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The best synths to buy in 2024: 19 best polyphonic synthesizers to buyƒudoComplex chords, multi-timbral parts or lush ambient progressions – if you’re looking to fulfil any of these duties on a synth, then you’ll likely want one with polyphonic talents. A polyphonic synthesizer is one that is capable of playing multiple notes at a time, with each note often referred to as a voice.

READ MORE: Best free software and apps for music-making: Top free DAWs, plug-ins, instruments and more

In the last few years, hardware instruments have been enjoying a major resurgence; polysynths and their monophonic brethren now come in more shapes, sizes and employ more varied forms of synthesis than ever before.
Generally speaking, polysynths also tend to be more expensive than their monophonic counterparts; because each voice includes not just an oscillator, but often its own filter and envelope shaping components – things can get expensive fairly quickly.
In our list, we’ve compiled the best polysynths over a range of prices, so that – whether it’s a steadfast studio companion you’re looking for, or something compact to join the rest of your setup – you’ll be able to find the best one for you. Let’s dive in.
16 best polysynths at a glance:

Oberheim OB-X8
UDO Super 6
Roland Jupiter X
Ashun Sound Machines Hydrasynth
Moog Muse
Dreadbox Nymphes
Waldorf Kyra
Roland Juno-X
Novation Summit
Arturia PolyBrute
Korg Minilogue XD
Waldorf Quantum
Korg Opsix MKII
Sequential Prophet-10
Elektron Analog Four Mk II
Behringer Deepmind 12
UDO Super Gemini
Korg Wavestate MkII
Oberheim TEO-5

Oberheim OB-X8
Oberheim OB-X8. Image: Simon Vinall for MusicTech
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If you don’t know about Oberheim, then you should. Oberheim began in 1969, pioneering analogue synthesizers. Renowned for iconic sound, its synths are known for their warmth and versatility, having landed in some legendary studios over the years. The Oberheim synthesizer is renowned for its iconic sound and groundbreaking features, making it a staple in music production. With its rich analogue tones and versatile modulation capabilities, it’s a go-to choice for musicians seeking classic warmth and sonic versatility.
Key Features:

Eight-voice polyphony
Analogue voltage-controlled oscillators (VCOs)
Dual multimode filters
Ample modulation options
Iconic Oberheim sound signature
Price: $5,833

Check out deals for the OB-X8 at Thomann.
UDO Super 6

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Bristol-based UDO caused quite the stir when it unveiled the Super 6, its inaugural instrument, at the 2019 Superbooth in Berlin. We’re happy to report that the polysynth lived up to the hype, earning not only a perfect score in MusicTech’s review, but a well-deserved Innovation Award as well.
The Super 6 is a 12-voice polysynth equipped with FPGA-driven DDS oscillators and a host of useful features and effects. One of the polysynth’s biggest draws is also its namesake; a unique binaural mode lets you mash its 12 voices down into six super voices, creating a distinct texture-thickening effect. This mode is the pathway down uncharted sonic territory, where riveting spatial effects shine and help set the synth apart from its peers.
The Super 6 is definitely an expert-level synth, especially for the money, but, if you’re looking for something replete with functions to get lost in, definitely consider it.
Key Features:

Price: £2200
Synthesis type: Analogue-hybrid
Polyphony: 12 voices
Keyboard: Fatar keybed, 49 keys
Effects: Stereo chorus, stereo delay

Read our full review of the Super 6 here and learn more about it at udo-audio.com.
Check out deals for the Super 6 at Thomann. 
Roland Jupiter X

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The voice of reason screams at the very thought of paying £10,000 for a pre-loved Roland Jupiter 8 – and yet, it’s hard to deny that few vintage polysynths have ever come to earn such high regard. Enter the Jupiter X, a convincing doppelganger of the esteemed classic that’s as much a joy to look at as it is to actually play.

READ MORE: Vintage Rewind: The Roland Jupiter 8

Let’s address the elephant in the room: the Jupiter X is not an analogue device. However, Roland’s ZEN-Core technology, along with some cleverly engineered elements let you get pedantic with the emulation. There are options that let you decide the synth’s age (up to 100 year); detuning due to operating temperature, and also, whether to use a faux ‘circuit warm-up’ cycle.
Digital modelling also means that you aren’t limited to just emulating the Jupiter 8; the Jupiter X comes preloaded with other models such as the Juno 106, SH-101 and even drum machines like the TR-808/909 and CR-78.
Key Features:

Price: $2,799
Synthesis type: Subtractive
Polyphony: 32 voices
Keyboard: Semi-weighted, 61 keys
Pads: 16 button triggers
Effects: 90; multi-effects, 5x EQ, 7x reverb, 4x chorus, 5x delay, Overdrive, Compressor

Read our full review of the Jupiter X here and learn more about it at roland.com.
Check out deals for the Jupiter X at Thomann. 
Ashun Sound Machines Hydrasynth

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Deep sound designing talents and expressiveness come together in the Hydrasynth. This eight-voice polysynth has three wavetable oscillators per voice that let you create and morph sounds out of a selection of 219 single cycle waveforms.
The layout of the Module Select section is one of the Hydrasynth’s unsung strengths. This concise hub lets you access its three oscillators, four mutators, two filters, five envelopes, and five LFOs with the push of a button. Plus, it ensures that a glimpse of the Hydrasynth’s entire signal path is always just a head turn away.
Rounding off the Hydrasynth are some intuitive expression controls, including the brand’s own polyphonic aftertouch technology – aptly named polytouch – and a programmable ribbon strip controller.
Key Features:

Price: $1,299 (with keyboard) / $800 (desktop)
Synthesis type: Wave morphing
Polyphony: 8 voices
Keyboard: Full-sized, 49 keys
Effects Types: 4x reverbs, 5x delays, chorus, flanger, rotary, phaser, Lo-Fi, tremolo, EQ, compressor
Other I/O: 2x mod in, pitch out, gate out, 2x mod out, clock out

Read our full review of the Hydrasynth here and learn more about it at ashunsoundmachines.com.
Check out deals for the Hydrasynth at Thomann.
Moog Muse
Moog Muse. Image: Simon Vinall for MusicTech
An eight-voice, bi-timbral polyphonic synthesizer drawing on the company’s rich heritage, Moog’s Muse is a force to be reckoned with, delivering gorgeous analogue sounds in an incredibly accessible format.

