Kali Audio announce HP-1 Multi-Reference Headphones Kali Audio's latest release isn’t another speaker design, but rather a new pair of headphones that feature three switchable voicing options, noise cancelling, wireless call functionality and more.

THE JEREMIAH SHOW | KIMI KATO SHOW | ARWEN LEWIS SHOW | MIKE GORMLEY SHOWTHE JEREMIAH SHOW Featuring Nicole SophiaLISTEN TO THE INTERVIEW HERE -  APPLE PODCAST FERAL is Nicole Sophia’s rawest chapter yet. It's a glitter-smeared reclamation of self.  Written in the wake of heartbreak, growth, and self-loving rebellion, her upcoming full-length debut LP is a love letter to the freedom that comes with embracing the whole experience of honest, raw emotions. From midnight snacks to bathroom hookups, childhood memories to spiritual unravelings, FERAL doesn’t tidy anything up... it lets it all out. This is not just music for crying on the floor (though it’s great for that too). It’s music for laughing while you do it. Fresh, flirty, and fearless, FERAL takes listeners through the complicated nuances of self-discovery.New Single: “Meet Me in the Bathroom.”Upcoming singles: “Hope That We’ll Figure It Out” and “Sex on the Internet.”PHOTO CREDIT: Sara SmithNicole Sophia’s Social MediaNicole’s Website, Instagram, Threads, X/Twitter,TikTok,  Facebook, YouTubeTHE JEREMIAH SHOW - POP CULTURE, MUSIC ICONS, & FOOD GODS  The Jeremiah Show - Please Subscribe - CLICK HEREHost | Executive Producer - Jeremiah D. HigginsSound Designer - Graham Palmer, Surprise StudioCONTACT Jeremiah D. Higgins  Evolve Entertainment NetworkAiring Weekly On RADIO EVOLVE ROCKSTHE KIMI KATO SHOW with Jeremiah - Featuring Summer SaltThis week on The Kimi Kato Show, we’re diving into the sunny, nostalgic world of Summer Salt—the trop-pop duo known for their laid-back melodies and timeless charm. We’ll be catching up with the band to talk about their roots, their evolving sound, and what lies ahead—don’t miss this intimate conversation!LISTEN TO THE INTERVIEW HERE: APPLE PODCASTTrop-pop duo Summer Salt—singer/guitarist Matthew Terry and drummer Eugene Chung—formed in the early 2010s after moving from Dallas to Austin, Texas. Their 2014 debut Driving To Hawaii quickly gained traction with its blend of youthful escapism and vintage pop influences like doo wop and bossa nova.They followed up with Happy Camper (2018), Honeyweed (2019), and Avenue G (2020), building a global fanbase and surpassing a million monthly Spotify listeners. After 2021’s Sequoia Moon and 2023’s Campanita, they return this June with their fifth album, Electrolytes, produced by Carlos de la Garza (Paramore, Ziggy Marley).The new record marks their first LP with touring members Winston Triolo and Anthony Barnett, and showcases a confident, concise sound that reflects on adult life with optimism and clarity. A decade in, Summer Salt continues to evolve while staying true to their warm, nostalgic spirit.Summer SaltWebsite: https://summersalt.band/Facebook: https://www.facebook.com/summersaltatx/Instagram: https://www.instagram.com/_summer_salt_/YouTube: https://www.youtube.com/channel/UCs4nrDXLuNz6NuCDKUS8FIQX: https://x.com/SummerSaltATXPhoto Credit: Andrew ReinerTHE KIMI KATO SHOWHost - Kimi Kato | Kimi Kato on InstagramEP - Kimi Kato & Jeremiah D. Higgins | evolve entertainment networkSound Engineer - Graham Parker | Surprise StudioAiring Weekly On RADIO EVOLVE ROCKSTHE ARWEN LEWIS SHOW Featuring Emily Zuzik LISTEN to the INTERVIEWEmil Zuzik has displayed a boldly restless spirit throughout six solo albums, various pop and rock bands, and numerous collaborative projects with acts such as Tedeschi Trucks, David Bowie bassist Tim Lefebvre, and electronic outfit Woves.With her alluringly listenable new EP, age + alchemy, the enterprising singer and songwriter subtly pushes her boundaries further and digs deeper as she goes. With conscious sonic references to seminal influences from late 1970s and early ’80s New York City rock, the six hook-laden tracks of age + alchemy chart a relatable process of personal transformation. Zuzik’s vivid imagery depicts San Francisco (autobiographical rocker “Easy”), Memphis (the shimmering gospel waltz “Between Midnight and Memphis”), weary drives between “interstate signs and painted white lines,” and youthful gigs and revels in far-flung barrooms.But the journey the Pittsburgh native chronicles isn’t about geographic pitstops; instead, her songs trace how emotional earthquakes and life experiences shaped her into the wiser being she’s become. Even the alchemy-referencing title alludes to transformation.Emily Zuzik’s WebsitePhoto: Pierre RobertThe Arwen Lewis ShowHost: Arwen LewisThe Arwen Lewis Show Website Airing Weekly On RADIO EVOLVE ROCKSThe post THE JEREMIAH SHOW | KIMI KATO SHOW | ARWEN LEWIS SHOW | MIKE GORMLEY SHOW first appeared on Music Connection Magazine.

