Reason ReCycle returns Reason Studios have announced that their game-changing sampling software — which was originally released back in 1994 — has returned, and is being made available for free. 

Teenage Engineering’s EP-133 K.O.II just got its first major OS update – here’s what’s newTeenage Engineering has officially rolled out OS 2.0, the first major software update for its compact yet powerful EP-133 K.O.II sampler.
Launched in late 2023, the $299 EP-133 K.O.II quickly became a smash hit among beatmakers thanks to its compact, intuitive design, and nods to classic samplers like the Akai MPC 3000. Now, nearly a year and a half later, OS 2.0 is here to push the K.O.II to new heights with a list of “knockout features” that broaden its capabilities and improve performance across the board.

READ MORE: Is Frank Ocean teasing a comeback? Mysterious Instagram account and cryptic Billboards send fans spiralling

One key feature of TE’s latest update is resampling, which lets users sample any sound source on or off the device, process it through effects and make a brand new sample from it. Hand-free sampling is also possible now, which means you can record instruments that require both hands (like a piano) without needing to hit record manually.
The new OS also brings increased polyphony from 12 mono and six stereo sounds to 16 mono and 12 stereo sounds, allowing for denser and more expressive arrangements.
Other key features include a new song mode, which makes it easier to “chain scenes and create longer, more structured track arrangements,” and sidechaining, which allows “one sound to control the volume of another” – perfect for controlling those kick and bass grooves.
For users with sprawling setups, extended MIDI support is another major win. With MIDI through and the ability to pair up to 16 devices simultaneously, the K.O.II becomes a true centerpiece for multi-unit workflows.
In our recent review of the K.O.II (where it scored a 7/10), we highlighted the sampler’s affordable price and standout character. While it lacks the deep sculpting tools and seamless DAW integration of pricier rivals like Roland’s SP-404 MkII or Ableton’s Push/Move, it shines in personality and design.
“Style can’t cover awkward feature navigation, a steep learning curve, and tiny storage,” we noted – but with OS 2.0 addressing some of those original limitations (like the missing song mode), the K.O.II may now strike a more compelling balance between form and function for users drawn to its playful aesthetic.
Still, the K.O.II’s launch wasn’t without hiccups. Soon after its release in November 2023, users began reporting issues with the effects fader – a problem that quickly gained traction online as “Fadergate”. Teenage Engineering co-founder David Eriksson later addressed the issue, pointing to a combination of flawed packaging dimensions and insufficient protection.
“The size of the box is 10 inches, so some stores thought it was a 10-inch vinyl package and so shipped it without padding,” he told MusicTech. “But it was also our little design flaw, we didn’t have any protection, and if something hit the packaging straight on the fader, it would break. Now that’s been changed. So we have new packaging – now, we’ve been throwing it like a frisbee at work, at the walls, like over and over. And now it doesn’t break.”

Download the new OS update and view the full release notes at Teenage Engineering.
The post Teenage Engineering’s EP-133 K.O.II just got its first major OS update – here’s what’s new appeared first on MusicTech.

Slate Digital Offers Three FREE Virtual Mix Rack Modules with iLok Cloud Support
Slate Digital has made three of its popular Virtual Mix Rack (VMR) modules available for free and removed the need for an iLok USB Dongle by enabling iLok Cloud authorization. The free modules—The Monster, Revival, and The Trimmer—are now included with the VMR installation via the Slate Digital Connect app. While the app installs the [...]
View post: Slate Digital Offers Three FREE Virtual Mix Rack Modules with iLok Cloud Support

Is Frank Ocean teasing a comeback? Mysterious Instagram account and cryptic Billboards send fans spirallingIs a Frank Ocean comeback finally on the horizon? Fans certainly think so, and here are the receipts.
Theories kicked into overdrive this week when a mysterious Instagram account surfaced, seemingly linked to the elusive singer. The handle? @kikiboyyyyyyy — a name that fans believe could be much more than just a finsta (short for Finstagram, or ‘fake’ Instagram account).

