OFFstep Is a Tech-Savvy, User-Friendly Hub for Music DistributionThe following was developed in collaboration with OFFstep, a company Ari’s Take is proud to be partnering with. OFFstep is the simplest, easiest-to-use, and most affordable music distribution platform for independent artists. As a sister company to ONErpm, OFFstep uses the same advanced technology to deliver a seamless experience. OFFstep provides a full range of […]

Bandsintown’s Fabrice Sergent joins NIVA Advisory BoardBandsintown's Fabrice Sergent joins the NIVA Advisory Board expanding on the collaboration that launched the innovative Live Independent certification and marketing initiative earlier this year.
The post Bandsintown’s Fabrice Sergent joins NIVA Advisory Board appeared first on Hypebot.

Music Streaming Fraud Guide For ArtistsMusic streaming fraud is a growing issue that can derail a career. Learn how to recognize, prevent, and protect from fraudulent practices with this music streaming fraud guide for artists.. Continue reading
The post Music Streaming Fraud Guide For Artists appeared first on Hypebot.

2024 Music Trends: Deezer shares data ahead of Spotify WrappedDeezer unveils 2024 music trends, top artists, songs and albums of the year with the release of My Deezer Year. Explore the data shaping the future of music.
The post 2024 Music Trends: Deezer shares data ahead of Spotify Wrapped appeared first on Hypebot.

Flame Sound releases FREE Cinematic Risers Sample Pack (Royalty-Free)
Flame Sound released Cinematic Risers, a free collection of riser sound effects from the premium Blaze SFX ($29) sound library. The library contains 10 royalty-free cinematic risers in 24-bit WAV format. You can use the included content on YouTube without copyright issues. The included sounds cover different types of risers, from simple short bursts to [...]
View post: Flame Sound releases FREE Cinematic Risers Sample Pack (Royalty-Free)

Reloop to launch Stand Hub Pro Aimed at producers, DJs and other creative professionals, Reloop's latest combined stand and hub introduces a larger integrated hub and a rotating base design that allows for flexible positioning. 

Doechii: “I don’t want hip-hop or art to get distracted and lost in trying to make music for a computer”In an era where music creation is increasingly influenced by algorithms, artists must take care not to get “lost” in “trying to make music for a computer,” warns rapper Doechii.
The musician, who recently released her first full-length project – a mixtape titled Alligator Bites Never Heal, tells The Forty Five that while she considers TikTok an “incredible tool” for music discovery, we shouldn’t let it dictate the creative process.

READ MORE: “Just stop it, please; it’s emotionally and creatively draining”: Amelie Lens and Charlotte de Witte tell dance fans to stop comparing female DJs

“I love TikTok, and I also grew up on the internet, so I’m not against anything blowing up on the internet or marketing your music on TikTok and stuff like that,” says Doechii, who rose to fame on the platform after her song Yucky Blucky Fruitcake went viral in 2021.
“TikTok is an incredible tool. But I don’t want hip-hop or art to get distracted and lost in trying to make music for a computer,” she explains. “It’s people who are using the computer to consume the music and I think we’re getting confused.”
As Doechii puts it, it isn’t the “hits” themselves she’s opposed to, but rather the “popularised formula of hits” that she’s pushing back against.
“I’m not against hits. Everybody wants hits, and I’m proud of my hits, and I know I have more to come, but it’s more so about breaking out of this formula of what a hit should be and how hits have to sound like this,” she says.
“That’s the part that I’m challenging in music right now.”
The rapper also emphasises the importance of prioritising authenticity over algorithm-driven content creation, as artists navigate an industry increasingly dominated by data and trends.
“If it feels too much like a TikTok song, nobody thinks that’s cool,” says Doechii, who’s keenly aware of the risk of losing sight of artistry in favour of algorithmic approval. “Me and a bunch of other artists are navigating that because the business is like, ‘This is what’s going to be the future and you should do this because it’s what the algorithm wants’.”
“It’s been an interesting thing to try and navigate. But what’s happening now is I’m continuing to stay true to myself. I’m proving that what I do works, and I’m just going to keep being myself over and over again.”
The post Doechii: “I don’t want hip-hop or art to get distracted and lost in trying to make music for a computer” appeared first on MusicTech.

Shazam has identified 100 billion songs since its launch in 2002Since launching in 2002, music discovery app Shazam has identified 100 billion songs, according to a new report. To put this gargantuan number into perspective, that’s 12 songs for every person on Earth. Or if an individual were to identify a song per second, it would take them 3,168 years to reach 100 billion.
“This monumental milestone not only reflects how much people enjoy using Shazam, but also their appetite for new music,” says Oliver Schusser, Vice President of Apple Music and Beats, in a press release. “Music discovery is at the core of everything we do, and we keep innovating to make sure music lovers around the world can tap the Shazam button no matter where they hear music playing!”

