my studio setup. In terms of synths, that one’s definitely high on the list for me. Another dream upgrade would be a pair of Kii Three System DSP-controlled active monitors, or their higher model, the Kii Three BXT. They’re some of the best studio speakers I’ve ever heard, and I’d recommend them to anyone working with a budget around $15K to $35K for monitors. I’ve compared them to other high-end models that cost twice as much, and they still outperform almost all of them. The clarity and precision are incredible.
What’s a music production myth you think needs debunking?
I think one of the biggest myths in music production is that there’s a “right” way to do things. People get caught up in rules about mixing, loudness or arrangement but in reality, creativity doesn’t follow a formula. Some of the most interesting sounds or moments I’ve made came from breaking those so-called rules or doing something that technically shouldn’t work.
It’s easy to get stuck thinking you need to follow the same steps as everyone else, but experimentation is what makes music personal. If it feels good and sounds right to you, that’s what matters most.

Who gave you the biggest lesson or best advice in your career?
I’ve learned a lot of valuable lessons from many people throughout my journey in music, but one of the most impactful influences has been Steve Duda. Working with him early on and seeing how he approaches sound design and problem-solving shaped how I think about making music. His explanations and breakdowns of the tools I was using also gave me a deeper level of understanding from a technical perspective, especially since I was coming from a place where I was mostly doing everything by ear.
Two concepts that really stuck with me from our conversations were the idea of creating “moments” within a track and the concept of “levels of complexity.” Creating moments is about building small shifts or contrasts that keep the listener engaged — a break, a change in rhythm or a subtle variation that gives a sense of relief or a new perspective within the flow of the track. It’s those details that make a song feel alive and constantly moving forward.
The idea of “levels of complexity” relates to how rhythm and structure operate across different time scales. You might have micro-rhythmic details happening at 1/32 or 1/16 notes, while larger patterns evolve over 8, 16, or 32 bars. Thinking this way helped me understand how different layers interact — how short and long-term patterns can weave together to create groove, movement, and progression throughout a track.
The post BlackGummy: “People get caught up in rules about mixing, loudness or arrangement but creativity doesn’t follow a formula” appeared first on MusicTech.

How Classical Pianist Chloe Flower Collabed with Cardi B, Meek Mill, Babyface and Built Her CareerThis week, Ari is joined by Chloe Flower, an acclaimed pianist and composer who blends classical and hip-hop.

Producer and Keyboardist Jason Miles Reimagines Chuck MangioneAccording to news on Tuesday, "Grammy-winning producer, keyboardist, and composer Jason Miles, whose five-decade career includes collaborations with icons such as Miles Davis, Luther Vandross, and George Benson, has long been an influential force in jazz fusion and contemporary music. In his latest project, Miles reimagines Chuck Mangione’s 'Doing Everything With You' as a tribute to his late friend, using the Rhodes V8 Pro virtual instrument plug-in to blend modern production with classic Rhodes tone."

"Rooted in the New York City jazz scene of the 1970s, Jason Miles built a reputation as a forward-thinking keyboardist and producer who embraced the Rhodes as both an expressive instrument and a platform for innovation. He owned and customized multiple Rhodes pianos, including a Suitcase 73 and a Mark I, which he modified by rewiring outputs and experimenting with effects like wah and phase shifters. By routing the instrument through multiple outputs and EQ’ing each section separately, he was able to craft distinctive tones that set him apart from other keyboardists of the era."

"That studio-driven curiosity led to landmark collaborations with artists including Miles Davis and Luther Vandross, where his warm, song-first approach to electronic keyboards helped shape crossover recordings."

Miles explains, “Every great keyboard player had their own sound. They all had a distinct style on the Rhodes, and you could tell who was playing just by listening.” He adds that mastering the instrument requires a unique touch: “You have to let it breathe. It has to sustain or be short and funky. When you approach it like an acoustic piano, it loses what makes it special, because the Rhodes responds best when you play it with feel.”