READ MORE: “We’re honouring the legacy of Bob Moog; making instruments that give you his iconic sound” Moog talks Muse

At its core are two analogue oscillators per voice, inspired by the rich and full sound of the Minimoog Voyager, along with a third oscillator that’s also capable of audio-rate modulation. The filter section boasts two discrete Moog Ladder filters based on the classic 904-A module, which can be configured to run in sequence, parallel, or stereo.
The synth has been designed with hands-on control in mind, with intuitive sound shaping made possible by its knob-per-function layout. Other features include a step sequencer with intriguing probability functions, a diffusion delay module for rich stereo effects, and a comprehensive modulation matrix that simplifies complex routing.
Key Features: 

Price: $3,499
Synthesis type: Subtractive
Polyphony: 8 voices
Keyboard: 61-key Fatar

Check out our full Moog Muse review for all the details.
Dreadbox Nymphes

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Dreadbox’s Nymphes is a quirky synthesizer ideal for producers looking for something a little different. While its functions can be a fiddle at first, the analogue warmth it produces is a sufficient reward for your toils. For such an affordable price, you get MIDI control over every parameter, a lush sounding reverb and a weighty slab of complex sound design options.
In our review of Nymhpes, we said: “Nymphes offers multiple sonic personalities, with rasping basses, ethereal pads, spiky, wonky melodies, blunt sounds perfect for sequencing and a host of options for electronic percussion. Its sound is deep, broad and versatile but, just as significantly, it’s not awash with flashy gimmicks trying to impress you.”
Key Features:

Price: $599
Synthesis type: Wavetable
Polyphony: 6 voices
Effects Types: FV-1 Digital Reverb
Other I/O: 1 x 1/4″ TS, 1 x 1/8″, MIDI In/USB

Read our full review of the Nymphes here and learn more about it at dreadbox-fx.com.
Check out deals for the Nymphes at Thomann.
Waldorf Kyra

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The Waldorf Kyra is a powerful virtual analogue desktop synth capable of delivering absolutely massive sounds. It splits into eight independent parts, each offering 32 voices of polyphony; its own effects chain, and two comprehensive oscillator groups, where you’ll find saw, pulse, and a selection of 4096 wavetable shapes.
Each oscillator voice can be run in either Wave or Hypersaw mode. The former gives you the freedom to construct sounds through subtractive synthesis, while the latter’s algorithm features six oscillators that can very quickly create lush soundscapes.
The Kyra is also particularly appealing if you’re working in contemporary production; its user-friendly interface and the immediacy with which you can sculpt colossal sounds just means more time to focus on the creative process.
Key Features:

Price: $2,499
Synthesis type: Wavetable
Polyphony: 128 voices, 32/part
Effects: Distortion, Stereo Delay, Phaser, Chorus, Flanger, Doubling, Reverb, Filter
MIDI I/O: In/Out/Thru/USB

Read our full review of the Kyra here and learn more about it at waldorfmusic.com.
Check out deals for the Kyra at Thomann.
Roland Juno-X
Roland Juno-X. Image: Simon Vinall for MusicTech
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If you’ve ever dreamed of owning a battery-powered JUNO-60 or 106 with built-in speakers – well, here it is. The Roland Juno-X is a versatile digital polysynth, uniting classic Juno aesthetics with modern functionality. Boasting 61 velocity-sensitive keys, aftertouch, and Zen-Core technology, it offers over 4,000 presets, multi-layered scenes, and I-Arpeggio. It’s a solid choice for producers looking for that classic Juno sound with intuitive control in a compact package.
MusicTech reviewed the Juno X in 2022, praising its “beautiful, distinctly Juno design”, Zen-Core tech which provides “almost-endless sounds”, and its Scenes function.
Key Features:

Price: £1,689 GBP / $1,666 USD / €1,999 EUR
Synthesis Type: Digital with Zen-Core Technology
Polyphony: Not specified in the provided information.
Keyboard: 61-key velocity-sensitive with aftertouch
Effects: Reverb, delay, drive, and more

Read our full review of the Juno-X here and find out more about it at roland.com.
Novation Summit

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The Novation Summit puts together two of the brand’s Peak desktop synths into a single package – but it’s not quite as simple as doubling up on everything.
In addition to bi-timbral operation, new hardware and software features make it onto the Summit, including a semi-weighted keyboard with 61 keys and a new voice section with five mono and poly modes.
Through its three oscillators, you’re able to craft sounds through subtractive, wavetable (60 waveshapes) and FM synthesis. Plus, access to twin Peaks gives you the flexibility to run two simultaneous patches – split or stacked – for key-centric or layered sounds.
Key Features:

Price: $2,199
Synthesis type: Subtractive, FM and wavetable
Polyphony: 16 voices
Keyboard: Semi-weighted keybed, 61 keys
Effects Types: Analog Distortion, Reverb, Chorus, Delay
Other I/O: 1x 1/8″ (CV mod in)

Read our full review of the Summit here and learn more about it at novation.com.
Check out deals for the Summit at Thomann. 
Arturia PolyBrute