23 DSP releases X/Y-FAT in open beta for macOS and Windows
Developer 23 DSP has released X/Y-FAT as an open beta for macOS and Windows. I first encountered 23 DSP in February of this year, when the Italian developer released four plugins in open beta. The featured plugins are PureComp, Respiro, De, and AAReverb. Check them out, if you haven’t already. A little later, in June [...]
View post: 23 DSP releases X/Y-FAT in open beta for macOS and Windows

Why Music Livestreaming Is (Still) Important For ArtistsThe team at music live stream platform Volume look at why music livestreaming is still important for artists. Plus how it can unlock new income and connect with audiences worldwide without the costs of touring.
The post Why Music Livestreaming Is (Still) Important For Artists appeared first on Hypebot.

“To me musical instruments are the best user interfaces that have ever been invented”: Why the founding father of virtual reality isn’t convinced by AI music generatorsFew topics dominate the global conversation right now quite like AI. Some hail its ability to improve workflow and efficiency, with many music tech brands implementing AI features in their products with the aim to improve the quality of life of their users.
Others, however, are more fearful, and worried that AI music generators, for example, may dilute the potency of human-made art.

READ MORE: The MusicTech Magazine July/August 2025 issue with Blake Slatkin on the cover is now on sale

Taking the listener out of the equation for a second, though, and focusing purely on AI music generators as opposed to tools to aid the creative process, should we really be worried?
One person you should probably be listening to is Jaron Lanier, a Silicon Valley veteran, Prime Unifying Scientist at Microsoft, founding father of virtual reality and a long-time key voice in the AI conversation.
He’s also a dedicated multi-instrumentalist and musician, and last year spoke with Brian Greene of World Science Festival about his thoughts on the potential of AI music tools.
Asked whether he had explored these tools to explore music composition, and whether there’s potential in them for utility and creativity, Lanier replies: “For me, no.”
He explains: “The reason why is I’m actually going totally in the opposite direction. To me, musical instruments are the best user interfaces that have ever been invented. If what you think a technology is for is to help a person affect the world with ever greater acuity, then musical instruments are the most advanced technologies that have ever existed.
“So what I’m trying to do is to make computers more like them – the other direction seems absurd to me.”
“When you play an instrument,” he continues, “you start to get this connection where you’re getting a lot of intent and data out there. It’s not just a question of the volume of data, it’s the focus and the acuity. It can be really remarkable.
“The control a violinist has over the string and the bow is, by some measures, close to quantum limit on occasion. It’s this very intense thing.
“And so what I want is for computers to be more like that. I want computers to be expressive machines that people can connect to with their whole bodies, with their whole nervous systems, with their whole cognition with ever more subtlety and ever more acuity.
“So to me the instruments have so much more to teach the computers than the other direction.”

