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Waves launch Curves AQ Curves AQ relies on Waves' AI Spectral Targeting Technology, and is capable of generating a choice of custom EQ settings tailored to the source material.
Epidemic Sound’s revenues jumped 29% to $181.6m in 2024, as EBITDA soared 150% YoY to $13.9mThe company expanded its audio library with the acquisition of sound effects company Soundly
SourceHow will Trump’s tariffs affect the music gear and vinyl pressing industries? A Billboard journalist breaks it downA reporter has broken down how tariffs imposed by US President Donald Trump could impact the music industry, revealing how sectors such as the musical instrument business or the vinyl industry will be impacted.
Most popular instrument brands sell gear that has been manufactured (or houses parts) made in places such as Mexico, China, or Canada. Now that Trump has imposed hefty tariffs on goods entering the United States from across these markets, music industry figures are growing concerned for the future of their businesses.READ MORE: “The latest example of unethical AI firms stealing the livelihood of lyricists, songwriters and composers”: The Ivors Academy wants Suno to remove its ReMi lyrics generator
What are Trump’s tariffs?
A tariff is a tax imposed on the import of goods from foreign countries. Per The Guardian, as of 5 April, all imported goods arriving in the US are subject to a 10 percent universal tariff. On 9 April, certain countries will face even higher tariff rates, which are deemed “reciprocal tariffs” by Trump, in retaliation for tariffs the countries have placed on American exports.
Asian countries face some of the highest tariffs of all, and EU exports are looking at a 20 percent tariff. Canada and Mexico, meanwhile, are facing a proposed 25 percent tariff, and Trump has even threatened to place an additional whopping 50 percent tax on goods from China.
What do they mean for music?
Billboard’s Kristin Robinson has shared an explainer video on her TikTok. In it, she breaks down the effects on different music markets, starting with musical instruments, off the back of an interview with NAMM president, John Mlynczak.
Mlynczak has said that these tariffs are a problem for cheaper guitar models, which are mostly made in Mexico or overseas countries. An impact on their trade could have a knock-on effect on the wider guitar market too, as they act as a gateway for buyers to work their way up to more highly priced models in the future.
“When you start raising the price everywhere of what it costs to import goods, it’s challenging, and it really threatens everything we’ve learned to do as an industry,” said Mlynczak.
“The reason why we have companies that can afford to build their highest-end products in the U.S. is because they have the revenue from the mid-to-entry level products from overseas. Our supply chain is deeply interconnected. It’s not like an instrument is solely made in China or Mexico. What happens is you have certain components that are made really well in China that are then imported for final assembly. Or you have a factory in Mexico that has a specialty in making certain components that are imported. Then they are assembled in the U.S. This happens because this work is highly specialized.”
Robinson also shares that bands have faced difficulty bringing unsold merchandise back to the US from international tours, as these also face tariffs, unless the artist is selling only American-made merch. Vinyl prices are likely going to rise too, as the materials used to make them are from overseas countries, including PVC and their paper sleeves.
You can watch Robinson’s full video below:@wordsbykristin
#greenscreen how Trump tariffs will affect the music business #musicbusiness
♬ original sound – Kristin Robinson – Billboard
What else do we know?
Another manufacturer that has also shared fears over the tariffs is Electro-Harmonix. Mike Matthews, founder of the pedal brand, recently told Bloomberg that EHX has an inventory that will help it “ride out” the storm, but the future of the company is looking rather uncertain. EHX uses components that are manufactured internationally, though it builds the pedals in the US.
Matthews said he has ruled out the idea of bringing circuit board manufacturing into the US as it would be “a really huge investment”. Further to this, he also revealed, “I am open and have been in the process of trying to sell the company. It’s a difficult time.”
For further updates, check back on MusicTech. We will keep you updated with any further details on the tariffs.
The post How will Trump’s tariffs affect the music gear and vinyl pressing industries? A Billboard journalist breaks it down appeared first on MusicTech.Musicians: Do not rely on social media to reach fansOn social media, a significant portion of your followers typically don't see each post, with organic reach averaging around 2% to 6% of total followers. The lesson for musicians? Do not rely on social media to reach fans.
The post Musicians: Do not rely on social media to reach fans appeared first on Hypebot.Warm Audio introduce the Fen-tone The Fen-tone promises to deliver the rich sound associated with the original, but introduces some handy extras such as an onboard in-line preamp.