"Now based in Lisbon, Portugal, Miles continues to explore new musical contexts, carrying the Rhodes language he helped define into contemporary work," a statement reads.

“I was very progressive in my thought pattern about how to get these sounds where they could work with music, yet be interesting sounds that nobody really was hearing before.” For “Doing Everything With You,” he kept the focus on feel and touch, learning the tune by playing it over one hundred times before recording a full pass. He set a click for the first eight bars only, then performed the piece straight through and made minimal fixes afterward, describing it as a “hybrid performance” that preserves the groove while using software for light corrections.

"The sound is centered on the Rhodes V8 Pro plug-in, performed on a MIDI keyboard with subtle delay, gentle panning moves, and a light phase shifter, all created within the plug-in itself. Miles praised the V8 Pro for its authenticity and flexibility, noting that its sampled design captures the unmistakable character of the Rhodes."

“What I like about the V8 Pro is that it’s sampled in a way that feels true to the original,” he says. “It allowed me to create the sound I was looking for

“The V8 Pro brings that classic sound into the present,” Miles adds. “It has the warmth, the vibrato, and the musicality that make the Rhodes sing.”

"The V8 Pro made that balance possible, delivering the classic Rhodes character he knows intimately while giving him modern precision where it counts."

“Doing Everything With You” is available now on streaming platforms and via Jason Miles’s Bandcamp page.The post Producer and Keyboardist Jason Miles Reimagines Chuck Mangione first appeared on Music Connection Magazine.

Tesla receives ride-hailing permit in Arizona in last required step to launch robotaxi serviceTesla received a ride-hailing permit this week from Arizona regulators, opening the door for the automaker to begin operating a robotaxi service in the state. A spokesperson with Arizona Department of Transportation told TechCrunch the automaker applied for a Transportation Network Company permit on November 13.  Tesla met the requirements to operate as a TNC and […]

3 SOL data points suggest $130 was the bottom: Is it time for a return to range highs?Charts and onchain data suggest that SOL might have bottomed at $130. Should traders anticipate a rally back to $200?

Baby Shark creator Pinkfong’s shares soar, fall back to earth in stock market debutThe company that made a fortune in preschooler content now aims for an audience of older kids and teens
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Casting Metal Tools With Kitchen AppliancesPerhaps the biggest hurdle to starting a home blacksmithing operating is the forge. There’s really no way around having a forge; somehow the metal has to get hot enough to work. Although we might be imagining huge charcoal- or gas-fired monstrosities, [Shake the Future] has figured out how to use an unmodified, standard microwave oven to get iron hot enough to melt and is using it in his latest video to cast real, working tools with it.
In the past, [Shake the Future] has made a few other things with this setup like an aluminum pencil with a graphite core. This time, though, he’s stepping up the complexity a bit with a working tool. He’s decided to build a miniature bench vice, which uses a screw to move the jaws. He didn’t cast the screw, instead using a standard size screw and nut, but did cast the two other parts of the vice. He first 3D prints the parts in order to make a mold that will withstand the high temperatures of the molten metal. With the mold made he can heat up the iron in the microwave and then pour it, and then with some finish work he has a working tool on his hands.
A microwave isn’t the only kitchen appliance [Shake the Future] has repurposed for his small metalworking shop. He also uses a standard air fryer in order to dry parts quickly. He works almost entirely from the balcony of his apartment so he needs to keep his neighbors in mind while working, and occasionally goes to a nearby parking garage when he has to do something noisy. It’s impressive to see what can be built in such a small space, though. For some of his other work be sure to check out how he makes the crucibles meant for his microwave.

New Study Reveals 87% of Producers Already Use AI Tools in Their Creative ProcessIt’s no secret that AI music-making tools have made their way into the music production zeitgeist. Whether assistive or fully generative, AI is now capable of helping more and more people make music. But are artists actually using it? A study by LANDR suggests that they are.

