Is Neural DSP Mantra just another channel strip plugin? Not exactly€199 including taxes, neuraldsp.com
If you’re a guitar player, you should be familiar with Neural DSP. Founded in 2017, the Finnish manufacturer specialises in amp modelling, with some of the best solutions on the market. Neural DSP already has a range of guitar and bass plugins, but Mantra, a vocal-focused effect — is an interesting move for the company. Let’s find out if it’ll pay off.

READ MORE: Sonible smart:reverb 2 has shown me the future of reverb mixing

With a similar look and interface to the other Neural DSP plugins, Mantra provides a comprehensive low-latency effects processing solution for vocal performers, songwriters, and producers. Mantra is a real-time instrument you can use live and while tracking, or a powerful vocal production platform for achieving a more polished sound.
With a vocal chain that includes dynamics and tonal processing, tuning, harmoniser, and multi-effects, the processing is divided into three sections: Correction, Harmonies, and Post FX. This lets you move quickly between the various effects modules, while the global I/O gain controls, metering, and limiter provide quick access to adjust your gain structure.
As you might expect, there are two input monitoring modes: a low-latency mode for tracking, and a high-quality mode for mixing, which also unlocks dynamic EQ processing within the Sculpt module. You also have a global tuning section where you can set the root note and scale to access the Chord Voicing library, and even tune the Reference Pitch to 432 Hz if you like.

How do you use Neural DSP Mantra?
There’s a lot to take in when you first see the range of processing modules inside Mantra, but using the plugin is actually remarkably easy.
Upon opening the plugin, you are immediately prompted by the Sculpt module’s analysis feature. This will automatically optimise the EQ curve according to the signal profile from your voice and microphone, with a selection of nine different target curves that provide the foundation for the tone creation process.
From the Correction tab, you can access seven modules that cover almost every angle of corrective vocal processing, including tuning, noise gate, sculpt, de-esser, EQ, compressor, and saturation. At first, the modules look like one-knob interfaces, but as you select each one, they expand, providing the full extent of the available controls. This neat interface design allows easy access to the most important parameter for each module, but then you can dive deeper when you need to, with a central visual interface for key features.
The preset browser interface is a letdown, with a dropdown menu system that is especially clunky on smaller displays. However, the presets themselves are well designed by some of the industry’s top musicians, producers, engineers, and sound designers. A quick flick-through showcases Mantra’s capabilities, with outstanding content from the likes of Mick Gordon, known for his work on the Doom video game franchise, plus cleverly designed presets for both condenser and dynamic mics from producer Forrester Savell.
When exploring presets, I’m impressed to find settings that allow the three main levels of vocal dynamics to translate in interesting ways. The epiphany happens when I load up Mick Gordon’s Loud Rocker preset, and move from a close-mic, soft dynamic to a medium-distance (around six inches) verse dynamic, and finally to an even further distance (12 inches plus) at a louder level that excites the room. In each case, saturation, compression, and gating shape the vocal in different ways, exposing a contrasting range of nuances.
In this way, Mantra goes well beyond the scope of being a corrective processor and becomes a powerful creative tool for songwriting. It helps you come up with ideas and sounds that keep you fully immersed in the music production process.
Correction. Image: Press
Going deeper with Neural DSP Mantra
Equipped with an old AKG C414 condenser mic and an EVO 4 interface, I found the results pretty astonishing and immediately viable in the context of commercial music production.
In tracking mode, the latency is low enough to rehearse and record takes, which I then quickly duplicate, running additional instances of Mantra (now in mix mode) to create vocal stacks in seconds. Although I don’t go full T-Pain on the tuning, I find it responsive and natural-sounding enough for use in pre- and post-production.
In mixing mode, the Sculpt module’s dynamic EQ feature certainly makes your vocals sound less ‘bedroom’, but it won’t replace heavy hitters like Pro-Q, Soothe2, and Gullfoss. Meanwhile, the Harmonies tab is particularly intriguing, with four layers of harmonies that can be spread over the stereo field in linked stereo or dual-mono configurations per layer. To create harmonies, you just set the global root key and scale, which then allows you to access the Voicing Library with preset chords, or adjust the interval of each individual harmony.
Alternatively, you can trigger harmonies with MIDI notes, which opens up the possibility to use Mantra as a compositional and performance tool. While the formant shifter can only be used in Mixing mode, the scope of settings to achieve natural-sounding variation is impressive. With the high-cut and low-cut filters, you can set the frequency range of the harmonies, and there are controls to add randomisation to the pitch and timing. What’s more, you can adjust the balance with global controls for the width, as well as the levels of the harmonies and the original signal.
The Post FX section comprises three parts, with four delay types, three reverb types, and three modulation effects with an additional Doubler module. There isn’t an expansive set of controls for each effects module but there are mix controls for both the main vocals and harmonies on each of the three modules, plus ducking on the reverb and delay. This provides enough effects to create subtle textures or pulsating soundscapes without losing the intelligibility or edge of your original vocal.
Sculpt. Image: Press
Mantra truly resonates
If you’re a professional mix engineer, you probably already own a slew of specialised vocal post-production plugins and Antares Harmony Engine, which offers deeper harmonisation features. However, Mantra’s true prowess lies in its creative versatility for musicians, songwriters, and producers looking for a go-to vocal tool when inspiration strikes.
In regard to the competition, at €199, Mantra offers a far deeper feature set than Pulsar Audio’s Vocal Studio ($199) or even Universal Audio’s Topline Vocal Suite ($349). Although it’s entering big league prices for a plugin, Mantra is a tool that significantly enhances the creative process for vocal artists and songwriters, and it can also be used on synths, drums, and even a mix bus.
Mantra is a few leagues ahead in the steeplechase for this particular market niche, and Neural DSP could easily take this technology a step further by developing a dedicated pedal for live vocalists using the same platform as its impressive Cortex series.
Post-FX. Image: Press
Key features