Cre8audio’s Boom Chick is “inspired by the hands-on playability of legendary drum machines”Cre8audio has introduced the Boom Chick, a new analogue drum machine that mixes classic drum machine inspiration with a design from Pittsburgh Modular Synthesizers.
Offering the “hands-on playability of legendary drum machines”, Boom Chick has a knob-per-function interface for tactile beat-making, and features five analogue drum voices. It functions as both a standalone device or Eurorack module.READ MORE: Aphex Twin’s MIDI-modified Yamaha GX-1 is up for sale – for just £100,000
Boom Chick’s five voices include Kick, Snare, Drum 1, Drum 2, and Hats. According to Cre8audio, these voices offer “rich” and “expressive” sounds, which can be easily customised.
The Kick Drum brings “Fat, deep, and punchy” tones with shaping controls, while the Snare is described as “dynamic and expressive”. Drum 1 and 2 both offer multi-functional voices for toms, claps, cymbals, and creative textures, while Hats offers a custom oscillator noise matrix for crisp hi-hats.
Also onboard is a built-in sequencer with two primary modes for ease of use. A Step Mode lets you programme beats, while Live Mode lets you perform and record beats in real-time. The sequencer also includes Step Shift, Roll, and Chance tools for variation, plus Humanize, Swing, and Quantize to tweak timing. You can also make use of Per-Voice Polyrhythms to set different step lengths for evolving beats, Generative Rhythm Tools, plus 64 Save Slots and a 16 Song Memory.
Check it out below:In more percussion news, MusicTech has rounded up some of the best kick drum plugins for 2025, with a range of prices and tools considered. In our guide, we selected five kick drum instrument plugins that use a mix of synthesis and sample playback to create powerful-sounding hits that can slot neatly into your mixes.
Boom Chick is available to pre-order now, and is due to ship in mid May. Street pricing is estimated at $399.99/€319.99. For more information, visit Cre8audio.
The post Cre8audio’s Boom Chick is “inspired by the hands-on playability of legendary drum machines” appeared first on MusicTech.Cre8audio’s new Assembler is a “vintage analogue mixer for the modern synth enthusiast”Cre8audio has announced Assembler, a synth-focused analogue audio mixer that delivers vintage console sound with intuitive hands-on control.
Developed in collaboration with Pittsburgh Modular Synthesizers, Assembler blends the warmth of classic analogue mixers with a modern workflow designed for electronic musicians of today.READ MORE: Union Audio’s uber-compact Elara.4 MK2 mixer has the “versatility and quality to elevate any DJ set, anywhere”
At the heart of the mixer is a custom-designed Pittsburgh Modular analogue circuitry that uses signal contouring and soft compression to unify the overall mix. This process emulates the well-loved sonic characteristics of vintage recordings, adding the warmth, cohesion, and character that other mixers often lack.
Assembler also features ten audio inputs split into three distinct mixer channel types to seamlessly integrate with various audio scenarios and workflows. Each input includes a preamp capable of up to 20x gain boost, ideal for boosting line level signals, subtle clarity enhancement, or aggressive signal saturation.
Three assignable aux sends – two stereo returns and one mono return, each with independent gain adjustments – allow for effortless integration of external effects like reverbs and delays or function as sub-mix channels.
Three-segment LED meters, independent headphone Cue, and channel Mutes, meanwhile, ensures precise monitoring during live performances. Channel 1 and 2 add extensive tonal control with vintage-inspired high and low EQ knobs, each offering ±15 dB of boost or cut while all six mono inputs include a dedicated pan control.
Built with ease-of-use in mind, Assembler’s one-knob-per-function layout eliminates menu-diving and maximises immediacy – whether you’re tweaking aux routing or dialling in EQ during a set.
The mixer is equally suited for line-level instrument and Eurorack signals, making it a versatile choice for any setup. And for those looking to explore beyond traditional mixing, Assembler can even self-oscillate, offering noise artists and experimental producers another wild tool for sonic exploration.
Priced at $399.99/€319.99, Assembler is now available for preorder, with shipping expected mid-May 2025.Learn more at Cre8udio.
