Subtronics has a complex relationship with studio monitors: “I’m superstitious. Every speaker sounds a little bit different”When I visited Subtronics’ studio in his new home perched on a rolling peak of the Hollywood Hills, I expected to see hundreds of dancing lights and colourful knobs primed for the kind of eclectic, intense sound design that fuels his aggressive and diverse interpretation of dubstep.
Instead, the only studio gear was his MacBook Pro and two PMC Micro Main 27 monitors. His computer is suitably stocked with plugins, but for Subtronics, real name Jesse Kardon, the speakers and a properly tuned room are the most important aspects of his creative process.

READ MORE: Kelly Moran on prepared pianos, the Prophet 12, and why compression is overrated

“I’m superstitious. Every speaker sounds a little bit different. When I use my ears following one pair of speakers, that mixdown sounds universally one way. Then I use my ears on a different pair of speakers, that mixdown sounds far better or far worse,” Kardon says. “So it really is about trying to find the pair of speakers that when I use my ears and tune it to how those particular things sound, I get a better mixdown overall. Especially when working with such detailed music where there’s such fine-tuned, tiny little things, really good speakers can help you hear all of it, and I get hyper-obsessed.”
Kardon released his new album, Fibonacci, in two parts, each made on different monitors. The first part, Oblivion, was made almost entirely on Barefoot Footprint01s, which are the same speakers he’s used for the bulk of his catalogue. This part largely consists of his celebrated heavy dubstep sound, captured by tracks such as Lock In and Oblivion.
Image: OhDagYo
Kardon made part two, Infinity, which completed the album on 5 December, with PMC MB2S XBDs. Given that those speakers sell second-hand for $18,495 on Reverb, he describes them as such:
“They are unlike anything I’ve ever heard in my life. They are four or five tiers above what I was used to.”
The PMCs were recommended by an acoustician and mastering engineer named Matt Davis. He also helped Kardon tune his Philadelphia studio to achieve a “hideously flat response curve” that reaches down to 17Hz.
“[You can hear] the most unbelievably minute things that the audience would never in a trillion years pick up on,” Kardon says. “Like the low-end attenuating speed: how quickly it can make a low-end thump happen and disappear.”
Image: OhDagYo
With the ability to deduce all those intricate details, Kardon’s intention for Infinity shifted subconsciously towards more subtle music. Songs such as Antidote and Contour begin with extended instrumental or vocal passages that build into deep, minimalistic drops or beat patterns primed for dancing rather than raging.
“My usual insanely, punchy, harsh, intense kick drums— I could hear all their imperfections all of a sudden. They sounded blown out, real squashed, and I wasn’t particularly happy with them,” Kardon admits. He adds that the shift in audio quality has such a strong effect on the final product because he approaches every song as a blank canvas; he experiments with sounds and follows what interests him in the moment. Or, as he puts it: “I’m just goofing around. I try and follow that lead and develop it into whatever it sounds like it needs to be. So, doing that on those speakers led me to a different result.”
Other than the influence of the tech, the musical dichotomy befits Kardon’s intent with the two-part album: to create a project that demonstrates evolution. Kardon has undergone considerable evolution both personally and professionally over the last few years.
He married his longtime partner, Sonya Broner, who is also a bass artist, releasing and performing as Level Up. His touring profile has developed to where the week of the album release, he plays six shows at the illustrious Los Angeles venue The Shrine (when we speak, five of them were sold out). He has a new home in LA after living much of his life in Philadelphia (he still feels he cosmically belongs there, and the only reason he didn’t bring the PMCs was that they’re each almost six feet tall and weigh nearly 200 pounds).
Image: OhDagYo
Kardon acknowledges his fortunate position to be able to afford such speakers. But another core element of evolution on this album — especially Infinity — is his courage to take more risks with his music. In this case, that meant focusing less on showing off technically and being more honest with his feelings.
“I really wanted to write songs that hit you on an emotional level. I’ve always tried to do that, but I’m putting the most effort into it that I ever have,” Kardon shares. In that pursuit, he had to work through the severe pressure of what his audience of millions may want from him after so many years. “I was specifically ignoring what’s popular, but I really like it, and I had so much fun making it. It feels freeing to not give a fuck.”
He broke through external expectations for his sound, but Infinity is still filled with his production hallmarks. On the title track, right when the drop takes a hard left turn from house to dubstep, he throws in one of his hallmarks: a frequency-shifting fill that places obscure, disparate sounds together in a way that somehow just works.