READ MORE: Fyre Fest 2 permit only allows for 12-hour listening party with 250 people – as a psychologist deems Billy McFarland “mentally ill”

While the account is now private, its presence has raised more than a few eyebrows. The profile photo shows none other than Michael Jordan holding up three fingers, which fans have taken as a nod to a third Frank Ocean album (with 2016’s Endless often considered more of a visual project than a proper LP).
Launched in March 2025, the account follows just eight users — including Ocean’s own official page, @blonded (which has recently been wiped clean of all posts), SZA, and longtime producer Michael Uzowuru. The latter’s involvement is particularly telling: Uzowuru contributed to Ocean’s beloved Blonde album and told The New York Times last year that the two had been working on new music.
Per Rolling Stone, also on the follower list are Sean Matsukawa, an audio engineer who’s worked with Kendrick Lamar, Ariana Grande, and SZA; emerging artist girlsweetvoiced; and a curious account named @archivedsolemn — another potential breadcrumb.
Adding fuel to the speculative fire, a billboard reading “KIKI BOY 2025” was allegedly spotted near Coachella just as the festival prepared to kick off its first weekend.

A “KIKI BOY” billboard has been spotted on the road to Coachella. https://t.co/pmRaXDEFz0 pic.twitter.com/SX20w8pt7t
— you’re listening to blonde (@blondedhomer) April 8, 2025

Ocean hasn’t said a word — which, of course, only deepens the intrigue. And after nearly a decade since the release of Blonde, even the faintest sign of activity is enough to send the internet into a frenzy.
Whether “Kiki Boy” is an album title, an alter ego, or another classic Ocean misdirection, one thing’s for certain: he’s got our full attention.
The post Is Frank Ocean teasing a comeback? Mysterious Instagram account and cryptic Billboards send fans spiralling appeared first on MusicTech.

“Instead of robotics replacing musicians, there’s a big opportunity for extension and augmentation”: Finis Musicae on programming robots to play live instrumentsPop culture has programmed humanity to fear an impending uprising of robots that will wipe out civilisation. But Charlotte Kemp-Muhl, one of the directors of Finis Musicae, sees robots as another means to push music forward alongside humanity.
“New genres are born on the back of new technology. Rock and roll from electric guitars. Hip-hop from samplers. Laptops were the last [enabler of] new genres of music, but there hasn’t really been anything new since then,” Kemp-Muhl says.

READ MORE: Fish56Octagon: “Music production is the hardest, then social media — DJing is the easy part”

Finis Musicae, a futurist art and transhuman tech collective, is applying robotics as the next step in the evolution of music performance. Hundreds of thousands of people saw their technology in action at Anyma’s Sphere residency. Frederik Gran, Robotics Director at Finis Musicae, programmed four robotic arms, two for each cello, to play in concert with Anyma.
“Instead of being a replacement that people fear, there’s a big opportunity for robotics to be an extension and augmentation,” says Sage Morei, the third director of Finis Musicae alongside Gran and Kemp-Muhl. “Somebody who has never played an instrument before, and maybe physically cannot, we can enable them to do it for the first time.”
Finis Musicae has been active for two years, and all three members have longstanding musical careers. But Gran has been working in the robotics space since 2009. Another example of his work besides the robot cello is Spiegelreigen, a project in which a robot arm moves a microphone around a circle of speakers to create music with feedback frequencies.
“Fredrik’s research with the cello has been a guiding light into this uncharted territory. We refer to him as our cyber Gandalf,” says Kemp-Muhl.
Building on Gran’s research, they have designed robotic apparatuses such as synthetic embouchures for brass and prosthetic hands playing synths. Currently, they program these robots themselves using processes like electromyography (EMG) to measure muscle movements, and electroencephalogram (EEG), which records brainwaves and translates them into electrical signals. But they are also developing AI systems so the robots can improvise on their own.
“We have this grand vision of playing at a superhuman level. But first reaching the human level is a task in itself,” Morei says.
Read on to learn about Finis Musicae’s philosophy of integrating technology and music, the challenges they’ve faced programming robots to mimic human movement, and how this tech can expand beyond humanity and collaborate with plants and animals.

A major concern about the rise of AI and robotics is that it will eliminate human jobs. How are you intending to use your tech to augment and extend how musicians can perform and record?
Gran: The electric guitar did not silence the acoustic. The arrival of sound recording sparked fears for live performance, yet both coexist still today
Throughout history, humanity’s reaction to new technology has followed familiar patterns, repeating with a regularity not unlike a mechanical process. Resistance, skepticism, and fear of replacement are recursive themes, whether in industry or society at large.
 In music, this pattern is clear.
Innovation and tradition move forward together, as new technology and art walk hand in hand. More broadly, I see technology not as a threat to human endeavor, but as a means to broaden and deepen it.
What is the ultimate role technology can play in the world of music?
Morei:
Consider how the material science of Neolithic archery led to the first bowed instruments. The Trois Frères hunting bow was used as a musical tool by humans. War-driven radio communication led to the invention of vacuum tubes, which, when overdriven in amps, enabled a vast new range of sounds. DAWs and laptops democratised industry-grade tools, putting them in the hands of teenagers in their bedrooms. Now, from mechanical automation efforts and brain-computer interfaces (BCIs), emerges a whole new range of expressive possibilities for collaborative man-machine performance art.
Physical mastery of an instrument will always command respect, but I am equally excited about shortening the path from thought to sound using cutting-edge tools.
What about AI specifically? What is the best result of AI and music coexisting?