READ MORE: The best Black Friday music technology deals 2024: the biggest savings on synths, DJ controllers and plugins right now

The first iteration of Shazam was a text message service for the UK only. Users could dial “2580” and hold up their phone to a speaker so the music could reach the receiver. Then the service delivered the song and artist info via text message.
The current Shazam format launched in 2008 with the advent of the App Store. By 2011, the company’s new iOS app already recognised over 1 billion songs. Apple purchased Shazam in 2018.
Since solidifying this partnership, Apple Music has used the software as a means to share DJ mixes from events for streaming. By using its song identification technology, Apple Music can distribute royalties to rights holders for each song DJs played in their mixes, similar to if the song was streamed individually.
Further innovations that have come from Shazam and Apple’s partnership include integrating the function into the Action Button on newer iPhone and Apple Watch models. This allows song recognition with the touch of a button no matter what other apps may be running on the device.
The post Shazam has identified 100 billion songs since its launch in 2002 appeared first on MusicTech.

Anna Lunoe on her plugin-focused album, finding collaborators, and using your voice as an instrumentSydney-born DJ, producer, and self-professed club music obsessive, Anna Lunoe, is no stranger to knowing her own sound and collaborating with artists who uplift her creatively and sonically. She proudly sits on the boundary of electronic, dance, garage and hyper-pop, offering club audiences a journey through myriad emotions, from pulsating beats that make you want to move and dance, to pure catharsis.

READ MORE: The best Black Friday music technology deals 2024: the biggest savings on synths, DJ controllers and plugins right now

Her debut album, Pearl, which was released on 25 October, marks a milestone in her career, having worked with household names like Skrillex, Blu De Tiger, as well as leading a global club music show on Apple Radio, HYPERHOUSE. In this week’s Studio Files, Lunoe dives into the gear and tools used to build the record and offers insight into her creative processes with the artists that have shown her a new light as a producer.
Image: Danny Draxx for MusicTech
Q&A
Congratulations on the launch of your debut album! How do you feel this release represents you as an artist?
AL: I think I’ve finally found my specific combination of pretty/euphoric texture, rowdy energy and vocal variation and songwriting styles. Well, for now anyway! It feels good to have settled in this place but it’s an ever-evolving balance and I can almost feel it already started shifting.
The electronic scene is often focused on singles and EPs rather than albums. Was that a challenge when piecing together the record?
AL: There were lots of things that were challenging about the idea of making the album. The way we rolled it out didn’t feel that challenging but it was tricky to feel like everything on the promo side had to be put on hold for the tracks until the full album was complete.
Tell us a bit about your studio.
AL: I did a lot of the writing in my home setup which is simple but works for me. It’s really a place for me to work every day, whether I’m making music, making mixes, radio or other work. It’s a fairly basic production setup of Dynaudio monitors, a large MIDI keyboard, and some other smaller keyboard bits as well as a Korg Minilogue, a Shure mic, CDJs and a space where I can practise with my live rig. It’s simple but I find it really efficient.
For the album I recorded my demos here, however, I also worked at my collaborator Jack’s studio a lot. He has heaps of hardware but pretty much everything we made was with soft synths and plugins. I think we put XLN Audio’s RC-20 Retro Colour on everything.
Image: Danny Draxx for MusicTech
What’s your latest gear or plugin purchase?
AL: I love Omnisphere, Unison Drum Monkey, Future Audio Workshop’s Sublab, Arturia’s Mini V3 and Soundtoys plugins the most. I barely buy anything new because I’m ok with just pushing into those.
I find it fun to make unusual mid-range drum textures with Soundtoys Decapitator. I’ve been using iZotope Nectar for vocal production for years and had a few settings pre-saved for the different types of vocal performances I did on the album.
My favourite free plugin? Probably Kickstart by Nicky Romero and iZotope.
What’s been the biggest investment in your career/studio? Was it worth it?
AL: Putting the time aside to work on this album has been the biggest investment I could have given my career right now. Having two kids, my time costs me so much. Quite literally – childcare is crazy expensive! So when I decide to work on music I’m spending $300 a day before I even rent a studio or spend a cent on my gear which makes the time really constrained. Sometimes it’s really hard to give yourself permission to just have open and unfocused creative time. It’s also why I collaborate or outsource whenever I can because it comes down to efficiency. I can’t possibly keep up trying to control every tiny thing myself while trying to also raise two other humans.
Another big investment is spending that $300 and outsourcing some vocal processing that would normally take me a whole day, so I can instead spend that day writing a new song or two. This dynamic changes my creativity a lot, and often means producing a better vocal performance than I can achieve in my home studio anyway.

