Automatic Naptime with BabyBjorn Bouncing ServoAny parent with a baby and deep pockets– or friends with deep pockets– will probably sing the praises of the BabyBjorn rocking sling chair. A simple spring-loaded sling seat allows you to rock a child to sleep like magic– but you do have to rock the child. In the tradition of fathers everywhere since the stone age, [Ceyhun Karataş] saw that as something to tinker around, creating his Automatic BabyBjorn Bouncer/Rocker with a servo, an Arduino, and some 3D printed parts.
You still can’t leave your child unattended with this hack, [Ceyhun] takes pains to point out, but it will free a hand so you can keep junior happy while tinkering up other toys for him or her. Music players are a popular staple, for example.
You should have plenty of time for such projects, because it won’t take long for you to replicate [Ceyhun]’s invention– it’s only as complicated as it needs to be, which is not very. The servo, a Futaba S3003 which is mounted to the bottom of the rocker in a 3D printed case, reels the baby in with a string tied to the bouncing seat portion.  The BabyBjorn’s built-in spring bounces junior back up. As stated, Arduino Nano controls the servo, with two potentiometers in the build allowing you to control the speed and amplitude of the bounce independently to get the perfect naptime ratio. Everything you need to get started — aside from the hardware and the child– is available at the link above. You can see it in action in the video below, which in spite what you may fear from the Turkish thumbnail, does have authentic English audio, not AI auto-dubbing.
If you’ve got the baby but not the bouncy chair, have a gander at this mechatronic crib that does something similar on a much larger budget.
Thanks to [Ceyhun] for overcoming the new-parent sleep deprivation to document this project and send in a tip.

CarbonDSP Carbon CL-610Carbon CL 610 is a compressor and a peak limiter running at once on a single threshold — one slow and musical for level, one fast enough that transients never get past it. Its knee is fixed, so changing the ratio does not change how hard you are hitting it and you can audition ratios without re-setting anything. There is no threshold control at all: you drive material into the knee, and the plugin holds the point of comparison still while you work. Carbon CL 610 sounds like a compressor you stop noticing. The gain change is program-dependent — the release stretches when a passage has worked it hard and shortens when it has not — so dense material settles instead of pumping, and sparse material keeps its space. Underneath it, a second detector responds in under a microsecond and catches the leading edge of a transient rather than the middle of it. You are not choosing between a compressor that breathes and a limiter that holds; both are running, on the same threshold, on the same gain cell. The thing that changes how you work with it is the fixed knee. On almost every other compressor, turning the ratio up also changes how hard you are hitting the detector, so you go back and re-set the threshold, and by the time the level matches again you have lost track of what you were comparing. Here the knee does not move. Set how hard you are driving it once, then audition ratios freely — the amount of compression stays where you put it and only the shape of the curve changes. It is a small difference in description and a large one in practice, because it turns a two-handed adjustment into a one-handed one. Peak control is where the second path earns its place. A limiter with a time constant can always be outrun by something faster than it; this one is measured in nanoseconds and simply is not. Oversampling up to 32× resolves the peaks that fall between two samples, which is the difference between a true peak you catch and one you find later on the master. Everything on the panel is measured rather than decorative. The transfer curve shows your signal riding it live with the knee pinned in place — turn the ratio and watch it not move. The gain-reduction figure changes colour as the plugin works harder, so you can read how hard it is going from across the room. All 32 presets ship level-matched by measurement, not by ear, so switching between them is a fair comparison instead of a loudness contest. Key Features: A knee that does not move — Change the ratio, keep your place: Turning the ratio does not change how hard you are hitting the plugin. Set the drive once and compare ratios freely — the point of comparison holds still. Two detectors, one threshold — Compressor and peak limiter at once: A slow, musical path for level and a sub-microsecond path for transients, sharing one threshold and one gain cell. Not a chain of two plugins. A release that listens — Program-dependent, 50 ms to 10 s: The release stretches when the plugin has worked hard and shortens when it has not, so it breathes with the music instead of pumping to a fixed clock. Peak control in nanoseconds — Up to 32× resolution: Fast enough that transients do not get past it, with selectable oversampling for the peaks that fall between two samples. Parallel compression built in — Blend, with the output after it: Mix processed and untouched sound, with the output amplifier downstream of the blend — where the hardware it descends from puts it. SYSTEM REQUIREMENTS: Format: VST3, Standalone. System: Windows 10 or later, 64-bit. Host: Any VST3-compatible DAW. Sample rates: 44.1 kHz to 192 kHz. Trial: 7-day demo, fully functional. PRICE: Introductory $49.00 (regular $89.00). VST is a registered trademark of Steinberg Media Technologies GmbH. Read More

Yorkville launch the EL24S With a peak power output of 5000W and a maximum SPL of 143dB, the EL24S promises to satisfy even the most demanding low-end reinforcement requirements. 