Kemp-Muhl:
Scientists generated a musical composition with analog computers in the 1950s; giving our inventions the autonomy to invent themselves is fascinating.
One application I’m particularly curious about is applying machine learning to allow our robotic fleet to improvise their own singularity symphonies together. While AI is helping do our taxes and making creepy videos of Will Smith eating spaghetti and piloting war drones, we might as well use it to make something alien and beautiful.

Frederik’s work with robot arms has been your “guiding light.” What new possibilities will open up as you can bring in more human-based parts into the robotic world?
Morei: If you want to measure robotic dexterity, playing instruments designed for humans is the ultimate litmus test.
Trying to replicate a trumpet embouchure has been particularly humbling. Brass players make it look effortless, but the sheer complexity of what’s actually happening — lips buzzing, tonguing, air pressure, embouchure constriction shifts — has only deepened our awe for human anatomy.
Ultimately, we want to push things further by designing instruments specifically for robots, taking advantage of their precision and speed to explore art forms beyond what humans could ever pull off.
So far, many of your presentations focus on playing classical music. Why are you choosing to bring together some of the oldest music that is still appreciated by a general audience and the most modern technological methods of playing music?


Gran:
My core interest in using robotics for music lies in my role as a composer, deeply obsessed and focused on sound itself. I am driven to create new sonic worlds, new compositions, and new ways of creating and playing music—sometimes pushing beyond what is possible with conventional techniques or equipment. Robotics opens doors to unique expressions and textures, expanding my compositional palette.
At the same time, as with any human musician training on an instrument, there is much to learn from existing repertoire. Classical works such as Bach provide a rich framework to test and refine both the robot’s technical and expressive abilities. In practice, this is part of the process of developing the system— just as a human cellist would practice core repertoire.
Every tool —human or mechanical— imparts its own character. Different robots and programming choices yield distinct musical personalities, much like the differences between instruments, tools, individual musicians, or even between instrument makers. I view this diversity as fundamental.
You’ve discussed collaborating with plants and fish through this tech. Can you explain how that works? What have been the results?

Kemp-Muhl:
We’ve been adapting medical electrodes to the outside of aquariums to harness electroconductive fields of albino Koi fish so that their swimming modulates ambient synthesizers. We also have plants permanently wired up to a Moog synth and delay pedal in our lab window, and the beautiful thing is they start to sing louder when the sun rises each morning. It gives you a very Panpsychist lens of life when you realize everything is just action potentials, electric fields, and mechanical actuators, even down to individual skin cells.

Based on your research and work, what do the AI-infused instruments of tomorrow look like? We have AI-assisted plugins and synths — will it be more of the same?
Morei: During our first tests playing the violin using mere muscle signals and controlling the robot cello via brainwave-derived motor imaging, it became clear that our definition of ‘musician’ must expand. Entirely new ways of interfacing with the medium already exist. Like traditional musicianship, these can be honed and trained.
While I find the full automation of art a generally despicable pursuit— and there is still much to refine in clean dataset acquisition— humans have long since welcomed AI-assisted plugins and soft synths as valuable tools in an artist’s creative arsenal.
There are many steps of creative work (I am looking at you, rotoscoping and breath comping) that I always thought were too drainingly repetitive for humans to do, and I am glad to see us shorten the path from initial thought to artistic output.
Do you have any advice or messages for influential brands and artists looking to further integrate AI and music?
Gran: Break some rules. Take tools—such as AI, or technologies designed for one purpose, and push them into unexpected territories. I use industrial robots, originally engineered for mass production, to create experimental music. I find that fun and interesting. And while working with artificial intelligence, let’s also confront our own natural foolishness.
The post “Instead of robotics replacing musicians, there’s a big opportunity for extension and augmentation”: Finis Musicae on programming robots to play live instruments appeared first on MusicTech.