So does the future include not AI tools that essentially do our composition for us, but technology which allows us to play music more expressively and intuitively than even what’s available today can?
To be quite honest, I have yet to hear an AI-generated piece of music that genuinely touches me, or evokes a significant emotional response. Perhaps where AI music generators will excel is in background music; lo-fi beats to work to, or more formulaic types of dance music.
It’s hard to predict the future, but at its core, music is a vehicle through which humans convey ideas via sonic art to other humans, so it’s hard to believe that more visceral forms of music like rock, metal, or even country are truly endangered, by current AI tools, at least.
The post “To me musical instruments are the best user interfaces that have ever been invented”: Why the founding father of virtual reality isn’t convinced by AI music generators appeared first on MusicTech.

Songwriters get free healthcare access with SONA membershipSongwriters get free healthcare access with a membership in trade group Songwriters of North America (SONA) thanks to a grant from Amazon Music.
The post Songwriters get free healthcare access with SONA membership appeared first on Hypebot.

PinkPantheress: “People are less willing to listen to electronic music made by a Black woman. That’s just a fact”PinkPantheress has opened up on breaking the mould and challenging the stereotypes surrounding the pop star ‘look’.
The electronic artist released a new mixtape titled Fancy That back in May. Known for her innovative sample use and short but sweet tracks, her music has gone viral online on multiple occasions, and most recently with new track Illegal.

READ MORE: “You can learn how to be a better producer but you can’t learn how to be a genius”: PinkPantheress opens up on the best mentors she’s worked with

Among her success, PinkPantheress says she still comes up against racial prejudice and stereotypes, and often feels overlooked as a Black woman in the electronic space.
She tells The Hollywood Reporter in a new interview, “People are less willing to listen to electronic music that is made by a Black woman. That’s just fact. There’s some considerations I would like to get as an artist which I might not be getting right now, since maybe it’s harder to put me into a genre.”
She adds, “I always feel like I’m cutting through and I’m in a very privileged position musically, but [I] can feel a little bit like I’m hitting all these markers and it still feels like I’m getting overlooked, simply because there’s a lot of people that don’t necessarily understand what I represent, nor do they want to take a look because I think it just doesn’t make sense for them.
“Having that person challenging the way a pop star should look or be – which is what I do, unintentionally and sometimes intentionally – it just doesn’t translate to a lot of people. All I aim to do is stay authentic and consistent.”
Despite this, the 24-year-old – who just received an honorary degree from the University of Kent – stays driven: “Occasionally, what I enjoy doing is [saying], ‘Well actually, I’m gonna prove you wrong, and I’m gonna do this, you are gonna like it.’ And then once you like it, you’re gonna realise: ‘Wait, I don’t know why I never gave her a chance in the first place.’”

PinkPantheress’ new mixtape, Fancy That, is available to stream or buy now.
The post PinkPantheress: “People are less willing to listen to electronic music made by a Black woman. That’s just a fact” appeared first on MusicTech.

Spitfire Audio is now available via Rent-to-Own on Splice
We're excited to share that some of Spitfire Audio's most beloved libraries are now available via Rent-to-Own on Splice.