Vocal processing plugin
AU / VST / AAX / CLAP plugin for Windows (10 or above) and macOS (13 or higher)
Tracking and Mixing modes
Automatic EQ sculpting module
Impressive range of processing controls
4-layer harmoniser
Artist presets
14-day trial available

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Space is open for business with Even Rogers and Max Haot at TechCrunch Disrupt 2025The next era of the space economy isn’t just about rockets and satellites — it’s about infrastructure, autonomy, and entirely new models for building and defending off-Earth assets. At TechCrunch Disrupt 2025 this October 27–29 in San Francisco's Moscone West, the Space Stage is where this shift gets real.

Position Music Signs Rising DJ Trio Levity to Global Publishing DealPosition Music has officially added another rising star to its roster. The Los Angeles-based independent music company announced the signing of Chicago-based electronic trio Levity to a worldwide publishing deal.The group—comprised of John Hauldren, PJ Carberry, and Joshua Tarum—has seen a rapid rise since their debut in 2023, amassing nearly 100 million streams across streaming platforms and establishing themselves as one of the most promising new acts in electronic music.A statement from the company discloses that, “Levity’s growth over the past two years has been extraordinary—what began with a last-minute set at Electric Forest in 2023 has evolved into sold-out headline shows and key slots at major festivals like EDC, Lollapalooza and more. I’m so excited to be working with them and their managers Adam and Harrison at 2+2 Management. Levity has had an explosive start and we’re only scratching the surface of what they’re going to achieve.” This comes from Mike Torres, A&R at Position Music.Levity expressed equal enthusiasm about the partnership. A statement from the band shares that, “We are so excited to be working alongside the wonderful team at Position Music! The opportunity has given us the chance to share our music with a wider range of people and take our music to the next level. We can’t wait to see where else our partnership will take us!”The signing comes on the heels of a busy summer for the trio, including a performance at Lollapalooza. Known for sets that go beyond DJing, Levity emphasizes crowd interaction and blends a wide range of electronic sub-genres into their live shows. Their 2025 schedule is already filling up with major festival appearances, including Do LA (Coachella Weekend 1), EDC Las Vegas, Beyond Wonderland, and Lollapalooza.Levity recently released their new single, “Like This,” from their forthcoming EP Snack Pack via Ultra Records. The group is currently on tour, with dates scheduled across the U.S.:9/4 – Showbox SoDo (Seattle, WA)

