Spotify CEO Daniel Ek leads investment of €600m into AI defence companyDaniel Ek, Spotify’s CEO and founder, has led a €600 million round of investment in Helsing, a Munich-based AI defence company that manufactures strike drones, aircraft and mini-submarines amid changes in European warfare.
Helsing, which started in 2021, is now valued at €12 billion, according to the Financial Times, placing it among Europe’s five most valuable private tech companies. Its flagship product is AI-based software that offers real-time “video-game-style visualisation” of battlefields, as reported by Wired. However, since its inception, Helsing has expanded its operation to build and sell strike drones, and is now preparing a fleet of unmanned mini submarines, reports TechCrunch. The company has sold thousands of strike drones to Ukraine in the past year as the Russia-Ukrainian war continues.
The €600 million Series D funding, which was spearheaded by Ek’s investment firm Prima Materia, will be used to “accelerate Helsing’s leadership in all-domain defence innovation”, says Helsing.
Daniel Ek, who is also Chairman at Helsing, adds: “As Europe rapidly strengthens its defence capabilities in response to evolving geopolitical challenges, there is an urgent need for investments in advanced technologies that ensure its strategic autonomy and security readiness…By doubling down on our investment, Prima Materia reaffirms its commitment to empowering Europe’s technological sovereignty—an ambition Helsing perfectly embodies.”
The investment round also saw funding from Lightspeed Ventures, Accel, Plural, General Catalyst and SAAB and BDT & MSD Partners. Overall, the company has now raised €1.37 billion, according to TechCrunch.
Speaking to the FT, Ek adds: “The world is being tested in more ways than ever before…There’s an enormous realisation that it’s really now AI, mass and autonomy that is driving the new battlefield.”
Ek has come under scrutiny before for his involvement in Helsing. Artists such as Skee Mask have removed their music from Spotify and boycotted the streaming platform following Ek’s €100 million investment in Helsing in 2021. The Spotify CEO expects further backlash, but remains adamant: “I’m sure people will criticise it, and that’s OK,” he says.
“Personally, I’m not concerned about it. I focus more on doing what I think is right, and I am 100 per cent convinced that this is the right thing for Europe.”
Alongside his work for Spotify, Prima Materia and Helsing, Daniel Ek is also the chairman and co-founder at Neko Health, a medical technology company that uses AI to analyse health data.
In the past two years, Ek has cashed out around $376.3 million worth of Spotify shares — a sum that no artist on the streaming platform has reached via its royalties system. In April 2025, Spotify recorded its highest subscriber net adds since 2020. 
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ADAM Audio D3V review: Compact monitors with few compromises£290, adam-audio.com
ADAM Audio’s D3V are small monitors that compete with the likes of IK Multimedia’s iLoud Micro, the KRK GoAux series and AIAIAI’s Unit-4 wireless monitors. Whether you have portability in mind, or need a compact yet affordable monitor system for your bedroom studio, the D3V emerges as a standout competitor.

READ MORE: IK Multimedia iLoud Micro Monitor Pro: Superb for on-the-go producers and for creators with poor acoustics