“I’m completely nothing without the world that artists create” Blake Slatkin is pop music’s humble hitmakerMoving out of your parents’ home is a rite of passage for young adults – and one that was even more momentous for Blake Slatkin. In 2022, the producer and songwriter took a minute on social media to look back on his old recording studio in Los Angeles, where he helped make monster hits like Lil Nas X’s That’s What I Want and Kid LAROI’s Stay. For a caption, he wrote: “Still can’t believe we made all those songs at my mom’s house.”
When Slatkin set out for his own place, his priority was finding somewhere he could replicate that homely environment, where mom could drop in to offer snacks to the latest popstar in the booth. “It’s 90 per cent the same as the setup in my mom’s place,” the 27-year-old producer says of his new abode. “I’m superstitious, so I basically kept the same vibe. I think there was a lot of magic making music at my mom’s.”
Blake Slatkin is on the MusicTech Cover. Image: Ben Bentley for MusicTech
It’s a beautiful space. Adorned with wooden furniture, velvet sofas, vintage synthesizers, boutique guitar pedals, flourishing houseplants, and cosy lighting, the decidedly chic studio is pulled together with a faded rug and a desktop running Avid Pro Tools. The right-side wall is covered with photographs of all the artists who have inspired Slatkin over the years: Nile Rodgers, Notorious B.I.G., David Bowie, Madonna. Oh, and there’s a pool out in the yard.
“I really try not to even make music within the first hour of hanging with someone,” says Slatkin of his studio philosophy. “I just want us to get comfortable, talk, eat food, walk around the house, chill by the pool and let all the pressure melt away and strip us down to our creative selves only.”
Image: Ben Bentley for MusicTech
Before he had a revolving door of superstar collaborators at his mom’s house, Slatkin was taking out the trash at Benny Blanco’s studio. A devout fan of Blanco’s, Slatkin “begged” a mutual friend to introduce him when he was 16, which ultimately led to a mentorship. “I was so lucky to meet Benny when I did,” he says. “I’ve learned so much from him. He’s a very special person, very creative. He’s one of the all-time greats. And being around greatness is really important. I’m always learning stuff from him.”
Six months into his mentorship, Blanco helped set up a publishing deal for Slatkin with Universal Music. After graduating from high school, Slatkin studied music at New York University but dropped out after a year to head back to LA. “I learned some stuff, but I’ve learned the most by just actually doing it,” he says. “Plus YouTube and reading interviews, watching Mix With The Masters…There’s so much stuff out there.”
“Artists have never been more important than they are now”
Now, Blanco introduces Slatkin to fellow producers as “the G.O.A.T. all-rounder” in the studio. It must be pretty sweet to hear one of your heroes praise you like that. “Oh, it’s the best feeling,” Slatkin grins widely. “It’s always the best feeling working with anyone you’re a fan of and getting that validation. It’s funny hearing you say that now, because now we’re just best friends. We love to bounce ideas off of each other – whenever either of us is working on a project, we play it for each other and give notes. It’s all you could ask a creative relationship to be.”
For Slatkin, collaboration is what makes a hit record. He’s undoubtedly adept at cranking out chart-toppers for world-class artists, but views himself only as a member of a team, not as a driving force in a song’s creation.
Image: Ben Bentley for MusicTech
“Artists have never been more important than they are now,” he insists. “I can help make good songs, but I can’t do what they do. I’m completely nothing without the world that they create. They make worlds and communities, they make people feel seen, and they make people feel a part of something.”
How does he know whom to collaborate with? Easy. “The only criteria is that you inspire me… I’m just a massive fan of any artist I work with. That’s the luckiest thing about my job – I’m just a huge fan of music, who gets to be in the room with these amazing people.”
Slatkin has written and produced for the likes of Charli XCX, Ed Sheeran, Tate McRae, Gracie Abrams, Selena Gomez, BTS, Sam Smith, SZA, Luke Combs and Snoop Dogg. That’s one hell of a roster – but even Slatkin, with his track record and grinding work ethic, isn’t spared major labels breathing down his neck for a hit single.
Image: Ben Bentley for MusicTech
“You definitely don’t ignore [the pressure] when you’re falling asleep the night before. You don’t fucking ignore it!” he says with a laugh. He recalls the creation of About Damn Time with Lizzo, which won him his first Grammy in 2023. “The album was done, and the label said, ‘We need a single.’ And Lizzo and I had been working for a little bit, but obviously, it’s not very easy to walk in the room and be like, ‘Okay, what is our single?’ But it was also my first time working with Ricky Reed that day, so I just walked in and was excited to make music with the producer whom I liked. And for six hours, we completely forget that they wanted a single and just made something that we like.”