Is Xfer Records’ Serum 2 still the most powerful software synth you can buy?$199 introductory price for new licences ($249 from 1st June)
Free update for existing users
xferrecords.com
Serum’s diverse sonic palette and exceptionally bold sound character have made it the go-to software synth for artists and producers in a huge scope of musical styles, including EDM, Pop, and Hip-Hop for over a decade. A star-studded lineup of users includes the likes of Skrillex and Deadmau5, and Serum’s sound has dominated the electronic music landscape.

READ MORE: Can any other synth match Arturia Pigments 6’s astonishing sonic diversity?

Alongside a sound ranging from irresistible to utterly noxious, Serum endears itself to its user base through the way it allows you to dive so deeply and directly into sound design in an inadvertent and unassuming way.
The revolutionary design bred some steady competition in the form of Kilohearts Phase Plant, UVI Falcon, Vital, Arturia Pigments, and many others. So, naturally, I’d like to know if Serum 2, even with all its upgrades, stands up to the other prominent software synths of today.

What’s new in the Oscillator section?
The first thing you’ll notice when you open Serum 2, to your delight, is that it now features a third main oscillator, and each of these sound generators has five different modes – Wavetable, Multisample, Sample, Granular, and Spectral. To put things into perspective, the closest competitor, Pigments 6, has only two sound-generating engines, and although it provides a different scope of synthesis tools, there is still an advantage to having three sound layers rather than two.
Over the years, Serum has become the holy grail of wavetable synths, so you’ll be thrilled to find that Xfer Records has improved features such as the wavetable editor and wavetable creation workflow, which is now more flexible. The wavetable editor gives you quick access to all three oscillators, letting you edit harmonics, control waveform morphing behaviour over time, and even use formulaic data to save and recall wavetables. Furthermore, the ability to smooth interpolation while moving between wavetable frames allows for the creation of more organic sounds. Many features like this are hidden within right-click menus, so be sure to explore.
If you’re new to Serum, you might wonder why it doesn’t offer multiple layers of timbres like other synths. However, because the three main oscillators are such versatile sound generators with extensive modulation capabilities, it’s important to see and work with them as you would a layer on a multitimbral synth. The reason for this is that stacked layers of Serum’s synthesis engine would have staggeringly high system requirements. Being that Serum 2 is already incredibly processor-intensive, it’s fair to say this is the best way forward.
Besides the Granular and Wavetable sound sources, Serum 2 also gives you a bank of samples and the ability to use them as single or multisample patches. If you consider the impressive modulation and effects processing capabilities, Serum 2 becomes a formidable sampling instrument, whether you use the included sound content or dip into your personal stash.
However, by far one of the most exciting additions in the oscillator section is the new Spectral synthesis mode. Here, you can use a selection of tonal and non-tonal samples or Serum’s wavetables to create spectral sound sources. What’s more, you can also import samples of your own, or images in PNG format.
Once you know your way around the various oscillator types, the fun truly begins. As you browse through the patch library, you’ll notice how the patches are composed from multiple sound sources, and this is the essence of Serum’s sound design workflow. You’ll discover Granular and Spectral layers magically complementing one another to create mysterious, detailed soundscapes. Meanwhile, when you add the noise and sub-oscillator, Serum becomes a complete drum synthesis tool.
It’s important to note that the more you start to explore the excitingly animated oscillators, the more strain you put on your CPU. If you thought an Apple Silicon running 8 GB of RAM was enough to handle Serum 2, think again! I’d recommend at least 16 GB RAM, which is four times the amount listed in the System Requirements on Splice. We can only hope that an update will make it more resource friendly in future.
Serum 2 wavetable editor. Image: Press
How do I use Serum’s new arpeggiator and clip sequencer?
With four envelopes and six LFOs, there’s amazing potential for creating animated sounds, especially when you add the modulation matrix and eight macro controls. However, Serum has always been lacking in the sequencing department, so this is something the update needed to address. While the new arpeggiator and clip sequencer perform different functions, they have structural similarities in terms of their respective workflows.
Both sections are capable of launching clips, a concept that should be familiar to Ableton Live users. Each of the 12 clips in each section can be accessed with the respective ARP or CLIP keyboards and saved individually or globally as an ARP or CLIP bank. When combined with the various pattern and transpose modes, as well as the playback and retrigger functions, Serum’s arpeggiator is a flexible performance tool capable of creating far more than just retro-styled arp patterns.
The clip sequencer, on the other hand, is a complete piano roll editor, complete with real-time MIDI recording and comprehensive MPE editing. This offers an integrated composition platform as powerful as any software synth; from MIDI controller messages to note possibilities, you have all the functionality needed to create expressive performances within Serum, whether you prefer to sequence them or play them manually.
As you browse through the preset library, you’ll notice that each patch has its own stylistic clip and a unique macro modulation set-up across the eight macros. This gives you an ideal starting point for understanding how to approach each sound from a performance perspective, and also how to get under the hood as you hone your sound design skills.
Expressive sound creation capabilities are more impressive than ever, with extended modulation and effects processing options. The new Mod section now offers more advanced envelopes with BPM sync and more complex LFO routing, with Dual X/Y outputs and grid sizes for the X and Y axes. In the effects section, there are exciting new modules, like the Bode frequency shifter, the Convolve convolution processor with IR import, and Splitter modules that allow you to process different frequency ranges, or even mid and side information separately.
Serum 2 clip sequencer. Image: Press
Is Serum 2 still worth the hype?
As a software instrument, Serum has a distinctive sonic identity and a monstrous reputation in music production circles that has bred a cult following as a result. This has a fair amount of sway on potential buyers as they are buying into a brand to get “that sound” rather than objectively comparing the user experience and sound with competing options.
When one looks at the endless range of soft synths available, one could argue that Serum 2 is priced a little steep for new users. If you’re a complete beginner, $249 is pretty staggering, and if you’re a keen sound designer, you might wonder why Pigments and Phase Plant are only $199.
While the market may have moved on since Serum’s introduction in 2014, there’s no denying that it’s still very much a relevant part of the musical landscape, even though it might not be as groundbreaking as it once was.
The task will be upon Steve Duda and the Xfer team to ensure that future updates are not only timely and keep up with the Joneses, but also add value for both new and current users.
Key features