Let’s Go Home is based on voice notes recorded with your family. Where else in the album do you lean into your creative freedom as a producer?
AL: I would hope that every track in my album demonstrates that creative freedom, but both Body Heat and Look My Way also really show it. For both of these tracks, I experimented using the Korg Minilogue and with different vocal resampling. I just really had fun with it.
You’ve worked with many artists such as Y U QT, Iglew, and DJ Boring. How do you stay true to your style whilst also honouring your collaborators?
AL: Collaboration is my favourite thing. I love creating alone and having autonomy, too, but there comes a point where feedback and shared energy are so important and truly make the process so much more enjoyable for me. Over the years, I’ve worked out certain ways to keep songs cohesive to my sound, and also accepting that in collaboration there is always compromise too. But these days, I’ve learned to trust my gut for when something feels like it strays too far from my intention.
How do you see your sound and studio evolving in the next two years?
AL: I’m really torn. I have two paths I want to push — I want to get deeper into songwriting and push my concepts. I want to push my vocal production and experiment more with effects and resampling. And also I want to focus on using my voice as an instrument and keep honing into a sonic palette that feels aspirational and unique for me.
The other path is that I want to make a fully stripped-back and raw EP that’s strictly made for clubs with barely any vocals. This album was more of an electronic album, even though the tracks are club adjacent – so I think I have to go hard and club-focused next. I’m really craving it. This means I need at least one drum machine to play with – maybe the Roland TR-8S… but I’m open to suggestions.
Image: Danny Draxx for MusicTech
Do you have a dream piece of gear? What is it? Why?
AL: It’s got to be the SP-1200 fantasy. I’ve not played with one but from what I can gather, I’d get so annoyed trying to program it but I also really enjoy random happy accidents as I’m not a perfectionist. I think I’d love it.
What’s a music production myth you think needs debunking?
AL: The idea that “perfect” mixing/production is more important than bold ideas. I’d much rather create a raw mix with big ideas than another perfectly produced track that sounds like everything and everyone else.
Who gave you the biggest lesson in your career? Can you tell us about how it impacted you?
AL: It was probably Chris Lake when I was making 303. He really encouraged me to leave the track raw like the demo – not to over-produce, not to layer or to suffocate the original idea, just find ways to let the five main elements really hit in the mix. I still think about that when I’m developing a demo.
The post Anna Lunoe on her plugin-focused album, finding collaborators, and using your voice as an instrument appeared first on MusicTech.

Hit’n’Mix RipX DAW & DAW PRO 7.5 arrive The latest versions of Hit'nMix's AI-powered DAW offer superior note separation, enhanced audio quality, improved MIDI export functionality and better guitar chord recognition.

The best synths to buy in 2024: 19 best polyphonic synthesizers to buyƒudoComplex chords, multi-timbral parts or lush ambient progressions – if you’re looking to fulfil any of these duties on a synth, then you’ll likely want one with polyphonic talents. A polyphonic synthesizer is one that is capable of playing multiple notes at a time, with each note often referred to as a voice.

READ MORE: Best free software and apps for music-making: Top free DAWs, plug-ins, instruments and more

In the last few years, hardware instruments have been enjoying a major resurgence; polysynths and their monophonic brethren now come in more shapes, sizes and employ more varied forms of synthesis than ever before.
Generally speaking, polysynths also tend to be more expensive than their monophonic counterparts; because each voice includes not just an oscillator, but often its own filter and envelope shaping components – things can get expensive fairly quickly.
In our list, we’ve compiled the best polysynths over a range of prices, so that – whether it’s a steadfast studio companion you’re looking for, or something compact to join the rest of your setup – you’ll be able to find the best one for you. Let’s dive in.
16 best polysynths at a glance:

Oberheim OB-X8
UDO Super 6
Roland Jupiter X
Ashun Sound Machines Hydrasynth
Moog Muse
Dreadbox Nymphes
Waldorf Kyra
Roland Juno-X
Novation Summit
Arturia PolyBrute
Korg Minilogue XD
Waldorf Quantum
Korg Opsix MKII
Sequential Prophet-10
Elektron Analog Four Mk II
Behringer Deepmind 12
UDO Super Gemini
Korg Wavestate MkII
Oberheim TEO-5

Oberheim OB-X8
Oberheim OB-X8. Image: Simon Vinall for MusicTech
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If you don’t know about Oberheim, then you should. Oberheim began in 1969, pioneering analogue synthesizers. Renowned for iconic sound, its synths are known for their warmth and versatility, having landed in some legendary studios over the years. The Oberheim synthesizer is renowned for its iconic sound and groundbreaking features, making it a staple in music production. With its rich analogue tones and versatile modulation capabilities, it’s a go-to choice for musicians seeking classic warmth and sonic versatility.
Key Features:

Eight-voice polyphony
Analogue voltage-controlled oscillators (VCOs)
Dual multimode filters
Ample modulation options
Iconic Oberheim sound signature
Price: $5,833

Check out deals for the OB-X8 at Thomann.
UDO Super 6

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Bristol-based UDO caused quite the stir when it unveiled the Super 6, its inaugural instrument, at the 2019 Superbooth in Berlin. We’re happy to report that the polysynth lived up to the hype, earning not only a perfect score in MusicTech’s review, but a well-deserved Innovation Award as well.
The Super 6 is a 12-voice polysynth equipped with FPGA-driven DDS oscillators and a host of useful features and effects. One of the polysynth’s biggest draws is also its namesake; a unique binaural mode lets you mash its 12 voices down into six super voices, creating a distinct texture-thickening effect. This mode is the pathway down uncharted sonic territory, where riveting spatial effects shine and help set the synth apart from its peers.
The Super 6 is definitely an expert-level synth, especially for the money, but, if you’re looking for something replete with functions to get lost in, definitely consider it.
Key Features:

Price: £2200
Synthesis type: Analogue-hybrid
Polyphony: 12 voices
Keyboard: Fatar keybed, 49 keys
Effects: Stereo chorus, stereo delay

Read our full review of the Super 6 here and learn more about it at udo-audio.com.
Check out deals for the Super 6 at Thomann. 
Roland Jupiter X

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The voice of reason screams at the very thought of paying £10,000 for a pre-loved Roland Jupiter 8 – and yet, it’s hard to deny that few vintage polysynths have ever come to earn such high regard. Enter the Jupiter X, a convincing doppelganger of the esteemed classic that’s as much a joy to look at as it is to actually play.