Slatkin says he got lucky that day, But being able to adapt to different artists’ processes, styles, and tastes is surely what’s made him so sought-after. He knows that following a singular process or workflow isn’t productive: he’ll work with some artists for three months on a song, and with others, he’ll write three songs in a day. His job, as far as he’s concerned, is making artists feel comfortable enough to be vulnerable with their music and guiding them to bring their ideas to reality.
“I think we’re in one of the most inspiring times ever for music”
And it all comes down to that song idea. “Production, first of all, is nothing without a good song,” he declares. “Anything I do when I make music is just in service of the song itself.”
What does that mean exactly? Slatkin says that 90 per cent of the music he makes, alone or with friends, is “trash,” but that it’s important to create often to find those golden ideas. Making a powerful song isn’t about throwing more instruments and effects into the track, he’s learned, but stripping back the elements and letting the main parts shine. Whenever he falls into a rabbit hole of editing and overproducing while tracking, he reminds himself: “At the end of the day, song is king. We’ll get the good drum sounds later. When I’m making music, I only want to be thinking about the song.”
Image: Ben Bentley for MusicTech
Slatkin admits, however, that keeping a track simple isn’t as easy as it sounds, especially when creators today have unprecedented access to myriad plugins, software and affordable gear. He cites John Mayer (“one of the most impressive musicians of all time”) and Charlie Puth (“un-fucking-believable at piano; he knows all the theory”) as artists who can dial it back to simplicity. “To watch them sit down and play an F chord to a G chord over and over… When you know everything, it’s not easy to be as simple as possible.”
Slatkin doesn’t have a secret for keeping it simple. He does, however, have a “self-soothing answer” to ensuring a track is produced with intention. “I use Pro Tools and it just sucks ass,” he laughs, half-serious. “It’s harder to do stuff in Pro Tools; it makes you think a little bit more about what you want to do. It takes that extra five seconds to change the tempo. So it makes me think, ‘Do I really want to change the tempo?’”
If there is a magic formula for making a hit, Slatkin doesn’t know it, despite his best efforts. “I’ve read every interview of every artist I love. And I remember growing up, listening to interviews and hearing producers being like, ‘It’s different every time! The gear doesn’t matter!’ and being so frustrated with that answer. But it really is the only proper answer.”
“Anything I do when I make music is in service of the song itself”
But this frustration is also liberating for Slatkin. He’s practically relieved that great music doesn’t hinge on equipment or expensive studios, but on ideas and authentic creativity. That’s what keeps him excited about new music and upcoming artists, at a time when anyone with a smartphone can produce a hit.
“Now things are getting so accessible, the only thing that separates good music from bad music is just good ideas,” he says. “I’ve been a part of songs where we spend so much money – we’re at fancy studios, and we have the best gear and the best engineers, and we make something that doesn’t do well. And then there’s a kid in Wisconsin who’s in their closet, making a song that goes massive.
“That’s exactly how it should be, honestly. I’m not mad at that at all. There are no rules. No one is listening, thinking, ‘Ah, he didn’t use the right kick mic for that. This song isn’t good.’ It’s really just like, ‘make something good.’ And I think we’re in one of the most inspiring times ever for music. It’s very punk rock.”
Image: Ben Bentley for MusicTech
Is Slatkin interested in following in the footsteps of his hero, Benny Blanco, who’s recently taken an intentional step into the limelight? He tells us he doesn’t have those same ambitions – not yet, anyway. “One day, Benny got the bug, and he was like, ‘I want to challenge myself in a new, creative way.’ So I totally understand that; I don’t have any aspirations to do it, but I would never count anything out. I just love making music.”
Slatkin’s most recent Instagram post is of him in another studio, one more high-end than his mom’s house. He’s pictured working on music with Dave Grohl, John Mayer and Pino Palladino. Blake Slatkin may not be chasing the spotlight right now, but at this rate, it might just find him anyway.
Blake Slatkin is on the cover of the MusicTech Magazine July/August 2025 issue.
Words: Sam Willings
Photography: Ben Bentley
Hair & Makeup: Jack Goldsmith
Location: Cinepacks Studios
The post “I’m completely nothing without the world that artists create” Blake Slatkin is pop music’s humble hitmaker appeared first on MusicTech.