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As you might have guessed from its name, the PolyBrute is Arturia’s polyphonic take on the beloved analogue beast that is the MatrixBrute. This six-voice polysynth gives you two waveshaping oscillators; a ladder and Steiner filter, which can be run in parallel or serial; three envelopes and three LFOs.
The PolyBrute implements its expression features neatly into its overall design. In addition to mod and pitch wheels, a Morphée controller gives you pressure-sensitive X, Y and Z expression. Plus, something you might miss out on: there’s a ribbon strip worked right into the wooden front panel.
Deep shaping abilities and an elegant design come together in a luxurious-looking polysynth, and so, it’s expected that the PolyBrute comes at a premium. However, its comprehensiveness makes it an ideal studio companion for tackling productions of all kinds.
Key Features:

Price: $2,899
Synthesis type: Subtractive, FM
Polyphony: 6 voices
Keyboard: Full-sized keybed, 61 keys
Effects: Modulation, Delay, Reverb
Other I/O: 1x 1/8″ (sync in), 1x 1/8″ (sync out)

Read our full review of the Polybrute here and learn more about it at arturia.com.
Check out deals for the Polybrute at Thomann.
Korg Minilogue XD

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The Korg Minilogue XD matches capable specs with a sensible price tag, making it a great choice for entry-level music-makers looking to get into synthesis.
This four-voice polysynth is the successor to the Minilogue and offers the same two analogue voltage-controlled oscillators, but adds a third digital one (with noise, vpm and 16 user programs) for more sound design flair.
Onboard, there’s also myriad delay, mod and reverb effects, four operating modes (poly, unison, chord and arpeggiator) and, to round it off, a neat joystick controller for pitch bend and modulation depth.
Key Features:

Price: $730
Synthesis type: Subtractive, FM, wavetable
Polyphony: 4 voices
Keyboard: Slim keybed, 37 keys
Effects: Chorus, Phaser, Flanger, Delay, Reverb, Ensemble
Other I/O: 2x 1/8” (CV in), 1/8” Sync in, 1/8” Sync out

Read our full review of the Minilogue XD here and learn more about it at at korg.com.
Check out deals for the Minilogue XD at Thomann.
Waldorf Quantum

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A sound designer’s paradise, the Waldorf Quantum is a digital-analogue hybrid synth which offers eight voices of polyphony, each with three oscillators that can be run in wavetable, granular, subtractive and resonator modes.
A well-designed user experience paves the way for deep sonic exploration. Clearly marked sections denote oscillators, LFOs, filters, modulators, effects and more, plus, each parameter change is reflected in a crisp touch-screen display, showing you exactly how you’re affecting the signal. Other features include an arpeggiator with seven algorithms and sort orders and a step sequencer with parameter automation, quantisation and more.
The Quantum succeeds at empowering music-makers creatively; for how advanced it can get, it manages an easy-to-follow user experience.
Key Features:

Price: £3,500/$6,200
Synthesis type: Wavetable, granular, subtractive and resonator
Polyphony: 8 voices
Keyboard: Fatar keybed, 61 keys
Effects: Phaser, Flanger, Chorus, Reverb, Drive, EQ

Read our full review of the Quantum here and learn more about it at waldorfmusic.com.
Check out deals for the Quantum at Thomann.
Korg Opsix MKII

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Korg took a leaf out of its own book with Opsix, applying the simplistic concept of its Wavestate to a new FM synth. The six-operator Opsix synth builds on the legacy of the revered Yamaha DX7 FM synth pioneer, with plenty of operator functions, filter types and modulation options.
In January, just in time for NAMM 2024, Korg unleashed a series of new releases, including the microKORG 2. Another head-turning announcement was that of the Korg Opsix MKII altered FM polyphonic synth.
Following its 2020-launched predecessor, the Opsix MKII features doubled polyphony (64 voices up from 32), a 16-step sequencer, intuitive real-time controls, OLED display, 3-stage effects, analogue-style filters, a randomiser function, and six operator modes.
Key Features:

Price: £699
Synthesis type: FM
Polyphony: 64 voices
Keyboard: 37 keys
Effects: 11 filters, 30 different effects in three categories

Find out more about the Opsix MKII at korg.com.
Sequential Prophet-10

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Sequential’s Prophet-10 is back and this comprehensive reboot of the iconic synth culls some of the best features of previous generations, while adding some modern ones too.
A new Rev switch lets you access the filters from the Rev 1, 2 and 3 models, while a new Vintage knob lets you rewind the synth’s sonic characteristics back in time, from the stable Rev 4 to the temperamental Rev 1.
In our review of the Prophet-10, we said: “The Prophet-10 is an absolute joy. It sounds warm, fat, lush but, above all, effortlessly fantastic. Think about so many of the tricks synths rely on to capture your interest, whether it’s a slew of onboard effects or multiple synthesis personality types.”
Key Features:

Price: $4,399
Synthesis type: Subtractive
Polyphony: 10 voices
Keyboard: Semi-weighted Fatar keybed, 61 keys
Other I/O: 2x 1/4″ (CV in/out), 1x 1/4″ (gate in/out), 1x 1/4″ (release)

Read the full review of the Prophet-10 here and find out more about it at at sequential.com.
Check out deals for the Prophet-10 at Thomann.
Elektron Analog Four Mk II

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Robust and designed to play well with others – thanks to CV ins-and-outs – the Analog Four Mk II can be deployed as part of a larger system or on its own. This four-voice analogue synth comes with a built-in sequencer, arpeggiator, and reverb, chorus and delay effects.
The A4 lets you assign up to four notes to a voice, where each voice is made up of two oscillators and a sub. A popular on-the-go rig these days also pairs the A4 with the other Dark Trinity boxes from Elektron: the Analog RYTM, Analog Four and Octatrack. With these, you’re covered from beats to synths to samples.
Key Features:

Price: $1,499
Synthesis type: Subtractive
Polyphony: 4 voices
Keyboard: Single octave trigger keypad
Effects: Reverb, Delay, Chorus, Overdrive
Other I/O: 4x 1/4″ (CV/Gate out)

Read our full review of the Analog Four Mk II here and find out more about it at elektron.se.
Check out deals for the Analog Four MK II at Thomann.
Behringer DeepMind 12
A Behringer DeepMind 12 polysynthesizer. Imaeg: Joby Sessions/Future via Getty Images
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When not making accurate emulations of classic synths, Behringer does come through with some lovely unique items. DeepMind 12 is one of those.
The Behringer DeepMind 12 is celebrated for its affordable price tag, yet it doesn’t compromise on quality or features. With its vast array of oscillators, filters, and modulation options, it offers endless sonic possibilities, making it a go-to choice for both beginners and seasoned synthesists.
Key Features:

Price: $798
12-voice polyphony
Two DCOs per voice
24 oscillators
Classic analogue filters
Extensive modulation matrix
Built-in effects

Read our review of the DeepMind 12 here and find out more about it at behringer.com.
Check out deals for the DeepMind 12 at Thomann.
UDO Super Gemini

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Building upon the acclaimed sound of the Super 6, UDO’s analogue-hybrid Super Gemini ups the ante to 20-voice polyphony. Its dual-layer architecture provides immediate, comprehensive control over two timbral layers, enabling intricate sound sculpting in real time.
Each of the 20 voices is powered by unique digital hardware oscillators capable of wave morphing, cross and ring mod, and bidirectional sync. From there, these oscillators feed into an all-analogue signal path inspired by classic vintage instruments, for a rich and versatile sonic palette.
With a 61-note semi-weighted keyboard, the Super Gemini is just as pleasurable to play as it is to programme, delivering highly expressive performances thanks to polyphonic aftertouch and a custom-engineered ribbon controller.
Key Features:

Price: £3,389
Synthesis type: Bi-timbral analogue hybrid
Polyphony: 20 voices
Keyboard: 61 keys

Find out more about the Super Gemini at udo-audio.com.
Korg Wavestate MkII

 
In the early 1990s, Korg introduced the world to the Wavestation, and with it, a rhythmic new looping concept dubbed wave sequencing. Not completely unlike step programming, it allowed music-makers to combine samples to form new sounds which could be triggered via MIDI.

READ MORE: Vintage Rewind: Korg Wavestation

Korg modernised this concept with the Wavestate in 2020, a polyphonic synth powered by Wave Sequencing 2.0. This technology introduced new parameters tied to pitch, volume, and more, letting the Wavestate achieve its signature hypnotic sounds, while boasting a much more organic feel than its predecessors.
Fast forward and we’ve now seen the release of the Wavestate MkII, which builds upon the success of its predecessor with expanded capabilities. Enhancements include increased polyphony up to 96 stereo voices, vector synthesis, modelled filters, and gigabytes of additional samples, along with an improved user interface and more robust build quality.
Key Features:

Price: $719
Synthesis type: Wavetable
Polyphony: 96 stereo voices
Keyboard: Full-sized, 37 keys
Effects: chorus, flanger, phaser, wah, delay, tape echo, reverb, ring modulator, guitar amp, compressor

Oberheim TEO-5
Oberheim TEO-5, image: Oberheim
Designed with the modern producer in mind, the TEO-5 delivers classic Oberheim sounds in a more compact and accessible format. This five-voice polysynth features analogue voltage-controlled oscillators and filters, including the legendary SEM filter circuit for that authentic Oberheim tone and presence.

READ MORE: TEO-5, as told by Tom Oberheim: “If we made this 30 years ago, we’d have ruled the world”

A range of built-in effects — like chorus, delay, reverb, and phaser — provide immediate sound enhancements, while a 64-step polyphonic sequencer and multimode arpeggiator offer new avenues for creative composition and performance. And if you want to dial in a really complex patch, there’s a versatile modulation matrix where almost any routing is possible, including audio rate sources and destinations.
Key Features:

Price: $1,499
Synthesis type: Subtractive
Polyphony: Five voices
Keyboard: 44-key Fatar keybed

Find out more about the TEO-5 at oberheim.com.
For more buyer’s guides, go to MusicTech.com.
The post The best synths to buy in 2024: 19 best polyphonic synthesizers to buy appeared first on MusicTech.

Here are the all producers, DJs, and electronic artists playing Coachella 2025Coachella just dropped its full lineup for the 2025 edition.
Taking place on the weekends of April 11-13 and April 18-20 in Indio, California, the release for the 2025 festival has come surprisingly early compared to previous years — it usually shares its roster in the January of the year it takes place. Comprising over 140 acts, the lineup is boasting a plethora of producers, DJs and electronic music acts in 2025.
READ MORE: Coachella 2024’s best immersive performances, from the subtle to the stunning
The headliners include Lady Gaga, Green Day, Post Malone, and Travis Scott.
Major producers and DJs include UK trailblazers The Prodigy, afro-house trio Keinemusik, trance legends Above & Beyond, and electronic originators Kraftwerk, who all have high-ranking slots. It is unclear whether Kraftwerk will perform their celebrated 3D set. However, given that acts are known to create bespoke production for Coachella, they could put together something completely new.
Further down the lineup are a lot of other outside-the-lines acts for such a mainstream event. Chase & Status has an official slot this year after filling out Do LaB last year. Interplanetary Criminal will bring his authentic UK garage sound. The indie sleaze prince and Charli XCX collaborator, The Dare, will also make his Coachella debut this year — Charli XCX is on the lineup, too.
Other notable producers, DJs and electronic acts include:

Basement Jaxx
Parcels
Zedd
Arca
Clairo
Mustard
Alok
Mau P
Amelie Lens
Sara Landry
A.G Cook
Vintage Culture
Amémé
Maribou State
Austin Millz
Damian Lazarus
Pete Tong
Boris Brejcha
Infected Mushroom
Indira Paganotto
T-Pain
Disco Lines
Moon Boots
Parisi
Haai
Chris Stussy
Horsegirl
Shermanology

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Last year, Coachella was in the news not because of the lineup, but because of slower-than-usual ticket sales. Bloomberg reported that the festival did not sell out in 2024 or 2023 (in the same article, they reported that Kendrick Lamar and Rihanna passed on 2025 headlining slots). The earlier lineup release could be a tactic to encourage more sales, giving more attendees time to make the decision.
More artists may well be revealed in the future. Do LaB, Heineken House, and Quasar stages may also have their own lineups announced soon.
Quasar is the new stage at Coachella, which is the home for extended DJ sets. Last year, the lineup was different between weekends just like Do LaB and Heineken House, and it hosted slots including Michael Bibi’s first set following his cancer diagnosis, a joint set from Floating Points, Daphni, and Jamie XX, and the first-ever back-to-back from Eric Prydz and Anyma.
Read more music producer news.
The post Here are the all producers, DJs, and electronic artists playing Coachella 2025 appeared first on MusicTech.

2025 P&E Wing GRAMMY Week Celebration to Honor Jimmy DouglassOn Wed, Jan. 29, 2025, the Recording Academy® Producers & Engineers Wing® will honor producer, engineer, mixer, and five-time GRAMMY® winner Jimmy Douglass at its annual GRAMMY Week Celebration. Also known as “The Senator,” Douglass’ prolific career spans over four decades, and his credits include musical icons like Aretha Franklin, The Rolling Stones and Roxy Music, as well as a partnership with four-time GRAMMY winner Timbaland that led to award-winning projects by Aaliyah, Missy Elliott, John Legend, Justin Timberlake, and more. The P&E Wing GRAMMY Week Celebration will take place at The Preserve LA in East Hollywood and will salute Douglass’ accomplishments and impact on the music industry.“Our P&E Wing proudly celebrates GRAMMY Week each year with a special evening that unites producers, engineers and artistic professionals to honor a truly deserving creator,” said Harvey Mason jr., CEO of the Recording Academy. “This year, we’re thrilled to pay tribute to the extraordinary Jimmy Douglass, who has led groundbreaking creative and technical efforts in the recording industry, encouraging artists to transcend genre boundaries and contributing to iconic musical projects that will resonate for generations.”“Throughout his illustrious career spanning more than four decades, Jimmy’s visionary approach to producing, engineering and mixing has shaped some of music’s most iconic recordings. Jimmy consistently pushes the boundaries of sound by bringing unconventional techniques into the studio while inspiring countless artists along the way,” said Maureen Droney, Vice President of the Producers & Engineers Wing. “On behalf of the Producers & Engineers Wing, we are delighted to dedicate our 2025 event to Jimmy and his amazing career.”Along with paying homage to Douglass, the event will also celebrate the year-round work of the Producers & Engineers Wing and its members, who work together to advise the Recording Academy on technical best practices, advocate for the rights of music creators, and shape the future of the recording field.GRAMMY Week culminates with the 67th Annual GRAMMY Awards® at Los Angeles’ Crypto.com Arena on Sun, Feb. 2, 2025, broadcasting live on the CBS Television Network and streaming live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT. Prior to the Telecast, the GRAMMY Awards Premiere Ceremony® will be held at the Peacock Theater at 12:30 p.m. PT and will be streamed live on live.GRAMMY.com and the Recording Academy’s YouTube channel. The post 2025 P&E Wing GRAMMY Week Celebration to Honor Jimmy Douglass first appeared on Music Connection Magazine.

Spotify co-president says AI-generated music is welcome on the platform — but it won’t generate music itselfSpotify’s co-president has said that AI-generated music will have a place on the platform, but Spotify does not intend to create and release music with generative technology.

READ MORE: Select creators can now “restyle” songs using YouTube’s experimental AI tool

The brand’s Gustav Söderström appeared on a recent episode of the Big Technology podcast, discussing how Spotify plans on contending with the issues posed by the potential that progress in generative AI has with regards to creating music.
In his view, AI is “amplifying creativity”. On the podcast, he tells host Alex Kantrowitz: “[AI is] giving more and more people access to be creative. You need even less motor skills than on a piano. You need less technical skills than [your] own [digital audio] workstation. So I think of them as tools.”
Söderström clarifies that there is a distinction between music that only uses AI for specific elements of a song and music that is 100 per cent AI-generated.

“We’re a tool for creators,” he replies, “and if creators want to use AI to enhance their music, as long as we follow the legislation and copyright laws, we want them to be able to monetize their music and pay out.”
Söderström believes that AI-generated music is welcome on Spotify as long as it’s legally sound with regards to copyright. “If creators are using these technologies — where they are creating music in a legal way that we reimburse and people listen to them — and are successful, we should let people listen to them.”
He later rules out the possibility of Spotify generating and hosting its own AI-generated music that it would therefore not have to pay royalties on.
“I don’t think it’s our job to generate that music instead of the creators,” he says. “There’s the question, should we generate all the music ourselves? And that’s where we’re saying, ‘No, we’re not going to generate that music.’ But maybe other platforms will, because it’s cheap content, right? We decided what we want to be in this world, and it’s a platform for creators.”
In other Spotify news, it was revealed earlier this week that Spotify’s CEO and co-founder Daniel Ek cashed out $35.8 million in Spotify stock, just months after reports that he had earned more from his shares in 12 months than any other artist on the platform ever has. Meanwhile, co-founder Martin Lorentzon, sold 959,762 shares of SPOT worth $383.75 million.
Read more music industry news. 
The post Spotify co-president says AI-generated music is welcome on the platform — but it won’t generate music itself appeared first on MusicTech.