The post Cre8audio’s new Assembler is a “vintage analogue mixer for the modern synth enthusiast” appeared first on MusicTech.“I need to build the room I want to play in”: Floating Points has created his very own sound system that he’ll use at this summer’s festivals – here’s whyElectronic artist Floating Points is bringing his very own sound system with him to festivals this summer.
First teased in 2024, the sound system – which he calls the Sunflower – takes inspiration from other sound systems he loves, but especially that of Leeds venue, Cosmic Slop. It is also influenced by the work of SBS Slammer, a high-end sound system company based in NYC.READ MORE: “The house PA was so bad that I tried to one-hand turn the stage monitor towards the crowd…” Mark Ronson shares injury update after DJing gig gone wrong
Floating Points, whose real name is Sam Shepherd, has also collaborated with designer fig. G (Carlos Figueroa) to bring the Sunflower to life. He has shared sporadic updates on the set up throughout the year via social media, and now, in an interview with Apple Music’s Tim Sweeney for the Beats In Space show, he’s confirmed he’ll be bringing the sound system out to shows this summer.
“Whenever I DJ, I have to psych myself up a little bit,” Shepherd says. “Discovering new music is the easiest way to get that feeling of, ‘I can’t wait to play this loud on a system.’ That’s one reason I wanted to build this. I’ve spent so much time in all these different clubs. Eventually, I was like, ‘I need to build a sound of my own that has the power that I want. I need to build the room I want to play in.’”
Talking of Cosmic Slop, he adds, “The system there is run by this guy Tom Smith, who I call Cosmic Tom. He got deep with it and did all the carpentry himself – with some help from old-school New York guys who built, you know, Paradise Garage, those mythological systems. Tom’s system is the best in the UK, hands-down. The midrange is beautiful. The feeling you get in that space is fantastic.”View this post on Instagram
A post shared by Apple Music (@applemusic)
For his festival set up – which is far more challenging than within a venue – Shepherd is building walls with haystacks and rock panels to tackle sound leakage: “I want people to go in there and be like, ‘Wow, music sounds beautiful in here, and I’m having a 10 percent better time than if it wasn’t as good,’” he states.
You can check out some of his most recent updates on the Sunflower in the videos below:View this post on Instagram
A post shared by Floating Points (@floatingpoints)
View this post on Instagram
A post shared by Floating Points (@floatingpoints)
Floating Points’ upcoming festival dates are yet to be announced, but you can sign up to his mailing list via his official website.
The post “I need to build the room I want to play in”: Floating Points has created his very own sound system that he’ll use at this summer’s festivals – here’s why appeared first on MusicTech.Baby Audio’s Smooth Operator spectral balancing plugin scored 9/10 in our review – now the brand has released an upgraded versionBaby Audio has unveiled Smooth Operator Pro, a new and upgraded version of its acclaimed spectral balancing plugin.
Building on the success of the original Smooth Operator from 2021 – which scored a 9/10 in our review – the Pro version arrives with an improved core algorithm and more detailed control across the board while maintaining the fast workflow that made the original so popular.READ MORE: Output’s new Co-Producer plugin uses AI to curate the perfect samples for your project – all from within your DAW
At its core, Smooth Operator Pro still uses advanced spectral processing to automatically target and tame bloated frequency energy across the spectrum. Users can use the plugin to achieve clarity in their mixes and address common issues such as boomy low-mid buildup, harsh resonances, and masking.
One key upgrade from the original is the ability to make precise frequency-specific adjustments. While the previous version only allowed you to apply global settings to affect the signal, the Pro version lets you freely place and remove nodes across the frequency spectrum and create individual dynamic processing profiles for each node.
Want to tame a splashy cymbal in just the left channel? Smooth out a bass thump only on the side channels? Apply a softer compression to a vocal peak at 2.5kHz? You can do all of that and more in the same plugin.
Smooth Operator Pro also features two new correction algorithms, Even and Skew, as well as improved stereo imaging tools for you to take full control of the harmonic content in your mix.
Like its predecessor, Smooth Operator Pro offers a fast workflow with the surgical features being optional. It includes 184 presets by engineers from around the world to add mix clarity right out of the box.
The plugin is now available at an introductory price of $79 (U.P. $129). Users who own the original version can upgrade for $29.Learn more at Baby Audio.