“There are a bunch of different concepts and principles that make a sequence of sounds satisfying to the brain,” Kardon says enthusiastically. “One thing I go by is ‘loud, quiet, loud.’ It’s just so effective. The other thing is spanning the frequency spectrum. You want to scatter it all over the place so it becomes dazzling, and then it all comes back together. It’s harnessing the dynamics and the power of juxtaposition.”
When it comes to creating the various sounds at the different frequencies and volumes, he often experiments with stock Ableton plugins. Despite his reverence for his five-figure monitors, he willfully admits many of his best songs have been made on laptop speakers with stock plugins. Black Ice, his collaboration with REZZ, was little more than a square wave squashed by Xfer’s OTT and the same drums he employs throughout his discography.
“It was so minimal effort. It’s just the idea was a good idea, and it was executed simply enough. There wasn’t bullshit getting in the way. I wasn’t overcomplicating it. I wasn’t overthinking it,” Kardon recalls.

Subtronics has always stood on the soapbox for not needing expensive gear to write good music. “Facebook ads saying ‘You just need this one thing’ are scams. It makes me so sad because there are so many aspiring producers who get tricked. Early on, I saw ads for VSTs, and I thought, ‘I suck, and if I buy that, I won’t anymore.’ That’s just not how it works.”
Kardon is still getting used to the PMC Micro Main 27s in his new studio, but whenever he releases a new song, whether it’s a headbanger’s dream or something more heartfelt, there’s a strong chance any producer with a MacBook and a DAW has all the same tools in hand.
The post Subtronics has a complex relationship with studio monitors: “I’m superstitious. Every speaker sounds a little bit different” appeared first on MusicTech.

LaRussell Built His Empire Brick by BrickThis week, Ari is joined by rapper LaRussell to discuss independent success and building a sustainable career.

Assignments December 2025: Who Got Hired?Rachel Wein

Senior Director, A&R

MNRK Music Group

MNRK Music Group announced the hiring of Rachel Wein as Senior Director, A&R. In her new role, Wein will identify and develop talent for both the MNRK and Dualtone labels, while cultivating deeper relationships with managers, attorneys, and other industry leaders. She will report directly to MNRK COO Chris Moncada and is based in Nashville, TN. Moncada said, “We are so very fortunate to have Rachel on board. Her compassionate ear is a huge asset as we continue to grow the artist roster at both MNRK and Dualtone.” For more, contact gmelchiorre@mnrk.com.

Mark Skipper

National Sales Manager, Eastern U.S.

Solid State Logic

Solid State Logic has announced the appointment of Mark Skipper to the position of National Sales Manager, Eastern U.S. Skipper will be responsible for SSL Broadcast and Live solutions, joining SSL’s U.S.-based distributor, Group One Ltd. as part of expanding its business development and customer relationships, reporting to Rick Naqvi, Senior VP of USA Sales. "I am proud to be working alongside such an extraordinary team of professionals, making an audible difference in the productions of our customers,” said Skipper. For more, contact jeff@hummingbirdmedia.com.

Hannah Carlen

VP, Marketing and Communications

Nonesuch Records

Hannah Carlen has been named Nonesuch Records’ Vice President of Marketing and Communications. In her new role, Carlen oversees marketing, sales, publicity, new media, and content creation for the Warner Music Group’s acclaimed label. Carlen reports to Nonesuch President David Bither and is based at the label’s global headquarters in New York City. “I am grateful that Nonesuch will benefit from the rich experience [Carlen] brings us,” said Bither. Carlen added, “I am honored beyond belief to have the trust of [Nonesuch's] leadership.” For more, contact melissa.cusick@nonesuch.com.

Weston McGowen

Global Head of Catalog Services

SourceAudio

SourceAudio has promoted Weston McGowen to Global Head of Catalog Services. Based in New Orleans, McGowen will now oversee SourceAudio’s global catalog ecosystem, including client operations, metadata, and rights-management infrastructure for the company’s extensive network of rightsholders, publishers, broadcasters, and media partners. He will also direct SourceAudio’s Rights and Royalties Division, which includes SourceAudio Collect, the company’s publishing-administration arm representing more than 1.6 million works.For more, contact laurie@jaybirdcom.com.