Synthesizer plugin (VST, AU, and AAX)
SFZ compatibility
Intuitive sound design workflow, now with undo/redo system
3 main oscillators with 5 modes (Wavetable, Multisample, Sample, Granular, and Spectral)
626 presets
288 wavetables
Mixer with 2 aux effects buses and main processing bus
Wealth of effects
Best-in-class clip sequencer and arpeggiator
Extensive modulation matrix and warping capabilities

The post Is Xfer Records’ Serum 2 still the most powerful software synth you can buy? appeared first on MusicTech.

a16z backs Base Power in $200M round for home backup batteriesThe money will fund a rapid expansion, including dozens more megawatt-hours of battery storage and plans for a domestic battery factory.

Live Music Stocks Up Wednesday Exceeding Market RallyLive music stock were up Wednesday April 9, 2025, aligning with a broader market surge following President Trump’s announcement of a 90-day pause on many newly introduced tariffs, excluding those. Continue reading
The post Live Music Stocks Up Wednesday Exceeding Market Rally appeared first on Hypebot.

Alissia (Anderson .Paak, Mary J. Blige) gives an exclusive studio tour
Join Alissia (Anderson .Paak, Mary J. Blige) in an exclusive tour of her famous studio, The Spaceship.

Imaginando GRFX – Granular Effects GRFX – Granular Effects is a powerful new audio plugin designed to radically transform sound through the magic of granulation. GRFX takes granular processing to new creative heights—offering a flexible, expressive, and highly playable environment for sound design, experimentation, and exploration. With GRFX, users can break down ordinary audio into micro-particles and rebuild it into evolving pads and drones, glitchy rhythms, ethereal textures, or alien soundscapes. Whether sparse or dense, shimmering or chaotic, GRFX is your sandbox for bending reality—layering, modulating, and shaping sound through time and space. At the heart of GRFX is the Harmonic Triangle: an interactive, three-point control panel that morphs your sound into chords, arpeggios, and microtonal variations. This unique interface invites exploration and "happy accidents," especially when combined with the plugin's four cross-modulatable LFOs. Modulation is made effortless with drag-and-drop routing, instant amount control, and a global Modulation Panel. A probability-based routing system lets users direct grains to the two multi-effect engines, the Mixer, and dedicated Delay and Reverb sends—each with independent routing for rich, layered sonic results. Key Features: Granular engine for real-time audio deconstruction and transformation. Harmonic Triangle for tonal and microtonal transposition. 4 LFOs with cross-modulation support. Drag-and-drop modulation. Probability-based grain routing. Two multi-effect engines. Dedicated Delay and Reverb sends. Input buffer freeze, slice and size controls. https://youtu.be/_x4MFWg8wmM?si=KT8pJxETeb8cuEXk Read More