The post Baby Audio’s Smooth Operator spectral balancing plugin scored 9/10 in our review – now the brand has released an upgraded version appeared first on MusicTech.Former Spotify music-learning founders launch new artist-to-artist learning platform, WHATCLASSA new artist-to-artist learning platform called WHATCLASS has launched, offering short-form classes led by influential names in music.
The platform has been developed by a team “with a track record developing music education and gaming”, who launched music learning on Spotify in 2024 and its music-learning partner platform, PLAYvirtuoso.READ MORE: Spotify introduces new changes to its advertising model – could they impact artist payouts?
The launch is backed by a partnership with ABRSM (Associated Board of the Royal Schools of Music), meaning learners can gain formal accreditation and real qualifications, as well as UCAS points and industry recognition, which is said to be a first for a platform of this kind.
Artist and producers available to learn from at launch include names like Fraser T Smith (songwriter/producer, Ed Sheeran, Adele, Stormzy, Dave), Moonchild Sanelly (Beyonce, Gorillaz), Joe Goddard (Hot Chip), Skream (UK Dubstep pioneer), Sarah Story (BBC Radio 1), Jamz Supernova (BBC 6 Music), Toddla T (Kneecap, Headie One, AJ Tracey), and Novelist (award-winning Grime MC).
A press release shared with MusicTech states that classes are built for immediacy, with insights and skills gained from real artists’ own lived experiences. WHATCLASS is also described as being “structured for the era of social media but grounded in educational rigour”, offering the depth often missing from other online ‘how-to’ tutorials. Each class has a specific learning outcome such as a production technique, creative inspiration, or industry knowledge. Many are also available to watch for free.WHATCLASS co-founders Austen and Scott Smart (CEO, CPO) – who were originally DJs and recording artists – are also backed by senior leadership in tech, including Chillingo/Angry Birds, Pirate Studios and Sonos.
“Music education has become either too expensive or too fragmented. WHATCLASS is here to change that. We’re empowering real artists to teach the next generation and giving learners the knowledge we wish we had when we started out,” comments Austen.
You can sign up now for free, or join its premium tier for £11.99 per month. Find out more over at WHATCLASS.
The post Former Spotify music-learning founders launch new artist-to-artist learning platform, WHATCLASS appeared first on MusicTech.Analog Obsession just released MythPre tube mic preamp for FREE
We’ve got great news for fans of Analog Obsession! The developer is back with a new plugin called MythPre. MythPre is a tube mic preamp intended to enhance the low end of your tracks to give that bass response we always crave. The plugin has a gain-compensated input boost to determine the intensity of the [...]
View post: Analog Obsession just released MythPre tube mic preamp for FREEFish56Octagon: “Music production is the hardest, then social media — DJing is the easy part”“It all started with Inspector Morse,” begins Fish56Octagon, talking to MusicTech backstage ahead of his debut Cambridge gig. “It was an episode called ‘Cherubim & Seraphim’ and featured the 90s illegal rave scene,” enthuses the car influencer turned viral DJ and producer who is in his mid-40s but prefers to keep his identity hidden. Just 12 years old when he watched it while on a family holiday, and he was mesmerised. His parents? “Horrified.”
However, it inspired him to get into pirate radio once home: “It was accessible; you’d turn it on and you’ve got it”. A passion for record shopping followed: “It’s a world where you can go spend hours looking at stuff,” the Brit says, adding that he’s always had a good memory for certain details; “I thought it was all useless, but it turned out to be pretty useful after all.”READ MORE: “You have eight months to soundtrack an AAA game in a style you’ve never done before”: Venus Theory on his ‘trial by fire’ soundtrack for Avowed
Such an encyclopedic knowledge of dance music has served him well. In the year of his whirlwind rise to online fame, Fish, as he is known, amassed a rare cross-generational fanbase of OG ravers and new-gen dance heads, played three sets at Glastonbury and was dubbed the human Shazam.
The latter is an appropriate accolade for someone who has spent the majority of his money on vinyl records (his collection is currently 3,000-strong) and taught himself how to DJ and produce several decades ago. As a kid, he dug out two hi-fi record players from his dad‘s loft and, aged 13, got a belt-driven Soundlab DL P1 (“it was a good way to learn because you had to be very accurate with beatmatching”) and a mixer that didn’t have EQ on it (“if you were slightly out, the kickdrums could collide, whereas now you can take the kickdrums out if you’ve got a clash so it’s much easier”).@fish56octagon
#musicproduction #dj #Ableton
♬ original sound – Fish56Octagon
Aged 16, he got a set of Technics SL1210s, but later sold the pair in 2005 for £180. “It was when everything went digital,” he recalls, having moved onto Octane, ACID Pro, Ableton Live and NI Traktor gear.