Innate sound quality seems to be the priority here, with the new D3V bearing a scaled-down version of the brand’s iconic AMT (Air Motion Transformer) tweeter for sumptuous highs, plus passive radiators on the side of each monitor added to complement the compact woofers for extra bass extension.
On the flip side, there’s a noticeable absence of smart digital functions found on similar monitors, such as Bluetooth and automatic room correction EQ. But the D3Vs’ £290 price tag is an appealing proposition, delivering maximum sound quality with minimum fuss in compact workspaces.
Image: Press
ADAM Audio D3V monitors features and specs
Out of the box, I’m shocked by how dinky these speakers look, but I needn’t be fooled by the D3V’s slightly toy-like appearance.
In addition to the brand’s new D-ART tweeter, there’s a 3.5-inch bass woofer per monitor. The passive radiators lurking around the sides are unexpected but help the monitors sound far larger than they look. In terms of amplification, there’s more headroom than both the KRK GoAux 4 and IK’s iLoud Micro, thanks to more powerful amplifiers for each driver. For example, compare D3V’s 70 Watts and 30 Watts RMS for its woofer and tweeter respectively to 33 Watts/17 Watts RMS on the GoAux 4. ADAM is drawing out maximum performance from a compact active monitor.
The D3Vs have simple plastic stands that slide into the bottom and set the speakers at an angle. This is primitive compared to the multi-angle metal stands offered on KRK’s GoAux range, but the more basic approach makes for a far smaller physical footprint (though you do need to leave a little room on either side of them for the passive radiators to move freely).
Stand mounting these speakers is also an option, with a ⅜-inch threaded insert on the base. Unlike the GoAux, there’s no carry case included, so you’d have to factor in the price of a suitable third-party one if you’re serious about working in multiple locations.
On the front is a multifunctional rotary encoder and a 3.5 mm headphone socket. The encoder’s primary function is volume control, but via a series of clicks, you can switch between inputs, enter standby mode, and power down.
Around the back, the master left-hand speaker has all the connections and houses the amplifiers, while the passive right-hand speaker connects to it with the supplied multi-pin cable. This arrangement is the same as for most other compact monitors, and while it limits versatility for scenarios where you might want to use the monitors individually, having all the cables run to one of the speakers is pretty neat.
Input options are relatively minimal: two TRS jack sockets for the stereo analogue input, plus, more usefully, a USB-C socket for playback of audio directly from a computer. Both the balanced inputs and USB audio edge the D3V ahead of the iLoud Micro Monitor, which only has unbalanced analogue ins and no USB audio, but there’s no Bluetooth on the ADAMs, if that might irk you.
Image: Press
What EQ customisation is available on the ADAM Audio D3V?
The simplicity of approach also carries through to equalisation. Instead of providing options to both cut and boost frequencies, three filters provide different levels of attenuation in the low, low-mid and high frequency ranges, respectively. However, it’s frustrating that I have to consult a separate technical report to find this out. I’d prefer these details to be in the user manual, or better still, graphics on the monitors to show the filter responses.
The Position control corrects bass build-up when monitors are placed close to room boundaries, ranging from the Stand setting (no low-frequency cut, where the monitors are mounted on floor stands) through to Corner (a reduction of 6 dB in the low end). Meanwhile, the Desk control applies up to 6dB of reduction in the low mids for positioning on a studio desk, and Room Acoustics attenuates high frequencies for listening environments that have lots of reflective surfaces.
I love the set-and-forget approach on offer here. In my case, I quickly flick the Desk setting to Large to clear up low-mid build-up caused by my desk, giving a truer balance within the frequency spectrum. No further fiddling around at the back is required – I’m ready to get stuck in with some analytical listening.

How do the ADAM Audio D3Vs sound?
Though you can’t reasonably expect earth-shattering bass from the D3Vs, the low-end is impressive for the size of the monitor, and it’s really articulate, too. The passive radiators do a grand job of providing extension without the inevitable bass build-up associated with port-equipped speakers placed near walls.
Listening to Nitin Sawhney’s Nostalgia reveals an articulate, punchy kick, plus a decent stab at sub-bass synth lines. At the higher end, the song’s glossy, stacked female vocals are ultra-pleasing to the ears. This welcome combination of bass punch and crisp articulation is equally as satisfying on lighter cuts, such as The Jacques Loussier Trio’s jazz-funk Little Fugue in G Minor.
While high frequencies are crisp, they’re not fatiguing. There’s a clear separation between parts (and the individual contribution of the speaker drivers) on the ADAMs, which contrasts with a more rounded yet less detailed tone coming from the KRKs GoAux 4s I have to hand.
Overall, the sound is a little more boxy than my main (6.5-inch) Genelec monitors, and of course, the bass extension was never going to match those bigger monitors either. But given the price difference between the two sets, ADAM is really excelling with the performance of the D3Vs. Plus, onboard USB audio means I can swiftly and conveniently switch between my main audio interface/monitors and the D3Vs without adding more analogue audio cables.