Alexander Shelley

Principal Conductor

The National Concert Hall

The National Concert Hall (NCH) has announced the appointment of Alexander Shelley as National Symphony Orchestra Ireland’s new Principal Conductor. This will be for an initial term of three seasons, commencing in September 2026. Alexander takes on these roles further to the completion of Jaime Martín’s term as Chief Conductor in May 2024. “I am deeply honoured to be joining National Symphony Orchestra Ireland and to become part of an organisation so devoted to making music a central force in Ireland’s cultural life. I’m inspired by the extraordinary artistry of the Orchestra’s musicians,” said Shelley. For more, contact assumpta.lawless@nch.ie.

Tammy Hurt

Board of Directors Member

Marathon Live

Music executive Tammy Hurt has joined the Marathon Live Board of Directors. She brings 25+ years of entertainment business experience to the growing Nashville based full-service facility promoter and operating company. "I’m thrilled to join the board of Marathon Live and contribute to its legacy as a vibrant hub for live music. It’s an honor to help shape its future and champion the artists, fans, and community that make it extraordinary," said Hurt. CEO Mark Dinerstein added, “We value her decades of experience and perspective on the state of the music industry to help shape Marathon Live’s future.” For more, contact agreenberg@falconpublicity.com.

Dr. Richard James Burgess, MBE

Chair

PPL

PPL has appointed Dr. Richard James Burgess, MBE as its new Chair. Burgess will lead the PPL Board as the organization continues to grow. Peter Leathem OBE, CEO, PPL said, “[Burgess] brings a strong vision, a track record of balancing innovation with institutional stability, and deep personal experience across many of the roles our members hold.” “I look forward to guiding the next chapter of [PPL’s] growth and ensuring its continued strength and relevance in today’s rapidly evolving global music ecosystem,” said Burgess. For more, contact jeff@thesyn.com.

Brooke Webster

A&R Manager

Prescription Songs

Prescription Songs has announced the promotion of Brooke Webster to A&R Manager. Webster, who is based out of the company’s Los Angeles office, looks after a diverse roster of artists, songwriters and producers. “Brooke’s passion for working with our writers and producers, and her knowledge of both the Nashville and Los Angeles music scenes, has been invaluable to Prescription,” said Rhea Pasricha, Head of A&R, West Coast. “We are so excited to see her take on this new A&R Manager role and help shape the future of the company.” For more, contact agreenberg@falconpublicity.com.The post Assignments December 2025: Who Got Hired? first appeared on Music Connection Magazine.

Fal nabs $140M in fresh funding led by Sequoia, tripling valuation to $4.5BThe round, which was Fal’s third fundraise this year, also included a secondary sale for early investors, sources tell us.

HOFA release Colour Saturator Colour Saturator promises to open up new possibilities for producers, mixers and sound designers, and will deliver everything from “silky harmonics and subtle warmth to aggressive distortion and extreme fuzz”.

G4 iMac Becomes a Monitor with a MagSafe SecretThe G4 iMac is one of the more popular computers in the restomodding scene given its charm and unparalleled ergonomics. Most modern machines that people squeeze in don’t have a disc drive anymore though, so [EasternBloc Engineering] has fitted a retractable MagSafe charger into the drive bay of the machine.
In this example, the iMac has become simply a monitor, instead of an entire all-in-one computer, and the original 15″ display has been replaced with a lightweight 22″ monitor on a 3D printed VESA mount. The narrow confines of the iMac neck meant [EasternBloc Engineering] had to sever the connectors from the HDMI and power cable before reconnecting them once they were fed through.
The really novel part of this restomod is the engineering of the retractable MagSafe charger mount that pops out of the drive bay. [EasternBloc Engineering] started by looking at repurposing an original disc drive, but quickly turned to a bespoke 3D printed solution. Using a LEGO motor and gears for the drive, the system can stick its tongue out at you in a more modern way. A straight in-and-out mechanism like on an original disc drive would’ve been easier to implement, but we appreciate the extra time for angling the phone that respects the ergonomics of the machine. We hope the files will become available soon for this part of the mod since electromechanical components are more interesting than the VESA mount.
We’ve taken a look at how to implement MagSafe (or Qi2) into your own projects and also a few different G4 iMac restomods whether you prefer Apple Silicon or a PC-based approach.