9/5 – Showbox SoDo (Seattle, WA)

10/10–10/12 – Seven Stars Festival (Arrington, VA)

10/31 – Stage AE (Pittsburgh, PA)

11/8 – Cow Palace (Daly City, CA)

11/14 – Shrine Expo Hall (Los Angeles, CA)

11/15 – Shrine Expo Hall (Los Angeles, CA)

11/21 – Mission Ballroom (Denver, CO)

11/22 – Mission Ballroom (Denver, CO)

11/28 – Brooklyn Paramount (Brooklyn, NY)

11/29 – Brooklyn Paramount (Brooklyn, NY)

12/30 – The Fairgrounds (Nashville, TN)The post Position Music Signs Rising DJ Trio Levity to Global Publishing Deal first appeared on Music Connection Magazine.

Confirmed: BMI royalty rate from terrestrial US radio is rising by nearly 24%Radio stations will go from paying 1.78% of gross revenue for BMI's music in 2021 to 2.20% in 2026
Source

Hide Capacitive Touch Buttons In Your Next 3D PrintCapacitive touch sensors are entirely in the domain of DIY, requiring little more than a carefully-chosen conductive surface and a microcontroller. This led [John Phillips] to ask why not embed such touch buttons directly into a 3D print?
Button locations and labels can be made as part of the 3D print, which is handy.
The process is not much different from that of embedding hardware like magnets or fasteners into 3D prints: one pauses the print at convenient spot, drops in the necessary hardware, then resumes printing. It’s more or less the same for embedding a touch-sensitive button, but [John] has a few tips to make things easier.
[John] suggests using a strip of copper tape, one per touch pad, and embedding it into the print near the surface. His preference is three layers in, putting the copper tape behind 0.6 mm of plastic when using standard 0.20 mm layer heights.
Copper tape makes a good capacitive touch sensor, and the adhesive on the tape helps ensure it stays in place as the 3D printer seals it in on subsequent passes.
Copper tape is also easy to solder to, so [John] leaves a small hole over the copper — enough to stick in a wire and tack it down with the tip of a soldering iron and a blob of solder after the print is complete. It might not be ideal soldering conditions, but if things get a little melty on the back side it’s not the end of the world.
On the software side capacitive touch sensors can be as simple as using an Arduino library for the purpose but [John] rolled his own code, so give it a peek.
This reminds us a bit of another way to get a capacitive touch sensor right up against some plastic: a simple spring can do the trick.

Moises’ AI Studio DAW arrives with a built-in session musician — here’s my first impressionMoises has just upped the AI ante. The company behind the popular stem separation and chord detection app—65 million users at the time of writing, plus Apple’s 2024 iPad App of the Year trophy on the mantel—has today unveiled AI Studio, a browser-based DAW with a synthetic session musician on call.
Is this just another suffocatingly simple AI prompt machine? Not quite. Moises AI Studio is all about generating stems.
READ MORE: Loopcloud’s Flip Sample instantly transforms loops and one-shots into new variations – and it’s a free update for existing users
Alongside the many ethical and artistic critiques levelled at ‘full-song’ AI generators, there’s also a much more practical complaint: they’re just not that useful. Spitting out prefabricated tracks is fun for a hot minute, but trying to extract instrumental parts that you can actually edit and mix has previously required multi-step workarounds.
This is where AI Studio stands out. Not only am I able to conjure unique instrumental parts on a dime, but Moises claims that the musical data has been ethically sourced, licensed, and copyright-cleared, so I had no qualms when hitting that ‘generate’ button.
The first feature to impress me is its “context-aware” audio generation. Record or upload some audio—it can be a solo musical part or a mix with multiple instruments—and Studio AI will analyse the tempo, genre, harmony, and rhythm. It’ll then generate an accompanying instrumental part that matches the groove of what you’ve already created. It’s a workflow that feels less like Skynet ghostwriting your song and more like a bandmate who actually plays in time.
At launch, there are seven instruments to choose from—guitar, bass, drums, and a smattering of keys and strings—and each one can be generated with a preset genre to shape the results. There’s a satisfying number on offer, covering everything from punk to trap, dubstep to bossa nova.
Alternatively, you can generate stems based on Moises’ AI matching technology to produce parts more personalised to the audio you’ve uploaded – in practice, I find this method is the most successful.