Use multiple cameras to control your synths and software using hand gestures with this new appNanas Sound, a music technology brand run entirely by one software engineer, has launched an innovative app that lets users turn hand gestures into expressive MIDI control.
The brand was founded in 2021 by Asep Bagja, who is based in Tallinn, Estonia. He describes himself as the “Chief Everything Officer”, and handles all designing, coding, soldering, and shipping. Though he’s created a number of Eurorack modules and software, this expressive MIDI controller, named AirBending, is his sole app.

READ MORE: Massive X Player is a new soft synth from Native Instruments – and it’s free

Though there are other apps and tech devices which offer similar gesture control (the Humane wearable AI pin, the Alggoridim Apple Vision Pro app), AirBending lets you use multiple cameras simultaneously if you wish, and works with any DAW including Logic Pro, Ableton Live, Pro Tools, Cubase, and more.
You can use your Mac’s built-in camera or external cameras to operate the app, and it tracks your hand movements in real-time. You can connect it to external hardware synths, software instruments, and effects processors, all without the need for special drivers or plugins.
On board within the app is also a preset system that lets you customise all aspects of the gesture-to-music mapping, meaning you can configure it to use either one hand or both hands for controlling X/Y axis movements.
It also offers assignable MIDI channels to control multiple instruments at once, and it has the ability to lock your gestures to specific musical scales and keys for pitch control. Hand movements can also be mapped to control parameters like filters, effects, volume, and modulation on your synths.
Check out the demo below for more:

AirBending is priced at £8.99. To find out more or download the app, go to Nanas Sound.
The post Use multiple cameras to control your synths and software using hand gestures with this new app appeared first on MusicTech.

Spitfire Audio libraries have landed on Splice’s Rent-to-Own platform – and users are loving ItSplice is set to release a collection of Spitfire Audio’s beloved effects and orchestral libraries through its popular Rent-to-Own program.
The music production platform today announced that Spitfire has joined Xfer’s Serum as a Rent-to-Own exclusive on Splice’s plugin marketplace. If you’re new to the program, Rent-to-Own lets users “lease” cutting-edge and industry-standard music creation software, meaning you can pay as you go until you own the plugin outright.
Creators will get immediate access to the full versions of each library with interest-free monthly payments. And once the plan is complete, the licenses are theirs to keep forever, even when your Splice subscription ends.

READ MORE: Splice has now integrated with Pro Tools as part of a “game-changing” update

The libraries immediately coming to RTO are as follows, with more promised further down the line:

BBC Symphony Orchestra Professional – A richly nuanced strings, brass, woodwinds, and percussion from the BBC’s world-renowned symphonic ensemble
Abbey Road Two: Iconic Strings Pro – The most famous string sound in the world from Abbey Road’s legendary Studio Two
BBC Radiophonic Workshop – Historic electronic sounds from the pioneers of sound design
Eric Whitacre Choir (available 14 August, 2025) – Ethereal choral performances led by GRAMMY-winning composer Eric Whitacre
AIR Studios Reverb (available 14 August, 2025) – Cinematic reverb captured in the hall that scored Harry Potter and the Goblet of Fire and Wicked

Featured in the likes of Dune, The Color Purple, and Inception, Call of Duty, and Bridgerton, these plugins are often praised for their depth, texture, and realism. This collaboration also marks the first joint offering since Splice acquired Spitfire Audio earlier this year.

“Rent-to-Own is one of the most beloved aspects of Splice and we’re honored to bring these iconic Spitfire Audio products to our marketplace,” says Splice CEO Kakul Srivastava. “These libraries and effects have shaped some of the most memorable scores in modern films and games and now Splice users can bring that same emotive power to their own work.”
Paul Thomson, Co-Founder of Spitfire Audio, adds, “This is something we’ve been asked about over the years, and we now have the technological capability to offer this path to ownership. It has been no small feat to make our libraries available via rent-to-own and we look forward to hearing more music made from people using these tools.”
The move has proved popular among users as well, with one praising it as a “great way for even more people to access these great libraries and begin creating sooner”.
“Best decision ever to have happened, as compared to the whole subscription nonsense,” another user commented.
During your lease, you must have the latest version of the Splice Desktop App installed and open at least once every three days. All Spitfire Audio plugins on Splice also come with a free 3-day trial if you’d like to have a taste before committing.

Learn more at Splice.
The post Spitfire Audio libraries have landed on Splice’s Rent-to-Own platform – and users are loving It appeared first on MusicTech.