READ MORE: Vintage Rewind: The Roland Jupiter 8

Let’s address the elephant in the room: the Jupiter X is not an analogue device. However, Roland’s ZEN-Core technology, along with some cleverly engineered elements let you get pedantic with the emulation. There are options that let you decide the synth’s age (up to 100 year); detuning due to operating temperature, and also, whether to use a faux ‘circuit warm-up’ cycle.
Digital modelling also means that you aren’t limited to just emulating the Jupiter 8; the Jupiter X comes preloaded with other models such as the Juno 106, SH-101 and even drum machines like the TR-808/909 and CR-78.
Key Features:

Price: $2,799
Synthesis type: Subtractive
Polyphony: 32 voices
Keyboard: Semi-weighted, 61 keys
Pads: 16 button triggers
Effects: 90; multi-effects, 5x EQ, 7x reverb, 4x chorus, 5x delay, Overdrive, Compressor

Read our full review of the Jupiter X here and learn more about it at roland.com.
Check out deals for the Jupiter X at Thomann. 
Ashun Sound Machines Hydrasynth

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Deep sound designing talents and expressiveness come together in the Hydrasynth. This eight-voice polysynth has three wavetable oscillators per voice that let you create and morph sounds out of a selection of 219 single cycle waveforms.
The layout of the Module Select section is one of the Hydrasynth’s unsung strengths. This concise hub lets you access its three oscillators, four mutators, two filters, five envelopes, and five LFOs with the push of a button. Plus, it ensures that a glimpse of the Hydrasynth’s entire signal path is always just a head turn away.
Rounding off the Hydrasynth are some intuitive expression controls, including the brand’s own polyphonic aftertouch technology – aptly named polytouch – and a programmable ribbon strip controller.
Key Features:

Price: $1,299 (with keyboard) / $800 (desktop)
Synthesis type: Wave morphing
Polyphony: 8 voices
Keyboard: Full-sized, 49 keys
Effects Types: 4x reverbs, 5x delays, chorus, flanger, rotary, phaser, Lo-Fi, tremolo, EQ, compressor
Other I/O: 2x mod in, pitch out, gate out, 2x mod out, clock out

Read our full review of the Hydrasynth here and learn more about it at ashunsoundmachines.com.
Check out deals for the Hydrasynth at Thomann.
Moog Muse
Moog Muse. Image: Simon Vinall for MusicTech
An eight-voice, bi-timbral polyphonic synthesizer drawing on the company’s rich heritage, Moog’s Muse is a force to be reckoned with, delivering gorgeous analogue sounds in an incredibly accessible format.

READ MORE: “We’re honouring the legacy of Bob Moog; making instruments that give you his iconic sound” Moog talks Muse

At its core are two analogue oscillators per voice, inspired by the rich and full sound of the Minimoog Voyager, along with a third oscillator that’s also capable of audio-rate modulation. The filter section boasts two discrete Moog Ladder filters based on the classic 904-A module, which can be configured to run in sequence, parallel, or stereo.
The synth has been designed with hands-on control in mind, with intuitive sound shaping made possible by its knob-per-function layout. Other features include a step sequencer with intriguing probability functions, a diffusion delay module for rich stereo effects, and a comprehensive modulation matrix that simplifies complex routing.
Key Features: 

Price: $3,499
Synthesis type: Subtractive
Polyphony: 8 voices
Keyboard: 61-key Fatar

Check out our full Moog Muse review for all the details.
Dreadbox Nymphes

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Dreadbox’s Nymphes is a quirky synthesizer ideal for producers looking for something a little different. While its functions can be a fiddle at first, the analogue warmth it produces is a sufficient reward for your toils. For such an affordable price, you get MIDI control over every parameter, a lush sounding reverb and a weighty slab of complex sound design options.
In our review of Nymhpes, we said: “Nymphes offers multiple sonic personalities, with rasping basses, ethereal pads, spiky, wonky melodies, blunt sounds perfect for sequencing and a host of options for electronic percussion. Its sound is deep, broad and versatile but, just as significantly, it’s not awash with flashy gimmicks trying to impress you.”
Key Features:

Price: $599
Synthesis type: Wavetable
Polyphony: 6 voices
Effects Types: FV-1 Digital Reverb
Other I/O: 1 x 1/4″ TS, 1 x 1/8″, MIDI In/USB

Read our full review of the Nymphes here and learn more about it at dreadbox-fx.com.
Check out deals for the Nymphes at Thomann.
Waldorf Kyra

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The Waldorf Kyra is a powerful virtual analogue desktop synth capable of delivering absolutely massive sounds. It splits into eight independent parts, each offering 32 voices of polyphony; its own effects chain, and two comprehensive oscillator groups, where you’ll find saw, pulse, and a selection of 4096 wavetable shapes.
Each oscillator voice can be run in either Wave or Hypersaw mode. The former gives you the freedom to construct sounds through subtractive synthesis, while the latter’s algorithm features six oscillators that can very quickly create lush soundscapes.
The Kyra is also particularly appealing if you’re working in contemporary production; its user-friendly interface and the immediacy with which you can sculpt colossal sounds just means more time to focus on the creative process.
Key Features:

Price: $2,499
Synthesis type: Wavetable
Polyphony: 128 voices, 32/part
Effects: Distortion, Stereo Delay, Phaser, Chorus, Flanger, Doubling, Reverb, Filter
MIDI I/O: In/Out/Thru/USB

Read our full review of the Kyra here and learn more about it at waldorfmusic.com.
Check out deals for the Kyra at Thomann.
Roland Juno-X
Roland Juno-X. Image: Simon Vinall for MusicTech
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If you’ve ever dreamed of owning a battery-powered JUNO-60 or 106 with built-in speakers – well, here it is. The Roland Juno-X is a versatile digital polysynth, uniting classic Juno aesthetics with modern functionality. Boasting 61 velocity-sensitive keys, aftertouch, and Zen-Core technology, it offers over 4,000 presets, multi-layered scenes, and I-Arpeggio. It’s a solid choice for producers looking for that classic Juno sound with intuitive control in a compact package.
MusicTech reviewed the Juno X in 2022, praising its “beautiful, distinctly Juno design”, Zen-Core tech which provides “almost-endless sounds”, and its Scenes function.
Key Features:

Price: £1,689 GBP / $1,666 USD / €1,999 EUR
Synthesis Type: Digital with Zen-Core Technology
Polyphony: Not specified in the provided information.
Keyboard: 61-key velocity-sensitive with aftertouch
Effects: Reverb, delay, drive, and more

Read our full review of the Juno-X here and find out more about it at roland.com.
Novation Summit

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The Novation Summit puts together two of the brand’s Peak desktop synths into a single package – but it’s not quite as simple as doubling up on everything.
In addition to bi-timbral operation, new hardware and software features make it onto the Summit, including a semi-weighted keyboard with 61 keys and a new voice section with five mono and poly modes.
Through its three oscillators, you’re able to craft sounds through subtractive, wavetable (60 waveshapes) and FM synthesis. Plus, access to twin Peaks gives you the flexibility to run two simultaneous patches – split or stacked – for key-centric or layered sounds.
Key Features:

Price: $2,199
Synthesis type: Subtractive, FM and wavetable
Polyphony: 16 voices
Keyboard: Semi-weighted keybed, 61 keys
Effects Types: Analog Distortion, Reverb, Chorus, Delay
Other I/O: 1x 1/8″ (CV mod in)

Read our full review of the Summit here and learn more about it at novation.com.
Check out deals for the Summit at Thomann. 
Arturia PolyBrute

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As you might have guessed from its name, the PolyBrute is Arturia’s polyphonic take on the beloved analogue beast that is the MatrixBrute. This six-voice polysynth gives you two waveshaping oscillators; a ladder and Steiner filter, which can be run in parallel or serial; three envelopes and three LFOs.
The PolyBrute implements its expression features neatly into its overall design. In addition to mod and pitch wheels, a Morphée controller gives you pressure-sensitive X, Y and Z expression. Plus, something you might miss out on: there’s a ribbon strip worked right into the wooden front panel.
Deep shaping abilities and an elegant design come together in a luxurious-looking polysynth, and so, it’s expected that the PolyBrute comes at a premium. However, its comprehensiveness makes it an ideal studio companion for tackling productions of all kinds.
Key Features:

Price: $2,899
Synthesis type: Subtractive, FM
Polyphony: 6 voices
Keyboard: Full-sized keybed, 61 keys
Effects: Modulation, Delay, Reverb
Other I/O: 1x 1/8″ (sync in), 1x 1/8″ (sync out)

Read our full review of the Polybrute here and learn more about it at arturia.com.
Check out deals for the Polybrute at Thomann.
Korg Minilogue XD

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The Korg Minilogue XD matches capable specs with a sensible price tag, making it a great choice for entry-level music-makers looking to get into synthesis.
This four-voice polysynth is the successor to the Minilogue and offers the same two analogue voltage-controlled oscillators, but adds a third digital one (with noise, vpm and 16 user programs) for more sound design flair.
Onboard, there’s also myriad delay, mod and reverb effects, four operating modes (poly, unison, chord and arpeggiator) and, to round it off, a neat joystick controller for pitch bend and modulation depth.
Key Features:

Price: $730
Synthesis type: Subtractive, FM, wavetable
Polyphony: 4 voices
Keyboard: Slim keybed, 37 keys
Effects: Chorus, Phaser, Flanger, Delay, Reverb, Ensemble
Other I/O: 2x 1/8” (CV in), 1/8” Sync in, 1/8” Sync out

Read our full review of the Minilogue XD here and learn more about it at at korg.com.
Check out deals for the Minilogue XD at Thomann.
Waldorf Quantum