It’s all pretty fast, too, with three minutes of audio taking about 30 seconds to generate. In two minutes, I’d added unique drums, bass, e-piano, and violin to my initial acoustic guitar track – not too shabby. However, over time, that 30-second lag does start to add up, and, as unique audio is being generated each time, it’s not possible to audition presets before you render them. Even after a short time, I find myself losing creative flow as I render stem after stem, looking for the right sound.
You can also generate stems based purely on text prompts, you can upload audio reference tracks to guide the generated output, and you can even combine both techniques to get something that retains the feel and playing style of an existing musical section but takes it in a new direction. There’s also a set of additional creative controls which allow you to define how closely the generated stems should match your uploaded audio or the selected genre preset.
It’s worth restating that all of this comes packed into a web browser. I find the barrier to entry practically non-existent, with an uncluttered UI, no additional hardware needed to get going, and an easy-to-follow workflow. It’s also worth noting that all the new features in AI Studio sit alongside the existing Moises AI tools, which include stem separation, a suite of 50+ AI vocal models, a prompt-based ‘lyric writer’, and automated mixing and mastering capabilities.
Of course, pro-level producers are unlikely to make release-ready tracks without a few additional creative steps—though I may well be proven wrong on that—but AI Studio has big potential for remixers, content creators, and anyone looking to quickly work up a demo track from an initial sketch.
My first impression is that it’s pretty powerful as a space for rapid ideation, allowing you to hear your musical ideas in a range of genres and styles with minimal friction.
The biggest drawback is audio quality. Compared to a basic sample pack, you’re still looking at a noticeable step down. Depending on your production style, this may not be an issue, but when pairing generated stems with clean acoustic recordings, the difference is obvious to me.
AI Studio is available to all existing Moises users, and everyone gets a free monthly allotment of credits that can be used to generate stems. The Free tier gets you 60 generative-AI credits, a £5 per month Premium subscription will net you 100 credits, the £25 per month Pro tier comes with a hefty 600 credits, with more available for purchase if you manage to burn through your monthly stash.
With AI Studio, Moises is staking out a position on what generative AI audio can be, showing that it is possible to build ethically trained models that still produce musically coherent results with reasonable audio fidelity. Most important of all, at least for the casual user, the company’s conception of stem generation feels at home in the neighbourhood of sample libraries and software presets. These are tools designed to enhance productivity without supplanting creativity.
You can try it yourself at moises.ai.
The post Moises’ AI Studio DAW arrives with a built-in session musician — here’s my first impression appeared first on MusicTech.

Kilohearts releases Compactor, a FREE loudness maximizing plugin
Kilohearts has announced the addition of its latest plugin, Compactor, to the free Kilohearts Essentials range. Compactor joins existing freebies like Clipper and Shaper in the Kilohearts Essentials catalogue. If you aren’t familiar with Kilohearts Essentials, each addition is available as a regular (AU, VST2, VST3, AAX) plugin or as a Kilohearts Snapin, and completely [...]
View post: Kilohearts releases Compactor, a FREE loudness maximizing plugin

Loopcloud’s Flip Sample instantly transforms loops and one-shots into new variations – and it’s a free update for existing usersLoopcloud has launched Flip Sample, a new feature which instantly transforms loops and one-shots into new variations with a single click.
Aiming to “bridge the gap between browsing and producing”, Flip Sample allows users to select from over 1,000 curated patterns and effects, and reshape, sequence and pitch them on the fly.