Solid State Logic (SSL) SSL Springverb SSL Springverb Reverb Plugin by Solid State Logic Solid State Logic introduces SSL Springverb, a powerful and meticulously modeled plugin designed to bring the unmistakable sound of vintage spring reverberation tanks into the modern digital studio environment. Spring reverb is a unique electromechanical effect characterized by its metallic decay, distinctive "boing" on transients, and warm, resonant character—a sound that has defined musical genres from surf rock and dub reggae to modern electronic and indie productions. SSL's digital emulation meticulously captures the physical and harmonic idiosyncrasies of these classic hardware units, providing the charm of analog without the maintenance or physical limitations. This plugin provides sound engineers and music producers with far more control and flexibility than a traditional spring tank. At its core, Springverb offers the choice of three distinct spring tank models: Type A, modeled after the spring tank found in a renowned tape delay unit; Type B, derived from a classic rack-mount spring reverb; and Type C, based on the signature spring sound favored by legendary dub pioneers. Users can further customize the reverb's density by smoothly fading the model between one, two, or three springs, instantly altering the complexity and size of the reflection pattern. This level of granular control ensures the plugin is capable of producing everything from short, punchy slaps to deep, ethereal washes of sound. Beyond simple emulation, SSL Springverb incorporates modern studio features that enhance its usability and creative potential. It includes a Drive control to introduce analog-style saturation and grit to the spring signal, allowing users to dial in harmonic complexity or aggressive dirt. Crucially, the plugin features powerful creative tools such as a Freeze function, which holds the current reverb tail indefinitely for ambient sound design, and an audio Ducking feature with internal or external sidechain capabilities, ensuring the reverb remains clear of the dry signal for a cleaner mix. Combined with tempo-syncable Pre-Delay, Damping controls for high-frequency attenuation, and adjustable Spring Tension to tune the inherent "twanginess," SSL Springverb is a flexible tool for classic tonality and cutting-edge sound design. Key Features Three Classic Spring Models: Select from three distinct, authentically modeled spring tanks inspired by iconic hardware units, including rack-mount and dub classics. Variable Spring Quantity: Continuously adjust the density of the reverb by smoothly changing the number of active springs from one to three. Adjustable Spring Tension: Control the physical characteristics of the modeled springs, tuning the tonal character from slow and smooth to quick and jangly. Drive Control: Dedicated parameter to add subtle harmonic color or aggressive saturation and grit to the reverb signal. Duck & Freeze Functions: Modern features including a Freeze button for infinite reverb tails and a flexible Ducking circuit with external sidechain input for dynamic mixing. Tempo Sync: Pre-Delay and Reverb Time controls can be synchronized to the host DAW's tempo for rhythmically locked effects. Creative I/O Controls: Features Kill (mutes the input to the springs) and Boing (manually triggers the spring sound) for instant dramatic or creative effects. Stereo Width Control: Allows the user to collapse the stereo image to mono for vintage authenticity or expand it beyond 100% for an ultra-wide, modern stereo field. Compatibility: Native support for the latest macOS and Windows operating systems, including Apple Silicon. https://youtu.be/ylaLuGiO91c?si=m8MlIZifjLy6o012 Read More

Reactional Music taps MusicInfra to build ‘next-generation’ rights management platform for gaming'Music’s use has exploded across platforms and devices, which means that traditional frameworks and the supporting infrastructure must evolve...'
Source

African Artists Are Reaching More Global Listeners With Help From AudiomackMusic industry data analytics collector, Soundcharts, is teaming up with streaming and discovery platform, Audiomack, to help continue African Music's global expansion trajectory.
The post African Artists Are Reaching More Global Listeners With Help From Audiomack appeared first on Hypebot.

Creating a lo-fi beat and post-rock track with Spitfire’s free orchestral sounds
Expert producer and educator TAETRO showcases the high-quality free instruments available in Spitfire Symphony Orchestra: Discover.

Native Instruments launch Absynth 6 Absynth 6 delivers a completely overhauled and redesigned version of NI's discontinued soft synth, and has been created alongside the much-loved instrument’s original developer, Brian Clevinger.