Snowflake snaps up data management company DatavoloCloud giant Snowflake has agreed to acquire Datavolo, a data pipeline management company, for an undisclosed sum. Snowflake unveiled the deal at the close of the market bell on Wednesday, when it also announced its Q3 2025 earnings. The purchase hasn’t yet closed, and it’s subject to customary closing conditions, Snowflake noted in a release. […]
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“Just stop it, please; it’s emotionally and creatively draining”: Amelie Lens and Charlotte de Witte tell dance fans to stop comparing female DJsAmelie Lens and Charlotte de Witte have told fans to stop comparing them as DJs and producers, saying that it is “emotionally and creatively draining.”
READ MORE: “It’s a dangerous job to be a young artist”: Skrillex shares sentiments on the music industry and plans for new music in 2025

The two artists shared a collaborative post on Instagram with clips from a joint interview they participated in at the Amsterdam Dance Event in October this year. During the interview, the two DJs explicitly ask fans not to pit them against each other.
“People honestly compare us all the time…in every interview,” says Lens.“[To] all the fans, we love you guys but please don’t compare us.  It’s so emotionally, creatively draining.” Lens adds that these comparisons are often more focused on female DJs and that such comparisons are not made as extensively for male DJs. “Honestly, no one is ever saying ‘Airod is better than Farrago.’ It’s typical for female DJs. So, just stop it please”
De Witte adds: “People need to understand that we are not against each other. We are with each other. We are the sisterhood. We support each other.”

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The interview between the modern techno stalwarts was predicated on their first official back-to-back headlining sets that will take place in their home country of Belgium at Flanders Expo in Ghent on 31 January, 1 February, and 8 February. Originally, they were set to only play the first two dates but added a third show after selling out the presale. The panel moderator says that the two artists “[made] techno history in selling out [the shows] so fast.”
“We were super excited and we had some kind of expectations, but I don’t think we expected this amount of excitement,” Lens continues.
“This is so much to comprehend. This is so much bigger than us,” de Witte says.
As the two producers have been friends for the best part of their decades-long careers the conversation also touched on personal topics, such as how de Witte is inspired by Lens handling her recent pregnancy, and now motherhood while still being an active touring DJ.
“I’m 32 myself. I want to be a mother at some point, and all these questions pop up. How will I be able to combine this with my career?” De Witte says, mentioning a turning point was seeing Lens’s post announcing she was having a baby. “This is possible. It’s really truly inspiring.”
Read more music production and DJ news
 
The post “Just stop it, please; it’s emotionally and creatively draining”: Amelie Lens and Charlotte de Witte tell dance fans to stop comparing female DJs appeared first on MusicTech.

SEC delays Franklin Templeton crypto index ETF decisionAccording to Eric Balchunas, the launch of the Bitcoin ETF in the United States was the most successful ETF launch in history.

A Cyberpunk PocketwatchFor a time, pocketwatches were all the rage, but they were eventually supplanted by the wristwatch. [abe] built this cyberpunk Lock’n’Watch to explore an alternate history for the once trendy device.
The build was inspired by the chunky looks of Casio sport watches and other plastic consumer electronics from the 1980s and 90s. The electronics portion of this project relies heavily on a 1.28″ Seeed Studio Round Display and a Raspberry Pi 2040 XIAO microcontroller board. The final product features a faux segmented display for information in almost the same color scheme as your favorite website.
[abe] spent a good deal of the time on this project iterating on the bezel and case to hold the electronics in this delightfully anachronistic enclosure. We appreciated the brief aside on the philosophical differences between Blender, TinkerCAD, and Fusion360. Once everything was assembled, he walks us through some of joys of debugging hardware issues with a screen flicker problem. We think the end result really fulfills the vision of a 1980s pocketwatch and that it might be just the thing to go with your cyberdeck.
We’ve seen accelerometers stuffed into old pocketwatch cases, a more useful smart pocketwatch, or you could learn how to repair and restore vintage watches.

FLOSS Weekly Episode 810: Pi4J – Stable and Boring on the Raspberry PiThis week, Jonathan Bennett, Randal Schwartz, and Aaron Newcomb chat about Linux, the challenges with using system modules like the Raspberry Pi, challenges with funding development, and more!

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

Direct Download in DRM-free MP3.
If you’d rather read along, here’s the transcript for this week’s episode.
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Concord unveils inaugural advisory boardDarien Dash, Marc Geiger, Tom Whalley and Jake Wisely will be among the members of the advisory board headed up by Scott Pascucci
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‘Super-Premium’ music subscription tiers coming in 2025, and 3 other things we learned from Universal Music’s Boyd Muir at the Morgan Stanley conferenceUMG has 1,300 stores in its direct-to-consumer business, and the profit margins are huge
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How to create your own drum sample packs for hardware and software samplersBuilding your own one-shots, loops, and patches immediately gives your music a unique, personal touch. Today, we have a wealth of tools available in the form of free plug-ins, so you can start building sample packs right away.