Who are the ADAM Audio D3Vs for?
The D3Vs will excel in bedroom studios or indeed any situation where space is limited. If you’ve got problems with room resonances, you’ll have to look into adding on room correction using the likes of Sonarworks’ SoundID or IK’s ARC at extra cost, but I prefer this approach to most built-in room correction, which can be limited unless you’re spending much more on monitors. So ADAM’s stripped-back approach leads to the best quality sound, ultimately.
Price-wise, the D3V sits favourably against the similarly-priced, smaller and less-powerful iLoud Micro (although the iLoud does have the benefit of Bluetooth input). The 3-inch model in KRK’s GoAux range is also a similar price, while the larger 4-inch GoAux with built-in room correction is around £100 more. Neither of the KRK models can quite match the D3V sonically, plus the GoAux 3 lacks the D3V’s ultra-useful USB audio capability.
For on-the-move music-making, you can get set up in a matter of seconds and enjoy quality sound, all without fiddling with a ton of controls.
Key features

Active monitors
Available in black or white
1.5-inch D-ART tweeters
3.5-inch woofers, plus dual passive radiators per monitor
240W total peak amplifier power
Frequency response at -6 dB: 45 Hz – 23.2 kHz
Dimensions (with included stand): 240 mm (H) x 115 mm (W) x 150 mm (D)
Comes with USB-C cable, USB-C to USB-A converter and external power supply

The post ADAM Audio D3V review: Compact monitors with few compromises appeared first on MusicTech.

Finland warms up the world’s largest sand battery, and the economics look appealingPornainen recently turned on a 100 MWh thermal battery filled with ground up soapstone.

OOMPH plug-in from Schulz Audio The latest arrival in the Schulz Audio range is a powerful new dynamics plug-in that provides producers, engineers and musicians with some precise signal-shaping capabilities.

Coinbase slammed for backing US Army paradeUS President Donald Trump promoted a 250th anniversary celebration of the Army that coincided with his birthday, leading to a sharp divide in how many Americans spent June 14.