Ready to start recording? PreSonus Quantum ES and HD interface ranges give you everything you need to lay down your ideasAd feature with PreSonus.
If you’re looking to start recording your own music, things can quickly get overwhelming. There are hundreds of audio interfaces on the market today, with various specs and capabilities that, to beginners, often seem like a foreign language.
PreSonus, the name behind the growing Studio One DAW, may have the answer with Quantum. A streamlined family of affordable next-gen interfaces, the Quantum ES and HD range connect via low-latency USB-C to both Mac and Windows setups.
The Quantum interfaces come in different configurations to meet the needs of everyone from first-time producers and desktop creators to professional tracking engineers — and with seamless Studio One Pro 7 integration and the Universal Control management software, buyers will have a complete package for recording.
A home recording primer – Quantum ES Range

The first question to ask yourself when buying an audio interface is usually how many inputs and outputs you need. If you’re just getting started and simply want to record one thing at a time, the Quantum ES 2 is certainly up to the task.
It has two mic/line inputs for recording microphone and instrument sources, and two line outputs to connect to your monitors. Additionally, there’s a dedicated front-panel instrument input designed in collaboration with legendary guitar manufacturer Fender (who acquired PreSonus in 2021). This input has been specifically tuned for accurate guitar and bass capture, and it’s perfect for recording a DI signal to be used in amp sim plugins like Bias, Guitar Rig Pro, or AmpliTube.
Alternatively, the Quantum ES 4 offers a little more room to grow. It has four mic/line inputs, which is enough for a simple drum recording setup with kick, snare, and stereo overheads. You could use it for recording a grand piano with multiple mics, or even a bare-bones live band arrangement with four instruments captured in mono at the same time.
Plus, the two extra outputs make it possible to connect alternative monitors or pipe audio to outboard effects for further processing. Even if you’re not yet at that point of your recording journey, stretching the budget to extra I/O is often worth it for future flexibility — especially given that both the ES 2 and ES 4 are already very affordable.
Both the interfaces are capable of 24-bit / 192 kHz recording, and feature PreSonus’ new MAX-HD mic preamps that deliver up to 75 dB of clean, low-noise gain. What does that mean for beginners?

24-bit recording offers a wide dynamic range, so you can record at a lower level to avoid accidental clipping or distortion, and turn up the volume later without introducing excessive digital noise. Fortunately, the ES 2 and ES 4 also have an Auto Gain function to easily set the ideal input level.
192 kHz is a very high resolution that can capture a wide range of frequency information, although 44.1 kHz or 48 kHz is fine for most projects.
75 dB of gain means you can use virtually any microphone on the market and get a strong, clear signal without needing an external preamp.

Both the Quantum ES 2 and ES 4 have MIDI in and out for connecting external instruments, although it’s via TRS minijack rather than the more universal 5-pin DIN.
Expanding your setup – Quantum HD Range
Credit: PreSonus
For audio pros, serious home setups, and even commercial studios, the PreSonus Quantum HD interfaces fit the bill. They offer up to 32-bit / 192 kHz analogue-to-digital conversion — the gold standard for audio recording — and have MAX-HD mic preamps with 75 dB gain and ultra-low noise.
There are two models. The Quantum HD 2 has two mic/line inputs and four line outputs, while the Quantum HD 8 has eight mic/line inputs and ten line outs. Both have ADAT optical connectivity that provide powerful multi-tracking capabilities, expanding the I/O to 20×24 for the HD 2 and 26×30 for the HD 8, while MIDI is available via S/PDIF.
Like the Quantum ES range, the HD interfaces feature Fender-designed instrument inputs, but boast another major advantage for guitarists and bassists — dual dedicated re-amp outputs.
Re-amping is a process where a dry DI signal is fed into a hardware amp (which can then be recorded via DI or a microphone), letting the producer change the guitar or bass sound even after the performance is recorded. Often, engineers will use a dedicated re-amp box to ensure the amplifier is receiving the signal at the correct impedance, which can significantly affect the amp’s tone.
This extra box isn’t necessary with the Quantum HD range, since guitarists can come straight out of the interface and into the amp. The re-amp outputs can also be used for sending a signal to other external gear like outboard effects or analogue tape machines.
A match made in heaven – Studio One Pro 7 and Universal Control
Another reason to consider a PreSonus Quantum interface? Each unit comes with a full perpetual licence for Studio One Pro 7, so buyers are getting a complete hardware-software production platform for a single price. Considering alternatives like Ableton and Logic Pro are several hundred pounds, this is a pretty compelling offering for budding producers yet to ally themselves with one particular DAW.
Once paired with the Universal Control software — a hub for software control, monitor mixing, and settings PreSonus devices — the Quantum interfaces harmonise perfectly with Studio One Pro 7. Users can control routing, manage gain, and change presets straight from the DAW.
Which PreSonus Quantum should I choose?
All the PreSonus Quantum interfaces tick many desirable boxes: high-quality pre-amps, low-latency recording and monitoring, and an affordable price tag. These devices make particular sense for guitar-focused workflows and Studio One users — but which model is right for you?
Ultimately, Quantum ES is best for singer-songwriters, guitarists, or those with simpler recording setups. If you’re mostly working in the box with software instruments and want to add guitar or vocals to your tracks, the ES 2 could be perfect — but we’d recommend going for the ES 4. The addition of two extra inputs and outputs may not sound like much, but it offers greater scope for uses like multitrack recording or even live performance.
For engineers and more experienced producers, Quantum HD is the flagship for maximum recording fidelity, advanced routing, and deeper guitar workflows with reamping. The HD 8 may be overkill for home setups, but the HD 2 is an excellent middle ground that could be perfect for rock and metal musicians seeking an upgrade.
Learn more about the Quantum Range and follow @presonus on social media.
The post Ready to start recording? PreSonus Quantum ES and HD interface ranges give you everything you need to lay down your ideas appeared first on MusicTech.