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A sound designer’s paradise, the Waldorf Quantum is a digital-analogue hybrid synth which offers eight voices of polyphony, each with three oscillators that can be run in wavetable, granular, subtractive and resonator modes.
A well-designed user experience paves the way for deep sonic exploration. Clearly marked sections denote oscillators, LFOs, filters, modulators, effects and more, plus, each parameter change is reflected in a crisp touch-screen display, showing you exactly how you’re affecting the signal. Other features include an arpeggiator with seven algorithms and sort orders and a step sequencer with parameter automation, quantisation and more.
The Quantum succeeds at empowering music-makers creatively; for how advanced it can get, it manages an easy-to-follow user experience.
Key Features:

Price: £3,500/$6,200
Synthesis type: Wavetable, granular, subtractive and resonator
Polyphony: 8 voices
Keyboard: Fatar keybed, 61 keys
Effects: Phaser, Flanger, Chorus, Reverb, Drive, EQ

Read our full review of the Quantum here and learn more about it at waldorfmusic.com.
Check out deals for the Quantum at Thomann.
Korg Opsix MKII

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Korg took a leaf out of its own book with Opsix, applying the simplistic concept of its Wavestate to a new FM synth. The six-operator Opsix synth builds on the legacy of the revered Yamaha DX7 FM synth pioneer, with plenty of operator functions, filter types and modulation options.
In January, just in time for NAMM 2024, Korg unleashed a series of new releases, including the microKORG 2. Another head-turning announcement was that of the Korg Opsix MKII altered FM polyphonic synth.
Following its 2020-launched predecessor, the Opsix MKII features doubled polyphony (64 voices up from 32), a 16-step sequencer, intuitive real-time controls, OLED display, 3-stage effects, analogue-style filters, a randomiser function, and six operator modes.
Key Features:

Price: £699
Synthesis type: FM
Polyphony: 64 voices
Keyboard: 37 keys
Effects: 11 filters, 30 different effects in three categories

Find out more about the Opsix MKII at korg.com.
Sequential Prophet-10

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Sequential’s Prophet-10 is back and this comprehensive reboot of the iconic synth culls some of the best features of previous generations, while adding some modern ones too.
A new Rev switch lets you access the filters from the Rev 1, 2 and 3 models, while a new Vintage knob lets you rewind the synth’s sonic characteristics back in time, from the stable Rev 4 to the temperamental Rev 1.
In our review of the Prophet-10, we said: “The Prophet-10 is an absolute joy. It sounds warm, fat, lush but, above all, effortlessly fantastic. Think about so many of the tricks synths rely on to capture your interest, whether it’s a slew of onboard effects or multiple synthesis personality types.”
Key Features:

Price: $4,399
Synthesis type: Subtractive
Polyphony: 10 voices
Keyboard: Semi-weighted Fatar keybed, 61 keys
Other I/O: 2x 1/4″ (CV in/out), 1x 1/4″ (gate in/out), 1x 1/4″ (release)

Read the full review of the Prophet-10 here and find out more about it at at sequential.com.
Check out deals for the Prophet-10 at Thomann.
Elektron Analog Four Mk II

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Robust and designed to play well with others – thanks to CV ins-and-outs – the Analog Four Mk II can be deployed as part of a larger system or on its own. This four-voice analogue synth comes with a built-in sequencer, arpeggiator, and reverb, chorus and delay effects.
The A4 lets you assign up to four notes to a voice, where each voice is made up of two oscillators and a sub. A popular on-the-go rig these days also pairs the A4 with the other Dark Trinity boxes from Elektron: the Analog RYTM, Analog Four and Octatrack. With these, you’re covered from beats to synths to samples.
Key Features:

Price: $1,499
Synthesis type: Subtractive
Polyphony: 4 voices
Keyboard: Single octave trigger keypad
Effects: Reverb, Delay, Chorus, Overdrive
Other I/O: 4x 1/4″ (CV/Gate out)

Read our full review of the Analog Four Mk II here and find out more about it at elektron.se.
Check out deals for the Analog Four MK II at Thomann.
Behringer DeepMind 12
A Behringer DeepMind 12 polysynthesizer. Imaeg: Joby Sessions/Future via Getty Images
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When not making accurate emulations of classic synths, Behringer does come through with some lovely unique items. DeepMind 12 is one of those.
The Behringer DeepMind 12 is celebrated for its affordable price tag, yet it doesn’t compromise on quality or features. With its vast array of oscillators, filters, and modulation options, it offers endless sonic possibilities, making it a go-to choice for both beginners and seasoned synthesists.
Key Features:

Price: $798
12-voice polyphony
Two DCOs per voice
24 oscillators
Classic analogue filters
Extensive modulation matrix
Built-in effects

Read our review of the DeepMind 12 here and find out more about it at behringer.com.
Check out deals for the DeepMind 12 at Thomann.
UDO Super Gemini

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Building upon the acclaimed sound of the Super 6, UDO’s analogue-hybrid Super Gemini ups the ante to 20-voice polyphony. Its dual-layer architecture provides immediate, comprehensive control over two timbral layers, enabling intricate sound sculpting in real time.
Each of the 20 voices is powered by unique digital hardware oscillators capable of wave morphing, cross and ring mod, and bidirectional sync. From there, these oscillators feed into an all-analogue signal path inspired by classic vintage instruments, for a rich and versatile sonic palette.
With a 61-note semi-weighted keyboard, the Super Gemini is just as pleasurable to play as it is to programme, delivering highly expressive performances thanks to polyphonic aftertouch and a custom-engineered ribbon controller.
Key Features:

Price: £3,389
Synthesis type: Bi-timbral analogue hybrid
Polyphony: 20 voices
Keyboard: 61 keys

Find out more about the Super Gemini at udo-audio.com.
Korg Wavestate MkII

 
In the early 1990s, Korg introduced the world to the Wavestation, and with it, a rhythmic new looping concept dubbed wave sequencing. Not completely unlike step programming, it allowed music-makers to combine samples to form new sounds which could be triggered via MIDI.