Gateway Studios welcomes Goose as 1st to rehearse in Studio 75Gateway Studios & Production Services (GSPS) announced on Monday that, "Connecticut-based jam band Goose is the first artist to rehearse in Studio 75, marking a major milestone for the newly opened facility in Chesterfield, Missouri.""Studio 75, designed for productions of various scales, offers 15,000 square feet of rehearsal space, a 75-foot grid height, and a 1,000,000-pound grid weight capacity," they said. "Amenities include a 4,000-square-foot receiving/staging area, three loading docks, a drive-in ramp, and 8,000 square feet of dedicated dressing rooms with ensuite private bathrooms, offices, and a catering lounge. Goose utilized Studio 75 to prepare for their Summer 2025 tour, which launched in Napa, California at BottleRock Music Festival. The collaboration with GSPS included enhanced lighting rigs and state-of-the-art video equipment, all provided by GSPS,  as well as the use of the on-campus pre-visualization suites, allowing the team to tech the show before moving into full-band rehearsals."“The best part about working at the studios this time is we got to prep at Gateway, use the pre-vis suites, and build the rig right down the road - all without breaking our workflow,” said Andrew Goedde, Goose’s Lighting Designer. “It made us so much more efficient with our time. We’ve never had that kind of setup before.”“In other places, we’ve had to stop, pack up, move to another city, rebuild everything... Here, we kept building while we were still pre-vising. Tony [Goose’s Lighting Programmer] was working in the suite while I was out with the rig updating presets - then we merged our files at the end of the day. That kind of flexibility is huge.”When asked about the capabilities of Studio 75 compared to other national facilities, he added, “Rigging-wise, we could do anything. There were no restrictions, no hiccups. At other facilities, we would have to move the rig around or settle for less, but here, we could fly the rig to its full show trim height without any issues. That’s often the biggest challenge at other rehearsal facilities. This was a game-changer for us - at Gateway, we had the freedom to do exactly what we needed, and that flexibility made all the difference.”“Once we had the PA flown, I was really impressed. There was no audible slap, and I could run the system at full show volume without making any major adjustments to the system tune. That’s rare. I left the space fully confident that our mix would translate on tour without any surprises,” said Eric Loomis, FOH Audio Engineer.Loomis also noted the intentional design of the space from the moment they walked in, “The room had two layers of treatment that I noticed immediately. It was clear that time and planning went into making the acoustics right - and it paid off.”The ability to fly the rig to its full show trim height was also a game-changer for the band itself:“It’s so important for the band to see what it’s actually supposed to look like on day one. You can show renders, but if the rig isn’t fully up, they can’t really feel it. That first walk-through was the real ‘wow’ moment.”According to the specs provided, "In addition to Studio 75, GSPS has officially opened Studio 80 -  the largest dedicated rehearsal studio in North America. This 52,500-square-foot space boasts an 80-foot grid height and a 2,000,000-pound grid weight capacity. It includes a 10,800-square-foot receiving/staging area, six loading docks, shore power for six buses, a drive-in ramp, and 15,000 square feet of dressing rooms, offices, and catering space.""The Studio Support space is also now operational, offering 15,700 square feet of open space with a 48-foot ceiling and rigging points at 42 feet. Additional features include a 3,400-square-foot receiving/staging area, one dedicated loading dock with leveler and truck power, a drive-in ramp, and two private offices with restrooms. This space also offers secure storage for touring acts, measuring 14 feet wide by 30 feet deep, with two 5-foot-wide gates - providing a total opening of 10 feet for easy access and ample space for equipment."“We’ve had the privilege of working with Goose for years, and having them rehearse in Studio 75 is a significant milestone for us,” said Trey Kerr, CEO of GSPS. “Our longstanding relationship has allowed us to truly understand their needs, and it’s been rewarding to support their vision with the full capabilities of our space - from pre-visualization to rehearsal to production.”"GSPS stands at the forefront of production technology and rentals, offering integrated, turnkey solutions for live music touring, television, film, sporting, corporate events, and festivals," they said. "The 32-acre campus is designed to meet the demands of complex productions, providing a seamless environment for creatives and crews to prepare, collaborate, and execute at the highest level.""Phase two of the Gateway Studios campus is scheduled for completion in fall 2025," they added. "This next stage of development will introduce Studio 65 and a new office building. Studio 65 will offer 12,500 square feet of rehearsal space, a 65-foot grid height, and an 800,000-pound grid capacity - providing a versatile, fully equipped environment for tour prep in a more intimate setting. The new office building will serve as GSPS headquarters and include leasing opportunities for industry partners, creating a collaborative ecosystem."The post Gateway Studios welcomes Goose as 1st to rehearse in Studio 75 first appeared on Music Connection Magazine.

Cube Teeter Totter: One Motor, Many Lessons

Balancing robots are always fun to see, as they often take forms we’re not used to, such as a box standing on its corner. This project, submitted by [Alexchunlin], showcases a cool single motor reaction cube, where he dives into many lessons learned during its creation.