Everything you need to know about Absynth 6 by Native InstrumentsNative Instruments’ Absynth 6 has arrived after a week of teasers from the brand. The hybrid, semi-modular soft synth boasts a powerful system of effects, synth engines, and a new AI-powered preset browser, which all help bring this revered classic into the modern era of music production.
Granular, FM, subtractive and wavetable synthesis are all on board Absynth 6, with presets created by Brian Eno, Kaitlyn Aurelia Smith and Richard Devine. NI’s messaging of Absynth 6 is that it’s “weird by design,” with digital artists Weirdcore and Swarmm contributing to the visual design of the new soft synth.
Here’s what you need to know about the revival of Absynth.
READ MORE: Native Instruments Absynth 6 review: The return of a vintage classic
Absynth 6 key features at a glance

Plugin and standalone software synthesizer, in VST2, VST3,
Includes effects plugin variant
Hybrid, semi-modular synth engine
3 multi-model oscillators
2 multi-model processor stages per oscillator
2 multi-model master bus processors
28 envelopes with a maximum of 68 breakpoints per envelope
3 advanced LFOs
Master effects processor
Custom waveform creator
Mutate parameter randomisation
Full MPE and polyphonic aftertouch
Innovative graphical Preset Browser
Presets by Brian Eno, Kaitlyn Aurelia Smith and Richard Devine
Surround sound and microtuning
Legacy patches from all previous versions of Absynth

What happened to Absynth 5, and when did Absynth 6 start being made?
Around three years ago, Native Instruments announced that Absynth, perhaps the best pad and soundscape synth to ever exist, was being discontinued – no more sales, no more support, no more updates. Those with a license could continue to download, install, and use the software, but this was ultimately the end of a synth so innovative and accomplished that its every patch could be a near symphony in its own right.
Or so it seemed.
Fast forward to summer 2025, when I had just about got over the loss, and NI wrapped up one of its press events with a huge tease: A large “6” on a green background. Not just any old green — it was the same shade as traditionally used by Absynth. “Could it be…?” I asked my contact at NI. “Yup,” they confirmed.

Why has it taken so long for Absynth 6 to be released?
Absynth first hit the shelves in the early days of the soft-synth revolution, way back in 2000. Following a now familiar pace of updates, by 2010 the synth had reached version 5. And there it stayed for 12 years, right up to the 2022 deprecation announcement.
Of course, it was around 2010 that NI started to become the industry behemoth that it is today, and so it’s little surprise that its attention was focused on newer products and technologies. And, to be fair, there was little need to pour attention into Absynth 5: it was already a mature, respected and highly evolved product. Users held out hope for an update that would bring new patches and new Absynth-flavoured toys to play with, but didn’t feel dissatisfied with what they had with Absynth 5.
This changed when Apple Silicon Macs came along. Absynth could not run natively on the platform and, with the synth having fallen so far behind the technological curve, it would take a lot of effort to bring it up to date and furnish it with the features demanded by modern producers.
With so many other products to develop and maintain, NI eventually concluded it didn’t have the bandwidth to drag such an aged product into the 2020s and beyond.
But nobody can accuse NI of having grown too big to listen to its users. With the weeping and wailing of distraught Absynth users ringing in its ears, NI got together with the synth’s original developer, Brian Clevinger, and started making plans.