Over a decade of partying at clubs and several visits to Ibiza followed, before he “got stuck in a rut of buying records” once the Covid-19 pandemic and subsequent lockdown hit. “I got a new credit card which had a £12,000 limit with 0% interest for 18 months,” he laughs. At the same time, he had started filming and posting TikTok videos about cars – “another big interest of mine, but not as much as dance music” – under the name Fish56Octagon; in a later clip, he revealed the moniker was “the most random pile of shit I could come up with”.
Image: Press
While he saw it as more of a hobby that turned into a side hustle, it got him to Porsche driving days with journalists. “But it wasn’t really going anywhere,” he says. However, he had noticed a trend: his top-viewed videos were those that featured a dance track that he selected. “I thought it would make it more dynamic than me just standing talking about cars,” he suggests, adding that “it wasn’t really about appealing to a young audience, although it inadvertently did that”.
Having then decided to focus explicitly on music, his posts about new records and festivals proved incredibly popular; “a few people were surprised that I was, at my age, going to see the dance acts”. However, he did face some criticism, with users calling him out on his choice of genres (despite having DJ’d and produced for practically all his life). “I’d get comments like ‘why are you playing drum ‘n’ bass?’ and I’d respond by saying ‘I’ve been into it since the scene started in the 90s’.”
Such skepticism made him “feel the need to validate myself” and led to a content pivot towards showing people his record collection (while wearing his dressing gown). “I noticed there was a lot of interest and said to myself, ‘If I just switch and do some music stuff, then maybe I’ll get a few tickets to go backstage, interview a few DJs and get into some festivals for free’. That’s all I was angling for,” he confirms.
It worked, and very quickly; one fan even wrote ‘I wish my dad were as cool as you’. “That was weird, and a bit of a surprise, but I wasn’t arguing!” he laughs. Incidentally, by the time he attended his first guestlisted event – Drumcode at Drumsheds – he had already been booked to play the same venue later that year. “It had all taken off so fast.” Booking requests from small promoters started coming in, and an all-night-long gig at Manchester club Hidden sold out six weeks in advance. Realising the demand, and with fans travelling from London and Glasgow, two more sell-out shows followed.
Having quit his job, Fish56Octagon has since become one of the biggest names in dance music, playing shows worldwide and counting huge names including Skrillex, Kerri Chandler and Disclosure among his followers – though he never imagined any of this would happen. “Music fell by the wayside for quite some time… it wasn’t an ambition,” he says of his advertising career taking precedence. “I was just having fun and sharing my enthusiasm for dance music.” In fact, he doesn’t think it would have connected in the same way had there been a strategy: “If it’s something you’re aiming for, that makes it less likely to work. Sometimes the natural thing resonates with people and becomes more of an authentic story.”While he doesn’t see himself as an influencer – “it’s a dirty word” – he thinks that, whether artists like it or not, “social media is completely inseparable from music. I don’t think there’s any other real route into DJing or music production,” he suggests. “That’s not to say you’ve got to be a star on social media – far from it,” he considers. “But the notion that people totally reject it being part of their job… the whole structure is different now and record labels want to have something”. Likening the modern singing process to BBC show Dragon’s Den, he ponders that “they’re not so interested in hearing about a great invention, what they really want is a great invention that’s got a bit of business behind it and a track record. You don’t need to be distributed in Sainsbury’s, Marks & Spencer, Tesco and Waitrose, but you do need to have some orders. It’s the same with music now,” he considers.
This “unfortunate” development, he feels, has “commodified something that’s an art form; if they’ve got the choice of signing someone with a following and ready-made audience proven for the music, they’ll go with that”. But how much time should aspiring artists dedicate to growing their online presence? “It certainly takes a lot less time than learning to produce music,” he says. “Social media isn’t the hard part – music production is the hardest, then social media, then DJing is the easy part.”