READ MORE: How to make generative beats using Logic Pro’s Scripter plugin

Generating Drums
You can generate drum hits from scratch using software synths, whether that’s your DAW’s stock synths or third-party plugins. You can also manipulate recorded audio, use hardware synths, or a combination of sine waves and noise from tone generators.
For each drum hit, your final result will be a composite of multiple sounds from different sources with EQ, compression, and effects like saturation and distortion to meld it all together.
To understand the process, we’ll start by creating basic kick and snare sounds using the free MOscillator and MNoiseGenerator plug-ins from MeldaProduction, along with some of the audio processing features within Cubase.
You can use any DAW for this, provided it gives you access to pitch and volume envelopes to shape the sine waves. Once you get to layering your samples and getting them to match up nicely, time stretching is also useful for the finishing touches.
Starting from Scratch

With each sound we create, it’s important to understand that there are multiple parts that make up the different drums we’re creating. A kick drum, for instance, can be divided into 3 main areas: the initial transient, the body, and the tail.
To create and shape these parts, we’ll start by generating a 100 Hz sine wave with MOscillator and bouncing a 1-second clip of it to a new audio track. Next, duplicate the audio track and double-click on the audio clip to focus the Cubase inspector and select Pitch Shift from the “add process” list.
You will now be confronted with the Direct Offline Processing dialogue box, and asked to create a new version of the audio file to work with. Select yes, and then select the Envelope part of the processing window.
Before we start shaping the pitch envelope, we need to dial in the right settings. Set the Curve Type to Damped Spline Interpolation and the Range to 48 in the Pitch Shift Settings, while keeping Time Correction deactivated in the Algorithm Settings.
Shaping the Envelopes

Using the Audition feature at the top of the processing window as a guide, we can start adding nodes to the envelope and shaping the character of the kick. To start, we need to add a node in the top left and bottom right corners of the envelope graph.
Next, we need to add two points relatively close together with a Transpose value of 0 for the body of the kick, as well as a final node about a third of the way across the graph to shape the decay.
When working with the first 2 points, notice how a more extreme difference in pitch will result in the kick having a more aggressive attack. Now that we’ve finished with pitch, we can now focus on shaping the volume.
First, in the sample editor, we need to set the processing range using the Range Selection tool. By creating a selection after the initial attack of the kick, we can focus the Envelope processing and shape the decay to make it sound more natural.
Adding Noise

Now that we have the hang of the basics, we can experiment with our source material. By changing the frequency of the sine wave we started with, we can create kicks, snares, toms, and other percussion sounds and even pitch them harmonically so that our drum kit sits in a particular key.
Just as we generated our sine waves with MOscillator, we can use MNoiseGenerator to create noise layers for snare drums, hi-hats, and cymbals. Using pitch and volume envelope processing, we can shape different noise types for each drum sound.
While a sine wave can be shaped to recreate the harmonic content similar to a drum membrane, noise can imitate the atonal information created by snare wires, shakers, and other high-frequency percussion instruments.
This means that depending on the style of drums you’re creating, and the genre of music they’re intended for, you can use the sine wave and noise generators separately or together to build the foundations for a wide range of drum sounds.
Effects Processing
EQ and compression is an important part of the process. With EQ, we can isolate the range of each sound layer using high-pass and low-pass filters to avoid frequency masking within the overlapping samples.
Meanwhile, compressors can help us accentuate and thicken the attack of a drum hit, adding more cohesion between the transient and body of a kick or snare sound. Furthermore, effects like saturation, distortion, and even reverb can add tonal character and texture.
Once you start merging recorded samples like handclaps or beatboxing with drums you’ve synthesized, effects will unify the layers from different sources, and you can create a signature sound for each kit you create.
Using the plug-ins in your DAW can produce an incredibly wide range of sounds. However, when you combine these with the other effects pedals and hardware processors you have in your studio, you can create some truly unique sounds.
Read more music production tutorials on MusicTech
The post How to create your own drum sample packs for hardware and software samplers appeared first on MusicTech.

“I look at how The Chemical Brothers do it; that’s how live electronic music should be performed”: Will Clarke on his debut album and live setListening back to his earlier records, Will Clarke sounds like a completely different producer. He excelled as a Dirtybird prodigy in the mid-10s, delivering punch-packing, booty-shakin’ house tracks, and he’s since grown into a diverse star of 4/4 dance music. He’s released records on labels that span the far reaches of the genre such as Green Velvet’s Relief, Adam Beyer’s Truesoul, and the legendary German trendsetter, Kompakt.
Now, Clarke is beginning a new era in his career. He is producing his debut album Midnight Mass and he’s focusing on curating the album’s accompanying hardware-driven live show, as opposed to strictly DJing as he has been for the past 20 years. Both of these new endeavours see the producer creating at the top of his game.

READ MORE: The Blessed Madonna: “There’s never been a moment where I wasn’t learning something; this album is the sound of that”