READ MORE: Vintage Rewind: Korg Wavestation

Korg modernised this concept with the Wavestate in 2020, a polyphonic synth powered by Wave Sequencing 2.0. This technology introduced new parameters tied to pitch, volume, and more, letting the Wavestate achieve its signature hypnotic sounds, while boasting a much more organic feel than its predecessors.
Fast forward and we’ve now seen the release of the Wavestate MkII, which builds upon the success of its predecessor with expanded capabilities. Enhancements include increased polyphony up to 96 stereo voices, vector synthesis, modelled filters, and gigabytes of additional samples, along with an improved user interface and more robust build quality.
Key Features:

Price: $719
Synthesis type: Wavetable
Polyphony: 96 stereo voices
Keyboard: Full-sized, 37 keys
Effects: chorus, flanger, phaser, wah, delay, tape echo, reverb, ring modulator, guitar amp, compressor

Oberheim TEO-5
Oberheim TEO-5, image: Oberheim
Designed with the modern producer in mind, the TEO-5 delivers classic Oberheim sounds in a more compact and accessible format. This five-voice polysynth features analogue voltage-controlled oscillators and filters, including the legendary SEM filter circuit for that authentic Oberheim tone and presence.

READ MORE: TEO-5, as told by Tom Oberheim: “If we made this 30 years ago, we’d have ruled the world”

A range of built-in effects — like chorus, delay, reverb, and phaser — provide immediate sound enhancements, while a 64-step polyphonic sequencer and multimode arpeggiator offer new avenues for creative composition and performance. And if you want to dial in a really complex patch, there’s a versatile modulation matrix where almost any routing is possible, including audio rate sources and destinations.
Key Features:

Price: $1,499
Synthesis type: Subtractive
Polyphony: Five voices
Keyboard: 44-key Fatar keybed

Find out more about the TEO-5 at oberheim.com.
For more buyer’s guides, go to MusicTech.com.
The post The best synths to buy in 2024: 19 best polyphonic synthesizers to buy appeared first on MusicTech.

Here are the all producers, DJs, and electronic artists playing Coachella 2025Coachella just dropped its full lineup for the 2025 edition.
Taking place on the weekends of April 11-13 and April 18-20 in Indio, California, the release for the 2025 festival has come surprisingly early compared to previous years — it usually shares its roster in the January of the year it takes place. Comprising over 140 acts, the lineup is boasting a plethora of producers, DJs and electronic music acts in 2025.
READ MORE: Coachella 2024’s best immersive performances, from the subtle to the stunning
The headliners include Lady Gaga, Green Day, Post Malone, and Travis Scott.
Major producers and DJs include UK trailblazers The Prodigy, afro-house trio Keinemusik, trance legends Above & Beyond, and electronic originators Kraftwerk, who all have high-ranking slots. It is unclear whether Kraftwerk will perform their celebrated 3D set. However, given that acts are known to create bespoke production for Coachella, they could put together something completely new.
Further down the lineup are a lot of other outside-the-lines acts for such a mainstream event. Chase & Status has an official slot this year after filling out Do LaB last year. Interplanetary Criminal will bring his authentic UK garage sound. The indie sleaze prince and Charli XCX collaborator, The Dare, will also make his Coachella debut this year — Charli XCX is on the lineup, too.
Other notable producers, DJs and electronic acts include:

Basement Jaxx
Parcels
Zedd
Arca
Clairo
Mustard
Alok
Mau P
Amelie Lens
Sara Landry
A.G Cook
Vintage Culture
Amémé
Maribou State
Austin Millz
Damian Lazarus
Pete Tong
Boris Brejcha
Infected Mushroom
Indira Paganotto
T-Pain
Disco Lines
Moon Boots
Parisi
Haai
Chris Stussy
Horsegirl
Shermanology

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Last year, Coachella was in the news not because of the lineup, but because of slower-than-usual ticket sales. Bloomberg reported that the festival did not sell out in 2024 or 2023 (in the same article, they reported that Kendrick Lamar and Rihanna passed on 2025 headlining slots). The earlier lineup release could be a tactic to encourage more sales, giving more attendees time to make the decision.
More artists may well be revealed in the future. Do LaB, Heineken House, and Quasar stages may also have their own lineups announced soon.
Quasar is the new stage at Coachella, which is the home for extended DJ sets. Last year, the lineup was different between weekends just like Do LaB and Heineken House, and it hosted slots including Michael Bibi’s first set following his cancer diagnosis, a joint set from Floating Points, Daphni, and Jamie XX, and the first-ever back-to-back from Eric Prydz and Anyma.
Read more music producer news.
The post Here are the all producers, DJs, and electronic artists playing Coachella 2025 appeared first on MusicTech.