At the outset, [Alexchunlin] thought this would be a quick, fun weekend project, and while he achieved that, it took longer than a weekend in the end. The cube’s frame was a simple 3D print with provisions to mount his MotorGo AXIS motor controller. This motor controller was initially designed for another project, but it’s great to see him reuse it in this build.
Once the parts were printed and assembled, the real work began: figuring out the best way to keep the cube balanced on its corner. This process involved several steps. The initial control code was very coarse, simply turning the motor on and off, but this didn’t provide the fine control needed for delicate balancing. The next step was implementing a PID control loop, which yielded much better results and allowed the cube to balance on a static surface for a good amount of time. The big breakthrough came when moving from a single PID loop to two control loops. In this configuration, the PID loop made smaller adjustments, while another control loop focused on the system’s total energy, making the cube much more stable.
By the end of the build, [Alexchunlin] had a cube capable of balancing in his hand, but more importantly, it was a great learning experience in controls. Be sure to visit the project page for more details on this build and check out his video below, which shows the steps he took along the way. If you find this project interesting, be sure to explore some of our other featured reaction wheel projects.

Sony Music Entertainment Japan acquires ‘full rights’ to Spookiz animation franchiseSony Music Labels will work with South Korea's Keyring to produce new Spookiz animations.
Source

Bandzoogle launches Merch Table Lite: a customizable commission-free online merch storefront for musiciansMusicians can now effortlessly set up a customized, commission-free online storefront using Bandzoogle’s new Merch Table Lite plan—without building a full website.

Sub51 & Soundtrax announce Drop Pad 3 Capable of blending up to four custom sound sources, Drop Pad 3 retains the intuitive drag-and-drop operation of its predecessor, but delivers a range of enhancements and new features.

Advice for Independent Musicians in Uncertain TimesEconomic uncertainty can crush unprepared musicians - but it can also be your biggest opportunity. Learn how to protect income, boost visibility, thrive while others pull back and more practical advice for independent musicians in uncertain times.
The post Advice for Independent Musicians in Uncertain Times appeared first on Hypebot.

Buy Low, Sell High: Perils of Unregulated Concert Ticket ResaleMusic manager and ticket reform crusader Randy Nichols dives into how unchecked speculation and ticket "shorting" are turning concerts into commodities. Learn how fans, artists, and culture itself are paying a price for unregulated concert ticket resale.
The post Buy Low, Sell High: Perils of Unregulated Concert Ticket Resale appeared first on Hypebot.

Pitch Innovations Fluid Chords 2Fluid Chords 2 Is An Intelligent Chord Bending Plugin That Enables You To Bend From Any Chord To Any Chord In Real-time. With Our Cutting-edge Fluid Sound Engine, Intelligent Harmony Generation & Expressive Controls, Create Music That's Never Been Heard Before. https://www.youtube.com/watch?v=MpNtAqcmwn8 Feature Highlights : 1. Smarter Chord Bending : A brand new voice-leading engine ensures the most musical bends ever. Strum: The new Strum feature lets each note bend one after the other, adding a natural expressive feel to your bending. Flow: Choose how chords resolve — either close together, spread further apart or cross each other in between. 2. Intelligent Harmony Engine : Generate fresh chord progressions instantly with the Harmony Engine. Choose a key and genre to generate inspiring chord progressions with the click of a button. 3. Fluid Sound Engine : Introducing our hybrid sound engine powered by our Wavetable Synth and MPE Sampler designed to breathe life into your chords! Blend between Organic & Synthesized layers for a truly unique, bend-ready sound. Comes with built-in Pumper, Reverb, Delay, and Compressor. 4. Enhanced Real-Time Performance Mode : Perform, improvise, and create — live. With the new Real-Time Mode, you can bend chords on the fly with just your MIDI controller, no sustain pedal needed! Instantly shape your music, whether you're on Stage or in the Studio. Read More

Beyerdynamic says its products “will continue to be handmade in Germany” following acquisition by Chinese firm Cosonic IntelligentBeyerdynamic says that its products “will continue to be handmade in Germany” following acquisition by Chinese OEM manufacturer Cosonic Intelligent.
Last week, the century-old, family-owned German audio brand announced it would be acquired by Cosonic for €122 million, marking a major shift in ownership for the first time since Beyerdynamic was founded by Eugen Beyer in 1924.