As a selector who’s used to playing extended sets — his first gig was five hours, and his popular Fish Tales events see him man the decks for an average of four — he stands out in a saturated market. “It depends on what you’re doing and what your crowd’s like,” he says when MusicTech asks why he likes to take his crowds on genre-spanning journeys.
“If they’re really into the music, you can dig out some deeper tunes and play some more experimental tracks. But sometimes you’ll play to a crowd that just wants to party and have fun — that’s more about instant gratification than waiting ages to hear something build up,” he suggests. “It’s good to do those journey sets, but it depends on who you’ve got in because attention spans aren’t what they used to be.”
Image: Press
All this has been catalysed, he feels, by social media and COVID, “which have altered the way people interact with technology”. While those in the crowd may want to hear shortened edits of classic hits, he’s not one to cut things down. “I don’t like mixing out of a track before it’s peaked or finished peaking because, as a producer myself, I know how much care, thought, and attention goes into forming and arranging music,” he says, adding that most tracks he plays are four or five minutes in length.
To the contrary, he feels that “just cutting it dead” is something DJs do if they’re “not feeling particularly confident” in front of the crowd they’re playing to. “They’re perhaps thinking ‘I need another drop and another drop’, or worrying because they haven’t got their own following.” While he feels that “it does work”, he doesn’t think it’s the best choice considering the lengthy creative journey for a song to reach a finished state – “not just when you’re sitting writing it, but the years spent learning before that too”.
It’s this respect and patience for the craft that encapsulates his journey to becoming Fish56Octagon. Teasing to MusicTech that he has worked on 60 tracks since August – “many never progressed past my laptop, but I’ve had several mastered and played them out in my sets, and of those, a small number have gone forward as releases” – it’s clear that TikTok’s unlikely star is far from a flash in the pan (or pond).
The post Fish56Octagon: “Music production is the hardest, then social media — DJing is the easy part” appeared first on MusicTech.Waves’ Curves AQ is the “world’s first autonomous EQ plugin”Waves has launched Curves AQ, an AI-powered audio plugin billed as the “world’s first autonomous EQ”.
In Waves’ words, Curves AQ doesn’t guess – it analyses your track, “decides” what sound it should have, and then creates a selection of unique EQ profiles aka ‘spectral target curves’ for you to choose from. These aren’t presets, but original spectral curves based on the natural qualities of your audio, be it vocals, instruments or full mixes.READ MORE: “I love the guitar, but it belongs to the 20th century”: How Steven Wilson is embracing plugins and modern production to reinvent the guitar
“While other plugins claim to be ‘smart EQs’, what they actually do is process your source to match a static factory target curve – a preset,” says Waves. “There is no real-time adaptation to your specific track and the process is not tailored to it.”
After the curves are generated, users can personalise their sound further with a number of handy controls, including the ability to blend the amount of static and dynamic EQ, and adjust the intensity of boosts and cuts globally or band by band for more flexible processing.
One standout feature is the Smart Tilt control, which offers a more sophisticated take on traditional tilt EQ. Instead of just changing the slope of the frequency spectrum, Smart Tilt allows you to easily alter the tonal balance by actively modifying the spectral target curve itself. The Offset function, meanwhile, lets you shift the entire target curve along the X-axis, changing the focal point of processing. It shifts the curve and harmonics to scale and can offer a wildly creative effect.
Another key feature is MixSense, which takes into account the “context” of your mix and adjusts processing accordingly. By using a sidechain input, MixSense analyses competing sounds and attenuates only what is necessary to bring out the source. Feed any tracks through sidechain, and AQ will adjust its processing to make room for them in the mix.
Finally, Curves AQ also includes a dedicated Live version. Thanks to zero-latency processing, it’s ideal for real-time use on stage or during live broadcasts.
The plugin is now available at an introductory price of $49.99 U.P $129.99).Learn more at Waves.
The post Waves’ Curves AQ is the “world’s first autonomous EQ plugin” appeared first on MusicTech.Tascam Model 2400 review: A satisfying throwback with modern flair£1,699 / €2,059 / $1,999, tascam.com
I started my recording career with a Tascam PortaStudio 424. Because of this, I’ve always had a soft spot for Tascam gear and the sound of its preamps. In fact, I was still using my original PortaStudio as a mixer (the tape transport stopped working a few years ago) up until this past summer.