READ MORE: Calling all DJs! Spotify has added a track mixing tool to playlists

Flip Sample promises “instant creative momentum”, and can transform any sample into something new to spark new inspiration. For example, the feature can take a single bass one-shot into a bassline.
By utilising a powerful tag-based system, Flip Sample selects from over 1,000 curated transformations tailored to the instrument and sample type used.
“Flip Sample elevates Loopcloud from a sample library into a creative production tool by letting users reshape and reimagine their sounds directly within the editor,” writes Loopcloud.
Flip Sample comes as a free update for all existing Loopcloud subscribers. Right now, new annual subscribers can get 50 percent off any annual plan, as well as a free 10-plugin bundle featuring:

Native Instruments Massive
iZotope Nectar Elements
IK Multimedia Tape Machine 80
sonible pure:verb
Excite Audio Bloom Vocal Aether Lite
Lunacy CUBE Mini
Denise God Mode
Tracktion Dawesome LOVE
BLEASS Motion FX
510k SEQUND Lite
Plugin Boutique DriveMod

Prices for said plans start at £35.99/€41.99/$47.99, and the 50% offer ends 6 January, 2026.
For more information, head to Loopcloud.
The post Loopcloud’s Flip Sample instantly transforms loops and one-shots into new variations – and it’s a free update for existing users appeared first on MusicTech.

SXSW 2026 PanelPicker Voting Ends Soon: Our Favorites FYCSXSW 2026 PanelPicker voting ends this Sunday August 24th. Everyone is eligible to vote whether you are registered yet for SXSW or not. Here's how to vote and a few of our favorite panels and presentations for your consideration.
The post SXSW 2026 PanelPicker Voting Ends Soon: Our Favorites FYC appeared first on Hypebot.

What Is A Ticket Count? Why Do Ticket Counts Matter So Much?What is a ticket count? Simply put they are a regular report of how tickets are selling for a particular show. The head of ticket count platform RealCount breaks it down and explains why ticket counts matter so much.
The post What Is A Ticket Count? Why Do Ticket Counts Matter So Much? appeared first on Hypebot.

“I woke up in the medical tent an hour later and missed the entire show”: Woman speaks out following violent assault at Rüfüs Du Sol showFootage is circulating of a woman being violently assaulted during a recent Rüfüs Du Sol show at the LA Rose Bowl.
The clip – shared by festival news outlet Festive Owl – appears to show a man knocking over and repeatedly punching a woman, who is later shown to be passed out on the floor, with what appears to be blood spattered beside her.

READ MORE: “What if we just flipped the process?”: Matteo Pagamici and Michael Künstle on playing an orchestra like a synthesizer

“This isn’t [our] usual kind of content, but this behaviour is abhorrent anywhere – much less at a show,” Festive Owl writes. “A longtime follower was brutally attacked over an accidentally spilled drink this weekend during Rüfüs Du Sol at the Rose Bowl and needs help identifying this person.”
Shelby Elston, the woman who was attacked, shared a description of what happened prior to the assault. “When we first got to our seats, a drink was accidentally spilled, lightly splashing the man in front of us,” she explains. “We apologised immediately, but he yelled that it was intentional and ran off, leaving his companion behind. We apologised to her and thought it was over.”
“About 30 minutes later, he returned, screamed at us, and threatened violence,” she continues. “I tried to calm the situation and apologised again – and the next thing I remember, I woke up in the medical tent an hour later and missed the entire show.”
“This man punched me in the face, knocking me out and causing significant bleeding, while he continued attacking our group. Another friend tried to protect us, but the attacker fled into the crowd and hasn’t been found.”

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A post shared by The Festive Owl | Official (@festiveowl)