READ MORE: Beyerdynamic launches four new in-ear monitors catering to different needs

Despite the move, Managing Director Richard Campbell has assured customers that the company’s production standards won’t be compromised. Currently, around 85 percent of Beyerdynamic’s headphone and microphone range – including models like the T1 Gen 3, DT 700 series, MMX gaming line, and Amiron wireless – are produced at its Heilbronn facility.
“The expectation is that we will continue to be handmade in Germany,” Campbell tells WhatHifi. “We expect that we’ll continue to develop technology out of Germany as we have been.”
“And the leadership team will remain intact as well, so there’s an expectation of consistency of what we’ve been doing and what we want to be doing and how we move forward.”
“Our strategic direction doesn’t change,” he adds. “We have a clear focus on pro audio, consumer and gaming – that will continue to be how we prioritise and look forward.”
Describing Beyerdynamic as a brand with “phenomenal history and legacy in the pro audio space with our headphone technology and microphone technology”, Campbell explains that the acquisition will enable the firm the chance to scale.
“This just allows us the opportunity to further that… and hopefully in ways that are bigger and better and beyond what we’ve been able to do thus far in 100+ years.”
The exec also says that Cosonic – which manufactures OEM audio components for various brands including JBL and Philips – brings backing that could help Beyerdynamic expand beyond its core European and American markets.
“The current structure wasn’t able to support that,” says Campbell. “So to be able to have the backing of an entity that’s able to help us grow and thrive in international markets in a way that’s beyond what we’re doing today – this acquisition gives us that opportunity.”
“So it’s very much a positive thing. It’s not related to anything other than that, and then allowing us to fulfil the vision of how we want to grow and build the brand.”
Still, the deal is subject to regulatory approval and may take several months to finalise. No immediate changes to Beyerdynamic’s leadership or product roadmap have been announced in the meantime.
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Brian Wilson’s legacy is unquestionable — the studio mastermind will live on forever“The American Mozart” is how Sean Ono Lennon described Brian Wilson in a tribute to The Beach Boys maestro, who died on 11 June at the age of 82. From Questlove to Bob Dylan, the music world at large is flying the flag at half mast for Wilson, by all accounts a genius whose influence shaped the story of pop and rock music in the twentieth century.
Born in Inglewood, California, in 1942, Wilson’s childhood was not an easy one. “My dad’s tirades were unending,” he wrote in his 1991 autobiography, Wouldn’t It Be Nice. “The effects these outbursts had on me were severe. By the time I started elementary school, I was nervous and high-strung, withdrawn and frightened of almost everything.” Wilson nonetheless formed a high school group, initially called the Pendletones, with his younger brothers Carl and Dennis, along with cousin Mike Love and friend Al Jardine. The band would later change their name to The Beach Boys.
Wilson was already proving himself a capable songwriter, responsible for early hits such as Surfin’ Safari, and Surfin’ USA; but taking up the mantle of producer, his ambition began to gain significant scope (indeed, Wilson expressed his desire “to redraw the entire map of pop music”), moving away from previous formulae with lyrical tropes of cars and surfing— Wilson in fact had a fear of the ocean. This ambition would see an incredible work rate emerge, with the band creating nine albums between 1963 and 1965.
Brian Wilson recording the album “Pet Sounds” in 1966 in Los Angeles, California. (Photo by Michael Ochs Archives/Getty Images
The production influence of Phil Spector— most famous for his ‘wall of sound’ recording approach— loomed large over Wilson, who later attributed his discovery of the album format’s potential to the decorated producer. “I started to see the point of making records,” he wrote in the liner notes for a 1991 CD version of Pet Sounds. “You design the experience to be a record rather than just a song. It’s the record that people listen to.”