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Why is Abysynth 6 such a big deal?
“When I originally created Absynth,” says Brian Clevinger, “I wanted an instrument that invited people to lose themselves in sound. Seeing it evolve into Absynth 6 has been genuinely moving. It still has that strange, alive quality,” Clevinger says in a press release.
By the time Absynth 5 came out in 2010, the synth had firmly established itself as the go-to instrument for creating breathtaking pads, ethereal soundscapes, otherworldly SFX, warped and off-the-wall interpretations of acoustic instruments, and a very good line in classic analogue and digital synth tones.
It’s hard to understate Absynth’s tone-wrangling prowess. Although made up of familiar synthesiser fare – oscillators, filters, and all the rest of it – the instrument’s semi-modular architecture and generous supply of envelopes and modulators combine to create some of the most achingly beautiful (and, indeed, terrifyingly hellish) sounds you will ever hear from a synth. Pads contain phenomenal sonic detail, soundscapes endlessly shift and evolve, classic synth tones and acoustic instruments gain extra dimensions of real-time control and performability.
These core capabilities remain in Absynth 6, but are now graced by a decade-and-a-half of technological progress and advances in UI and UX design. MPE and polyphonic aftertouch support add a new depth of interaction and performance to the synth. Extensively editable envelopes with flexible breakpoints and shapes provide an astonishing toolset for creating powerful rhythmic, evolving, and just plain mad modulations. The overall presentation has been updated to look crisp and modern, and an all-new (and stunning) graphical patch browser makes it easy to hunt out the perfect sound from within the instrument’s vast patch library.
Moreover, Absynth was the godfather of the quasi-randomisation of patches seen on so many synths today, its near-legendary Mutate system able to morph and warp a chosen sound by a controllable amount whilst retaining elements of that sound’s original character. Many a happy sound design accident has started with a click on Absynth’s Mutate button, and this is now enhanced with greater visibility of, and control over, what the Mutate system is doing.
Many other synths on the market today can create sounds akin to those that are Absynth’s raison d’être. Uber-synths such as Pigments, Serum and Falcon – plus, indeed, NI’s own Massive X – can all produce similarly enthralling sounds and textures.
Yet there remains something special about how Absynth performs. It’s easy and intuitive to use, and gives the impression of having a near-magical ability to produce sounds that are instantly exciting and inspirational. So much so that browsing through its voluminous patch library takes forever simply because of the constant distraction of new musical ideas that flow from the gorgeous tones the synth produces.
We normally think of classic vintage synths as being dusty old slabs of hardware, yet despite being a soft synth, I can’t help but think of Absynth’s return with the same awed excitement as when Moog released the Minimoog or Sequential put the Prophet back into production. This really is the return of a vintage classic.
How much does Absynth 6 cost?
Absynth 6 can be bought as a one-time license for $199/€199/£179. If you’re already an owner of Absynth versions 2 to 5, you’ll be eligible for an upgrade from Native Instruments — Absynth 2-5 owners can upgrade to Absynth 6 for $99/€99/£99
Is Absynth 6 worth buying?
In my review of Absynth 6, I said: “Absynth 6 is a masterstroke, its updates making it better than ever without sacrificing any of its originality and unique appeal…The graphical browser is exceptionally intuitive and, more importantly, makes light work of finding suitable sounds. Once you find something close to what you want, you can easily check out all of the other patches in the same timbral neighbourhood. It really is the most effective sound browsing system I’ve ever encountered.”
Absynth 6 is available now.
The post Everything you need to know about Absynth 6 by Native Instruments appeared first on MusicTech.

Gulf Coast Synthesis releases Strum Plate, a FREE Omnichord-inspired plugin
Strum Plate is a free Omnichord-inspired MIDI effect plugin from Gulf Coast Synthesis, available in AU, VST3, and AAX formats for macOS and Windows. If you’re wondering what on earth an Omnichord is, you’re likely not alone. If you already know, then you’re one of the lucky ones! Well, perhaps saying one of the lucky [...]
View post: Gulf Coast Synthesis releases Strum Plate, a FREE Omnichord-inspired plugin

Clipping. Announced as the 2026 Sled Island Music Festival Guest CuratorIn this post, we share details of Sled Island's announcement, plus how and why guest curators can offer local audiences a more bespoke largescale event experience in 2026.
The post Clipping. Announced as the 2026 Sled Island Music Festival Guest Curator appeared first on Hypebot.