2025 P&E Wing GRAMMY Week Celebration to Honor Jimmy DouglassOn Wed, Jan. 29, 2025, the Recording Academy® Producers & Engineers Wing® will honor producer, engineer, mixer, and five-time GRAMMY® winner Jimmy Douglass at its annual GRAMMY Week Celebration. Also known as “The Senator,” Douglass’ prolific career spans over four decades, and his credits include musical icons like Aretha Franklin, The Rolling Stones and Roxy Music, as well as a partnership with four-time GRAMMY winner Timbaland that led to award-winning projects by Aaliyah, Missy Elliott, John Legend, Justin Timberlake, and more. The P&E Wing GRAMMY Week Celebration will take place at The Preserve LA in East Hollywood and will salute Douglass’ accomplishments and impact on the music industry.“Our P&E Wing proudly celebrates GRAMMY Week each year with a special evening that unites producers, engineers and artistic professionals to honor a truly deserving creator,” said Harvey Mason jr., CEO of the Recording Academy. “This year, we’re thrilled to pay tribute to the extraordinary Jimmy Douglass, who has led groundbreaking creative and technical efforts in the recording industry, encouraging artists to transcend genre boundaries and contributing to iconic musical projects that will resonate for generations.”“Throughout his illustrious career spanning more than four decades, Jimmy’s visionary approach to producing, engineering and mixing has shaped some of music’s most iconic recordings. Jimmy consistently pushes the boundaries of sound by bringing unconventional techniques into the studio while inspiring countless artists along the way,” said Maureen Droney, Vice President of the Producers & Engineers Wing. “On behalf of the Producers & Engineers Wing, we are delighted to dedicate our 2025 event to Jimmy and his amazing career.”Along with paying homage to Douglass, the event will also celebrate the year-round work of the Producers & Engineers Wing and its members, who work together to advise the Recording Academy on technical best practices, advocate for the rights of music creators, and shape the future of the recording field.GRAMMY Week culminates with the 67th Annual GRAMMY Awards® at Los Angeles’ Crypto.com Arena on Sun, Feb. 2, 2025, broadcasting live on the CBS Television Network and streaming live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT. Prior to the Telecast, the GRAMMY Awards Premiere Ceremony® will be held at the Peacock Theater at 12:30 p.m. PT and will be streamed live on live.GRAMMY.com and the Recording Academy’s YouTube channel. The post 2025 P&E Wing GRAMMY Week Celebration to Honor Jimmy Douglass first appeared on Music Connection Magazine.

Spotify co-president says AI-generated music is welcome on the platform — but it won’t generate music itselfSpotify’s co-president has said that AI-generated music will have a place on the platform, but Spotify does not intend to create and release music with generative technology.

READ MORE: Select creators can now “restyle” songs using YouTube’s experimental AI tool

The brand’s Gustav Söderström appeared on a recent episode of the Big Technology podcast, discussing how Spotify plans on contending with the issues posed by the potential that progress in generative AI has with regards to creating music.
In his view, AI is “amplifying creativity”. On the podcast, he tells host Alex Kantrowitz: “[AI is] giving more and more people access to be creative. You need even less motor skills than on a piano. You need less technical skills than [your] own [digital audio] workstation. So I think of them as tools.”
Söderström clarifies that there is a distinction between music that only uses AI for specific elements of a song and music that is 100 per cent AI-generated.

“We’re a tool for creators,” he replies, “and if creators want to use AI to enhance their music, as long as we follow the legislation and copyright laws, we want them to be able to monetize their music and pay out.”
Söderström believes that AI-generated music is welcome on Spotify as long as it’s legally sound with regards to copyright. “If creators are using these technologies — where they are creating music in a legal way that we reimburse and people listen to them — and are successful, we should let people listen to them.”
He later rules out the possibility of Spotify generating and hosting its own AI-generated music that it would therefore not have to pay royalties on.
“I don’t think it’s our job to generate that music instead of the creators,” he says. “There’s the question, should we generate all the music ourselves? And that’s where we’re saying, ‘No, we’re not going to generate that music.’ But maybe other platforms will, because it’s cheap content, right? We decided what we want to be in this world, and it’s a platform for creators.”
In other Spotify news, it was revealed earlier this week that Spotify’s CEO and co-founder Daniel Ek cashed out $35.8 million in Spotify stock, just months after reports that he had earned more from his shares in 12 months than any other artist on the platform ever has. Meanwhile, co-founder Martin Lorentzon, sold 959,762 shares of SPOT worth $383.75 million.
Read more music industry news. 
The post Spotify co-president says AI-generated music is welcome on the platform — but it won’t generate music itself appeared first on MusicTech.

Snowflake snaps up data management company DatavoloCloud giant Snowflake has agreed to acquire Datavolo, a data pipeline management company, for an undisclosed sum. Snowflake unveiled the deal at the close of the market bell on Wednesday, when it also announced its Q3 2025 earnings. The purchase hasn’t yet closed, and it’s subject to customary closing conditions, Snowflake noted in a release. […]
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