Strident experiments in the studio ensued, which would stretch the boundaries of pop music forever. In 1966, Wilson’s fear of flying led him to stay in Los Angeles while his bandmates continued to tour. Glen Campbell went out as his replacement. Between January and April of that year, Wilson recorded Pet Sounds, the magnum opus of The Beach Boys. Legendary session band the Wrecking Crew was enlisted for the sessions, including drummer Hal Blaine and bassist Carole Kaye, alongside a host of other, less likely musicians; for instance French horn player Alan Robinson, member of the 20th Century Fox orchestra and who just before had played on the soundtrack to Robert Wise’s The Sound Of Music. Robinson’s horn part at the opening of God Only Knows would become one of the album’s most iconic moments, even if it was consigned to the B-side of Wouldn’t It Be Nice over alleged concerns about the use of the word ‘God’.
Wilson may have garnered a reputation as a shy and retiring presence in public, but by all accounts was a commanding presence in the studio. Producer and Three Dog Night founder Danny Hutton was in the studio during the recording of Pet Sounds, later acknowledging that what he learned from Brian in that period would shape his approach to recorded music in general. “[Brian] would hear something wrong,” he remembered of the session for God Only Knows, “and bam— ‘One more time’. I just sat there and didn’t say a word. I had been in sessions where I thought to myself, ‘They should do this and that’. Not this time. I just shut up. What could I add?”
Brian Wilson poses for a portrait in 1998 in Los Angeles, California. (Photo by Harry Langdon/Getty Images)
God Only Knows not only demonstrates Wilson’s mastery of the art of songwriting (he, along with lyricist Tony Asher, wrote the song in 45 minutes), but it also showcases his growing confidence as a producer in 1966. Production value for Wilson could be found in all manner of places, be it ambitious instrumentation, such as the two basses deployed on the track (Lyle Ritz’s upright bass and Ray Pohlman’s bass guitar), or household objects: what sound like reverberant woodblocks in the track are in fact the sounds of two orange plastic cups.
The (unfinished) follow-up to Pet Sounds, SMiLE, would see Wilson’s production approach take even more of a prominent role, with the studio itself being used like an instrument. Recording was purposefully limited to shorter interchangeable passages— referred to as ‘feels’ by Wilson— which could then be spliced and combined together, often using reverb to soften the transitions. Some of these would last mere seconds, others would be characterised by spoken word or sound effects. “I planned to fit them together like a mosaic,” said Wilson of the approach.
Perhaps the best example of this is Good Vibrations, a song that Wilson would later cite as “my whole life performance in one track.” Flowing from section to section, the startlingly conspicuous tape splices on Good Vibrations take more from the craft of musique concrète than they do from careful textbook pop production, where engineers would pride themselves on the near-unnoticeable subtlety of their tape edits.

The song allegedly took six months to create, and its cost is mythologised to have been somewhere between $10,000 and $75,000 (roughly $744,000 in 2025). As with God Only Knows, the choice of instrumentation on Good Vibrations is inspired: the chugging cello under the titular lyric dancing perfectly with the lighthearted wail of vaunted trombonist Paul Tanner playing his own invention, the electro-theremin. Tanner’s design— a spinoff of Leon Theremin’s instrument that enabled easier pitching and volume control— had previously featured in the Pet Sounds cut I Just Wasn’t Made For These Times.
Subsequent albums continued to demonstrate Wilson’s genius behind the console: the uncanny reversed reverb on the achingly beautiful Feel Flows from 1971’s Surf’s Up, the ominous world-building of the three-part California Saga from 1973’s Holland.
Wilson’s life outside of the studio was complicated to say the least: mental health troubles, acrimony among the band and a period of coercive control by psychologist Eugene Landy, to name but a few of his struggles. For much of his life, Wilson may have felt, as the lyric goes, I Just Wasn’t Made For These Times— but for musicians and producers the world over, his legacy is unquestionably for all time.
Credit: Scott Dudelson/Getty Images
RIP Brian Wilson 
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