Of course, like most people, I’ve embraced digital recording and the conveniences of a DAW at this point. But, I’ve been curious about Tascam’s modern Model series of recording mixers; they combine the hands-on comfort of a traditional mixing desk, with the conveniences of digital recording, plus, they just look stunning.READ MORE: Money well spent? SSL 18 brings more channel power to Solid State Logic’s growing interface range
The £1,699 Model 2400 is Tascam’s flagship. It takes the core features of the Model 24, specifically a 22-input analogue mixer, 16 preamps, three-band EQ and the ability to either record directly to an SD card or be used as an audio interface, and then expands on that with more connectivity options and a host of features tailored to live mixing.
I am not a live audio engineer, however. Nor do I run a commercial recording studio. I’m coming at the Model 2400 from the perspective of a hobbyist musician who largely works with synths, drum machines, plugins and occasionally tracks some live guitar. And, while using the Model 2400 is an absolute pleasure that transports me back to my youth capturing demos in my basement on a four-track, it’s also absolute overkill for my needs.
Image: Terrence O’Brien
Using the Tascam Model 2400 is like coming home
Using the Model 2400 is sort of a tale of two different devices. There’s the analogue mixer and the basic recording functions, and then there’s everything else: the effects, the DAW control, the audio interface, and the like.
The positive news is that, if you’ve ever used a PortaStudio before, the Model 2400 should seem extremely familiar. It doesn’t take me long to find my footing, even without the aid of a manual. I plug in my Polybrute, Digitone and guitar and I’m able to immediately start tracking an (admittedly pretty awful) pseudo industrial track. My exposure to Tascam recorders may be limited to turn-of-the-century cassette technology, but the core workflow hasn’t changed dramatically, and that is a pleasant surprise. The one exception here is bouncing tracks down (a necessity for working within the limits of a four-track recorder) is a bit more convoluted but, with 22 inputs at your disposal it’s unlikely you’d need to bounce down that often.
The Model 2400 also represents a return to linear, largely destructive recording which might be something of a shock for anyone who came of age in the DAW era. These days I’m used to playing parts through a few times then looping the best chunk, rather than tracking a full three minutes of live guitar. Actually sorting out an arrangement before I sit down to record is a bit odd at first. It’s something I haven’t really done in countless years.
Image: Press
Making connections with the Tascam Model 2400
The access to 22 inputs is huge in my studio. Unsurprisingly, I have amassed a pretty solid gear collection over the years and swapping things in and out has always been a huge hassle that I never wanted to deal with. It’s why, no matter how many synths or drum machines I own, I often just end up relying on the same few over and over; I just don’t want to deal with unplugging things and plugging new ones in. (Yes, I realise this is incredibly lazy and spoiled sounding, but there we are.)
With room for 11 stereo sources (or 12 mono plus five stereo sources) I’m able to leave a significant chunk of my studio permanently plugged in. In fact, the barrier becomes finding room to actually set up instruments, instead of having enough inputs to handle them. The first 12 channels also have their own insert jacks for easily adding external effects at the capture stage. To demonstrate how incredibly handy the inserts are, I’m currently testing an enormous pile of reverb pedals. Pulling them off my board or climbing behind my desk to deal with setting up sends and returns on my audio interface seemed annoying and time consuming. But with a single cable and power supply I can quickly test half a dozen pedals on the Polybrute without having to bend over, crawl on the floor or fight with velcro strips. Additionally, in contrast to some other models in the range – and the closely-competing Soundcraft Signature 22 MTK– inserts can also be used to send recorded signals out to analogue outboard; a big win for users wanting to get serious about hybrid mixing.
Image: Terrence O’Brien
The 2400 also has a MIDI out jack which means I can use it as a master clock to keep all my gear in sync. Obviously it doesn’t give you the deep control over controller data that you’d get with a DAW, but it does mean if I wanted to change the tempo of a track I don’t have to move to a different piece of gear. I simply turn a knob on the mixer and, voila, my mid-tempo indie rocker becomes a dance punk party tune.
One thing that proves difficult is getting the 2400 to talk to my MacBook. On first connection, my computer detects it just fine. The Model Mixer companion app accurately detected incoming audio, but I can’t actually get any signal in or out of Ableton. A reboot seems to solve the issue, but it is still slightly vexing.