FLOSS Weekly Episode 828: Incus InceptionThis week, Jonathan Bennett and Rob Campbell talk to Stéphane Graber about LXC, Linux Containers, and Incus! Why did Incus fork from LXD, why are Fortune 500 companies embracing it, and why might it make sense for your home lab setup? Watch to find out!

https://stgraber.org
Incus: https://linuxcontainers.org/incus
Online demo: https://linuxcontainers.org/incus/try-it/
https://github.com/lxc/incus
Incus Deploy: https://github.com/lxc/incus-deploy
Incus OS: https://github.com/lxc/incus-os
Terraform Provider: https://github.com/lxc/terraform-provider-incus
Migration Manager: https://github.com/futurfusion/migration-manager

Did you know you can watch the live recording of the show right on our YouTube Channel? Have someone you’d like us to interview? Let us know, or contact the guest and have them contact us! Take a look at the schedule here.

Direct Download in DRM-free MP3.
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Theme music: “Newer Wave” Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution 4.0 License

NO FAKES Act aimed at cracking down on deepfakes reintroduced in US Congress – this time with support of Google and OpenAIGoogle and OpenAI joined the music majors and the RIAA in backing a bill that enables individuals to protect their voice and likeness against AI fakes
Source

GRAMMYs On The Hill Culminates With Introduction Of NO FAKES ActRecording Academy® leaders and members took the opportunity offered by GRAMMYs on the Hill® Advocacy Day with a press conference on Capitol Hill to take a stand on issues that arise due to the rise of A.I.Senators Chris Coons (D-DE) and Marsha Blackburn (R-TN) and Reps. Madeleine Dean (D-PA) and Maria Salazar (R-FL) were also in attendance to announce the reintroduction of the Nurture Originals, Foster Art, and Keep Entertainment Safe Act. "Also known as the NO FAKES Act, this bipartisan, bicameral bill would advance creators’ rights by protecting their voices and likenesses from the unauthorized creation and use of digital replicas," a statement reads. "Also at today’s press conference were stakeholders from the Human Artistry Campaign – where the Academy is a founding member – along with MPA, RIAA, SAG-AFTRA, Warner Music Group, and YouTube.""The reintroduction comes as the Academy is gathering in the nation’s capital for its annual GRAMMYs on the Hill initiative, music’s biggest week in Washington, D.C. that honored country music legend and seven-time GRAMMY® winner Randy Travis, as well as Reps. Linda Sánchez (D-CA) and Ron Estes (R-KS), for their steadfast support of music creators," they continue. "The week also connected Academy leaders and members with members of Congress to advocate for incentivizing new music production through the HITS Act, protecting creators against harmful AI through the NO FAKES Act, and preserving continued federal support for the arts and cultural institutions."“The Academy is proud to represent and serve creators, and for decades, GRAMMYs on the Hill has brought music makers to our nation’s capital to elevate the policy issues affecting our industry," said Harvey Mason jr., CEO of the Recording Academy. "Today’s reintroduction of the NO FAKES Act underscores our members’ commitment to advocating for the music community, and as we enter a new era of technology, we must create guardrails around AI and ensure it enhances – not replaces – human creativity. We thank Senators Blackburn and Coons, and Representatives Dean and Salazar for their unwavering support on this issue, and we look forward to working alongside them to pass the NO FAKES Act this Congress.”The Recording Academy’s Washington, D.C.-based Advocacy team is already in existence. "Academy members and music professionals from across the country to present a powerful lobbying force that fights for music creators’ rights at the local, state and federal levels," they say.Visit grammy.com and recordingacademy.com for more info.The post GRAMMYs On The Hill Culminates With Introduction Of NO FAKES Act first appeared on Music Connection Magazine.

Imaginando release GRFX Granular Effects GRFX is a flexible and expressive sound-design tool that breaks down and rebuilds incoming audio, creating everything from evolving pads and drones to glitchy rhythms and alien-sounding landscapes. 

Get AmpliTube SVX by IK Multimedia for FREE for a limited time @ AudioPluginDeals
AudioPluginDeals is offering AmpliTube SVX by IK Multimedia free for a limited time if you need some vibe to that bass track. The plugin is available for macOS and Windows in VST3, AU, and AAX formats, 64-bit only. The software is usually priced at $99 and features a huge array of emulated cabs, amps, and [...]
View post: Get AmpliTube SVX by IK Multimedia for FREE for a limited time @ AudioPluginDeals