While a police report has been filed, Shelby has been on the hunt for her attacker. She has since shared an official update on Festive Owl’s Instagram post, claiming that she has identified the perpetrator, whom she also names. “The people who knew him personally said they are not surprised he was involved in an incident like this due to him being an aggressive and unhinged individual,” she writes.
“I have been given all of his personal information (including his place of employment), charges will absolutely be filed and a civil lawsuit as well,” she adds. “I’m going to make this man pay for what he did to me and my friends.”
The Australian EDM trio have since acknowledged the assault via an Instagram Story. “Delivering moments for our fans to gather and celebrate safely is what we live for,” the band wrote [via Fox News]. “We have been heart broken to hear of the act of violence that took place during the opening act on Saturday.”
Credit: Rüfüs Du Sol/Fox News
“This type of behaviour is completely unacceptable anywhere and the fact that this happened at one of our shows was devastating to learn about,” they continued. “Local law enforcement are actively investigating the situation. Anyone with information to assist the investigation should please contact Pasadena Police Department.”
The incident has reignited conversations surrounding crowd safety at stadium events.
In the aftermath of the attack, other fans in attendance have come forward sharing how they felt “unsafe” at the gig. “Amazing set, horrible experience,” one fan comments under a Rüfüs Du Sol Instagram post. “The venue was very understaffed and we felt very unsafe. Aisles completely lined shoulder to shoulder with people, no way to get in or out. Absolute nightmare.”
Another fan writes: “I’m sorry but I was hoping for a better experience. Never in my life have a wanted to leave a show that early. Zero crowd control zero respect zero safety. These current crowds make me never want to go out again. Truly a horrible experience. I couldn’t even enjoy the music. I want a refund, to be honest.”

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A post shared by RÜFÜS DU SOL (@rufusdusol)

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KaranyiSounds Polyscape NovaPolyscape Nova merges string instruments with modern synthesis techniques. Transform cellos and strings into evolving soundscapes, dynamic pads, and rhythmic textures. From subtle atmospheric layers to powerful hybrid instruments, it brings a unique blend of organic and electronic elements: Blend Strings and Synthesis. Advanced Layer System. Multi-Voice Architecture. Studio-Grade Effects. Read More

Harrison launch free 3D Delay plug-in 3D Delay is described as a professional-grade processor that’s been designed to instantly deliver mix ready results, while Stunning Phaser, Dyno Mite and Spectral Gate bring a selection of powerful new tools to the company’s software line-up. 

“The spirit of rock needs to have a touch of danger about it”: Why former Scorpions guitarist Uli Jon Roth isn’t concerned about AI in rock musicWith the increasing quality of AI-powered music generators, some musicians are rightly worried about what the future holds for the industry. Hell, the Velvet Sundown recently managed to amass hundreds of thousands of listeners before it was revealed it was all an AI hoax.
But should musicians be that concerned? Former Scorpions guitarist Uli Jon Roth has joined the growing chorus of other industry veterans like ABBA’s Björn Ulvaeus who say artificial intelligence doesn’t herald the doomsday hellscape some believe it will.

READ MORE: Calling all DJs! Spotify has added a track mixing tool to playlists

“There’s now the trend of making all the vocals using pitch correctors, to the point where it becomes ridiculous,” Roth tells Metal Roos [via Blabbermouth]. “They’re taking away the essence of human expression and turning the voices into robot voices…
“Because I guess a lot of the younger kids, they’re used to all that because a lot of what we get now on social media or whatever is completely manufactured and absolutely not real.
“And the borders between real and what’s not real are very shifting and it’s coming to the point with AI that you really very often don’t know whether it was machine-made or computer-made, digital, or whether it was actually flesh and blood in front of you.
“That’s actually a very interesting development, I find, and I’m not scared about it. I’m rolling with the punches there. But a lot of people are threatened, and I understand that.”
Roth adds that the emergence of AI is actually in keeping with the “spirit of rock”, which he says “needs to have a touch of danger about it”.
“I’m not really interested in perfection in rock,” he explains. “In fact, it’s almost anathema, because the original rock was not perfect. It came like almost a revolutionary kind of thing. [It] burst onto the scene with a completely new sound, a new attitude, a new way of playing music. And this is what I am always tapping into when I’m playing that kind of music.
“It needs to have that kind of frontier spirit almost. If you take that away, it loses the very essence of it.

In other news, Dustin Ballard, the brains behind AI parody music YouTube channel There I Ruined It, recently gave a TED talk about the ethics of using AI in music creation.
“Is AI music real music? I believe that when it’s in the hands of musicians, it can be,” he explained.
The post “The spirit of rock needs to have a touch of danger about it”: Why former Scorpions guitarist Uli Jon Roth isn’t concerned about AI in rock music appeared first on MusicTech.

Softube launch Equalizers plug-in The latest addition to the Softube range aims to offer the best of both worlds by combining their praised vintage EQ emulations with a modern GUI, draggable curves, dynamic bands and more.