At $50, Brainworx’s new flagship delay plugin, bx_pulsar, might just be the perfect addition to your toolkitBrainworx has launched a new, flagship delay plugin called bx_pulsar that offers five distinct delay types, including emulations of classic hardware.
According to the brand, bx_pulsar channels “the aura of busted pedal delays, dusty tapes, and otherworldly echoes”. It also hosts an eight-step sequencer, ducking compressor, diffusion networks, and swing controls.

READ MORE: “Most vocal solutions fall into two categories: they’re overly complex or overly simple. We felt there was a gap we could fill”: Why guitar modelling giant Neural DSP has ventured into the world of vocal processing

Within its five delay modes are Air, Reverse, and Aether – these offer your more typical delay effects, with Air creating clean,  uncoloured sound for pristine reflections and delay diffusion; Reverse offering a smooth reverse delay with added diffusion and compression for “ethereal effects”, and Aether delivering the more “surreal” tones for sparkle and radiance.
The remaining two modes, Magnetic and Circuit, tap into the quirks of vintage gear. The former emulates the sound of tape, reels, and cassettes, with rich modulation and degraded textures, while the latter is inspired by vintage BBD delays and classic guitar pedals for analogue grit.
Beyond these five characters are further tools to shape the delay. The eight-step sequence mode lets users craft complex rhythmic delay patterns, and the ducking compressor handily auto-sidechains to the dry signal.
Its swing and offset controls help to add groove and subtle timing shifts, and a freeze and clear buffer unlocks “flexible sound design” with infinite delays. You can also toy with low and high-cut filters, as well as low and high-frequency dampening for sculpting the delayed signal.

Bx_pulsar is priced at $69, but there’s an introductory offer running until 30 October with a lower price of $49.99. You can also get a crossgrade from any other Brainworx product for $39.99. Find out more via Plugin Alliance.
The post At $50, Brainworx’s new flagship delay plugin, bx_pulsar, might just be the perfect addition to your toolkit appeared first on MusicTech.

Brainworx release bx_pulsar delay plug-in The latest addition to the Brainworx line-up aims to offer a little more than your average delay plug-in, with its five distinct delay types complemented by an eight-step sequencer, a ducking compressor, diffusion networks and swing controls.

Position Music Signs Artist & Songwriter Britton To Worldwide Record Deal(L-R) Garrett Ream (VP Artist Strategy & Promotion, Position Music),  Britton &  Chris Tecca (A&R Position Music)Tyler Bacon, President & CEO of Position Music, announced on Wednesday the signing of Britton to a record deal, coinciding with the release of the “clawmarks” single on Friday, July  25th."Britton is an alt-pop artist from Toledo, OH who moved to Los Angeles five years ago to pursue music full-time," a statement reads. "Always meticulous in building her musical world, she has a strong hand in writing, recording and producing, making tracks that are raw, poetic, and emotionally unflinching and whose sound lives at the intersection of dark pop confessionals and cinematic vulnerability.""Having already been featured on numerous playlists like New Music Friday, All New Pop, sad hour, New Music Daily and more Britton comes to Position with an impressive following across streaming and social media with 1.4M+ on Tik Tok, 316K+ on Instagram, 220K+ on YouTube and 200K+ on Spotify," they added.“Britton has a rare gift for writing lyrics that stand out. In a world of transient trends, her music is timeless and always hits on a raw emotional level. She’s the kind of artist and person worth going the extra mile for, and we’re thrilled to be part of that journey.”  Garrett Ream, VP Artist Strategy & Promotion.“For years, I’ve poured myself into making and releasing music independently with the goal of someday finding a team who would embrace my artistry and help take it to new heights. Meeting Garrett Ream was a breath of fresh air at a time when I really needed it — our connection was instant, genuine, and effortless. That same authenticity and spirit extends throughout the entire team at Position; I am truly so excited to see what the future holds.” BrittonThe post Position Music Signs Artist & Songwriter Britton To Worldwide Record Deal first appeared on Music Connection Magazine.

SpaceX faces two new lawsuits alleging safety‐related retaliationThe lawsuits offer a closer look at the safety environment at SpaceX.