ASM unveil the Diosynth The Diosynth is ASM’s take on a wind synthesizer, and is said to combine the expressiveness of acoustic instruments with the power of the company's renowned Hydrasynth engine.

Lotus Sound Audio releases FREE White Chamber Mk3 analog-style delay plugin
Lotus Sound Audio releases White Chamber Mk3, a FREE analog-style delay plugin for macOS and Windows White Chamber Mk3 picks up where the previous release left off, with a few noteworthy upgrades. If you’re new to Lotus Sound Audio, you can check out some of the Swiss-based developer’s previous releases, like Silver Fox Mk2, LA2-Fox, [...]
View post: Lotus Sound Audio releases FREE White Chamber Mk3 analog-style delay plugin

Toybox FM ZoneFM Zone (Version 2) is an easy-to-use polyphonic synthesiser plugin with sophisticated FM and sample engines and a bank of flexible multi-segment envelopes to shape the sound in any direction you desire. Perfect for huge FM basses and cutting leads The synthesiser features two powerful engines that can be layered together for a variety of complex sounds and textures. The 'Synth' engine features a powerful FM engine with a variety of 'special' operator types (FM, supersaw, additive, physical modelling etc) for expressive, harmonically-rich timbres. The 'Sample' engine can be used to mix additional textures or attacks samples over the sound. Read More

Antelope Audio’s Zenith 2 interface “bridges the gap between million-dollar studios and bedroom setups”Antelope Audio has unveiled Zenith 2, a new entry-level audio interface which aims to “bridge the gap between multi-million-dollar studios and bedroom setups”.
At just $299/€299, Zenith 2 arrives as Antelope Audio’s most affordable audio interface yet, pairing decades of audio expertise from Antelope with a super simplistic and effortless mode of operation.

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At its core, the Zenith 2 features state-of-the-art AD/DA converters with 32-bit/192 kHz resolution and up to 123 dB of dynamic range, two discrete six-transistor mic preamps with 75 dB of gain – the same as those in Antelope Audio’s flagship Orion Studio interface – as well as integrated real-time DSP processing, with a Tube-Opto Compressor, Sky EQ and De-Esser at your disposal.
Antelope Audio also promises that each onboard DSP effect will be suffer zero perceptible latency, making it perfect for musicians, podcasters or streamers who rely on sharp, reliable tech to keep things running smoothly.

For live content, the Zenith 2 boasts built-in Loopback, seamlessly blending mic, music and stream audio. You can also monitor your sound via two independent headphone outs, each with its own dedicated volume control, as well as gain to drive high-impedance headphones. In terms of further I/O, there’s a stereo TRS monitor out, as well as a 5-pin MIDI input.
Elsewhere, the Zenith 2 boasts class-compliant, USC-C bus-powered connectivity for driver-free usage across Mac, Windows, iOS and Android devices. There’s also custom low-latency Mac and Windows drivers available, as and when required.
The Zenith 2 is available to pre-order now for $299. First shipments are expected in December 2025.
Learn more at Antelope Audio.
The post Antelope Audio’s Zenith 2 interface “bridges the gap between million-dollar studios and bedroom setups” appeared first on MusicTech.

NTS Thrives in the Spaces That Streaming Leaves BehindFrom our friends at MIDiA Research, a story about online radio and community building through NTS' Don’t Assume Day.
The post NTS Thrives in the Spaces That Streaming Leaves Behind appeared first on Hypebot.

Grant Applications Now Open for Family Alliance in Music SupportThe FAM Support Grant is open now through Dec. 1, offering $25,000 to help individuals and small businesses balance caregiving responsibilities while working in music.
The post Grant Applications Now Open for Family Alliance in Music Support appeared first on Hypebot.

Origin Effects launch the Bassrig Fifteen The Bassrig Fifteen features an all-analoguge signal path and promises to deliver the full experience of playing through one of the world's most praised studio bass amps.