Ever since Clarke’s early years listening to early electronic music stars like The Chemical Brothers, Faithless, and Moby, he has been building towards making an album. Living in those long shadows catalyzed immense inspiration, but he also felt self-doubt at the prospect of making a body of work up to that soaring standard.
“I’ve always wanted to do an album. But I just never felt I was good enough,” Clarke says. Before Midnight Mass, he completed producing a series of tracks in sequence but they never became a full-fledged album because he always ended up comparing himself to his idols. “They’re all absolutely huge artists, but sonically, quality of the songs, quality of production, did it ever match that? The answer was, ‘no.’ So, it was always back to the drawing board.”
Clarke’s goal for making an album wasn’t to become as big as The Chemical Brothers. Midnight Mass is coming into the world because he is confident he is creating a comprehensive body of work just as Ed Simons and Tom Rowlands have done since 1995.
Image: Press
“I got to the point where I was listening to my influences, then listen to [my album], and it’s on par. The songs fit together. They’re great songs. The production is far superior to where my production was back when I wanted to start doing albums,” Clarke says. “It was a moment when I was like, ‘Okay, well, now’s the time to do it.’”
A key hurdle Clarke had to overcome to reach this point was to write music for purposes other than DJing. In listening to Midnight Mass, the tracks could certainly work in a DJ set, but there are more layers to them as well.
In the first moments of the album, listeners might think they hit play on the wrong record; it starts with suspenseful orchestral string trills comparable to Wagner’s Ride of the Valkyries. But that’s the kind of musicality spread throughout Midnight Mass. 11 out of the 13 tracks feature vocalists, all of whose melodies he had a hand in writing.
Clarke has developed his talent for sensibility over the last few years after doing numerous writing sessions with different artists. He’s done many with collaborators on the album like Hayley May and Mitch Jones, but also artists in the wider scene such as HAYLA and Clem Douglas.
Image: Press
“Every time I went into a session with somebody the mission objective was always, ‘Let’s just have fun and see what we make’,” Clarke says. He also rejected the idea of letting an artist’s previous work (including his own) influence what they made in a session. Just because he’s known for making house music, he didn’t have to write house music.
Similarly, Hayley May is known for singing on major house records such as Heaven by the DJ Mag Top 100 icons Dimitri Vegas & Like Mike. But when she and Clarke were writing together, he asked her who her favourite vocalist of all time was.
“She said, ‘Lauryn Hill,’ and I was like, ‘Let’s write an R&B record.’ Let’s do something that we both can have fun with. Then I’ll go away and turn it into what I need to turn into,” Clarke says. The results were Be My Baby and Need Some Time.
“After I completed [those records], that was the first time when I was like, ‘Now I know this is gonna be an album.’ Now I know that this music we’re making is bigger than just a club record. It opens out to a bigger world. It opens out to a bigger listenership,” Clarke says.

The word “big” is apposite in describing Midnight Mass. Across the album, the tracks harness a truly massive feel whether through vocals or production. Weekend Love employs the full power of House Gospel Choir, letting the 20+ voices rip over a seething melodic techno beat. Georgia Meek’s operatic voicework carries Memories on a foundation of slamming piano chords.
When asked why Clarke went so big on his album, he again references his primary influences who share a similar massive quality. But other than big sounds, he wanted this record to bring out big emotions.
“A lot of people don’t know what I’m trying to achieve because they’re used to me being ‘DJ Will Clarke.’ But throughout all of my production over the years since 2018, when I left the Dirtybird era, it was always like, ‘How do I evoke emotion in my music?’,” Clarke says.
On Midnight Mass an important vehicle for emotion in his production was the Hans Zimmer Strings sample pack from Spitfire Audio. Clarke has always had an affection for film music, and funnily enough, the only orchestra he’s ever seen live was Hans Zimmer’s performance at Coachella in 2017.
Image: Press
Clarke is sure to remark he’s fortunate to be able to afford the $799 price tag for the pack. But his goal is to generate emotion, so, as he says: “It’s Hans Zimmer. There’s no one better.”
“The amazing thing with a string, you can literally hold a G note and it just evokes so much tension, and that’s just one note,” Clarke says. “If I pulled up the Moog and did the same thing it’s not gonna do the same. There’s just a level where strings cut through in a mix. It lifts everyone up.”
Another new bit he used for the album was the Teletone Audio Scarbo soft synth. He appreciated that it sounded analogue without emulating another analogue synth.
“It’s the weirdest fucking synth,” Clarke says. “There’s so many soft synths that emulate a Juno or something like that. We don’t need another one of those. You can buy a cheap version of those. I really like the creativity of that synth. It sounds so rich and it does sound analogue but it’s not.”
Image: Press
Other than that, much of the production equipment he used to make Midnight Mass was the same as his previous records. For plugins and effects, SoundToys makes some of his favourites.
“There’s not a single record on the album that SoundToys isn’t used,” Clarke says.
Hardware such as the handmade Russian drum machine, AVP ADS-7, and the Moog Sub 37 are staples in his studio, and he’s using these familiar machines to build out his debut live show for the Midnight Mass tour.
All of Clarke’s biggest influences perform live, and for his live set, he’ll create music with an array of hardware while custom visuals run in the background. The full tech breakdown of the live show is in the video below, and for the visuals, Clarke produced a short film to coincide with the set.

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“For me, the live set is a storytelling of the night. The show is narrated from intro to midtro to outro,” Clarke says. “I look at how The Chemical Brothers do it. That is how, in my opinion, live electronic music should be performed.”
As Clarke’s skills and scope for his project align more and more with his influences, he is also facing another ramification: celebrity proximity. The Chemical Brothers have collaborated with famous musicians like Q-Tip, Beck, and Noel Gallagher. Unfortunately, Clarke’s interactions are far less exciting.Instead of getting offers to work, he got a request from DJ Snake to take Summit.
In the past, some of Clarke’s songs have ended up in the hands of major headliners like DJ Snake through contractual headaches engrained into the music industry. As Clarke’s skills and scope for his project align more and more with his influences, he is also facing another ramification: celebrity proximity. The Chemical Brothers have collaborated with famous musicians like Q-Tip, Beck, and Noel Gallagher. Unfortunately, Clarke’s interactions are far less exciting. But this time he wasn’t letting go of anything on this album. He was involved with literally every phase of its making. Every production session and writing session, giving his input on the lyrics and melodies. He was in the room when it was mixed and mastered.
“There’s a creative part of every single process. And the only way for me to get that across is to be in the room. There’s a feeling that you get whilst you’re in the room with somebody that you can’t give feedback on through email or telephone. You have to feel it,” Clarke says.
The only thing left is the live show, where people on the dancefloor will feel exactly what he felt in all those sessions. It’s a feeling he’s been building towards his entire career.
The post “I look at how The Chemical Brothers do it; that’s how live electronic music should be performed”: Will Clarke on his debut album and live set appeared first on MusicTech.

Access to your Splice library—now in Studio One Pro 7
The first update to the Splice x Studio One Pro Integration brings several key feature additions and improvements that will make your in-DAW Splice experience even better.