DAW Control is also frustrating. You’ll definitely want to check how to set it up for your software of choice in the manual, as it’s not necessarily obvious. More frustrating still, the smaller Model 12 is far more capable as a DAW controller. To make the most of it really requires a significant amount of effort. Even after I properly map all mixer channels in Ableton, I still end up having to use the mouse and keyboard for most things. Being able to arm a track and start or stop recording from the mixing board is handy, but for deeper DAW control you’ll likely want to look elsewhere.
Image: Terrence O’Brien
Further reflections on the Tascam Model 2400
There are a few miscellaneous things worth talking about, if just quickly for the sake of completeness:
The Model 2400 has built-in effects — you should ignore them. Maybe they’d do in a pinch, in a live situation where the difference between a high-end plate algorithm on a Meris pedal and the frankly mediocre one on the 2400 would be less obvious. But I definitely wouldn’t rely on any of them for recording.
The preamps sound great. They’re crisp and clear and add a touch of warmth to anything you run through them once you turn the knob past nine o’clock. They also have a ton of headroom, which is both a blessing and a curse. You can run a really hot signal through the Model 2400 with little worry about clipping. Unfortunately, it also means you can run a really hot signal through it, and you have to try really hard to make it clip. One of my favorite tricks with my old PortaStudio 424 was plugging a guitar straight into an input and cranking the gain on the preamp to get some deliciously fuzzy tones. But with the 2400, I can only get that effect from my highest-output humbucker pickups.
The built-in analogue channel compressor is pretty decent on drums, but less so on guitar and synths. It can get flabby as you crank it and anything past 12 o’clock requires considerable makeup gain. There’s also a digital compressor and EQ on the master. These are useful for gluing a mix together. The compressor doesn’t add a ton of character, but it also doesn’t really detract from anything. Use it with moderation and you should be happy with the results.
Build and hardware quality is generally excellent, but there are some worrying inconsistencies. The Model 2400 is heavy and feels like it would take some serious effort to damage. The faders aren’t the smoothest, but they work well enough and all the buttons feel solid and click reassuringly. The knobs are also excellent… except when they’re not. Most of the pots on the 2400 I received are smooth and offer the right amount of resistance to help you fine tune things. But then there are a few that are noticeably looser than the rest that feel flimsy, and even one that is a bit too hard to turn. This inconsistency is especially noticeable with the preamp gain knobs.
Image: Terrence O’Brien
The Tascam Model 2400 is a satisfying throwback in many ways. Its PortaStudio-inspired workflow feels less anachronistic than you might expect. The hands-on controls are truly timeless and the analogue signal path brings an appreciable amount of warmth to what is ultimately a digital recorder. It is also freeing to not turn on my computer to record an idea. You can capture a jam straight to an SD card and quickly move on with life.
Considering its size and price, though, it’s going to be a tough sell to anyone with a limited budget or studio space. If you’re a literal bedroom producer or mostly work with a handful of synths you’re probably better off with a desktop audio interface or one of Tascam’s smaller mixing decks, like the Model 12 or the Model 16. If you want a mixer, but don’t demand an analogue signal path, there are digital options from Zoom that can do a lot of the same things, though they feel and look cheaper.
If you’re fleshing out a home recording studio in a spacious basement or garage, and regularly track a full band, the Model 2400 makes a ton of sense. While it might be tempting to save money and opt for the Model 24, it’s probably worth splurging at that point. The 2400 offers a lot more connectivity options, including 10 more insert points and two more sends, MIDI in/out and it can handle basic DAW control. Plus it has newer, cleaner sounding preamps.
But, the Tascam Model 2400 is clearly designed for live recording larger groups. It’s not for folks like me who mostly compose alone, in a cramped multipurpose room after the kids go to bed. For the hobbyist electronic musician it’s ultimately aspirational, not practical.Key Features
22-input mixer
24-track SD recorder and USB audio interface
Up to 24-bit/48 kHz recording
16 analogue preamps
12 insert points
5 aux sends
MIDI in and out
Bluetooth audio input
DAW control
3-band EQ with sweepable mids per channel
16 built-in digital effects
4 stereo subgroups with separate outputs
Compressor on first 12 channels
Weight: 14.0kg
Dimensions: 68.1 x 13.3 x 56.8 cmThe post Tascam Model 2400 review: A satisfying throwback with modern flair appeared first on MusicTech.
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