KRK’s V Series Five studio monitors feature wireless control, so you can tweak them without leaving your seatKRK has unveiled its new V Series Five Studio Monitors, the latest iteration of its flagship professional reference speaker range.
Featuring a “significant leap forward in both performance and functionality”, this fifth-generation V Series combines KRK’s renowned accuracy and translation with new wireless control capabilities and advanced acoustic tuning tools for the modern producer.

READ MORE: MathSynth is a free iOS synth that turns mathematical equations into instruments

The big new addition here is KRK Mesh, a wireless system that lets you control the monitors from your phone. Through the KRK Control App, you can adjust settings, compare EQ profiles and manage levels without having to get up and dig around your speaker setup.
It’s a feature that’s particularly useful once your monitors are properly positioned and calibrated. After all, the last thing you want to do when fine-tuning a mix is crawl behind your speakers to make an adjustment.
Controls can also be applied to individual monitors or grouped together, whether you’re working with a conventional stereo pair or building a larger Dolby Atmos setup.
Credit: KRK
The wireless controls are backed up by a set of acoustic tools designed to help optimise the monitors for their environment. KRK says the V Series Five has been engineered for professional recording, mixing and immersive audio applications, with the aim of delivering accurate monitoring that adapts to evolving workflow.
Under the hood, the V Series Five uses custom-designed transducers, including woven Kevlar woofers housed in cast-aluminium frames. KRK says these are optimised for low distortion and linear low-frequency performance, while a one-inch silk-dome tweeter handles the high end.
An integrated waveguide is also designed to improve off-axis consistency and imaging, which should help maintain a more consistent listening experience as you move around the room.
The electronics are no less serious. Each monitor features ESS converters, Analog Devices DSPs and Pascal Class D amplifier modules, with 280W of power dedicated to the low-frequency driver and 175W to the high-frequency driver. The result, says KRK, is a setup that delivers “exceptional headroom, dynamic response, and faithful reproduction” across different production applications.
There are three models in the lineup, with the choice largely coming down to woofer size and how much low-end extension and output you need.
The V4 is the most compact option, with a four-inch woofer, a frequency response of 48Hz to 40kHz and a maximum SPL of 113dB. The V6 steps up to a 6.5-inch woofer, reaches down to 40Hz and delivers up to 118dB SPL. At the top of the range, the V8 packs an eight-inch woofer, extends down to 32Hz and reaches a peak output of 121dB SPL, making it ideal for demanding mixing and mastering environments.
All three models feature a front-ported bass-reflex enclosure, along with Neutrik combo XLR/TRS connectivity and support for both analogue and AES3 digital inputs. Each monitor also has a removable protective grille and integrated mounting points for installation applications.

Learn more at KRK.
The post KRK’s V Series Five studio monitors feature wireless control, so you can tweak them without leaving your seat appeared first on MusicTech.

From Suno’s BMG breakthrough to Live Nation’s counterfeit crackdown… it’s MBW’s Weekly Round-upThe biggest headlines from the past few days...
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Vibe coding has come for music plugins – are we witnessing a revolution?“AI works so well that now our internal sound designers can build products in two days that would have taken our entire dev team a whole year. It’s unbelievable.”
Casey Kolb, CEO of Lunacy Audio, had no plans to use AI in the company’s forthcoming plugin release. But while most of the music industry has been focused on deepfakes and full song generators, in the last six months something arguably even more impactful is happening in the world of music software. Lunacy is one of many developers just trying to keep up.

READ MORE: Anukari is a unique modelling synth that dares to be different, but how does it fit into my workflow?

“We’re trying to navigate this. It’s very weird; we weren’t even planning for it. It threw everything up in the air, and it was like ‘oh my god, maybe this is the future.’”
AI-assisted software development, or ‘vibe coding’, has the capacity to shortcut old practices, open the doors to complete novices, and have a foundational impact on the field of programming writ large. But what does this mean for audio development? In the case of Lunacy, that meant taking their human-made code and using AI to experiment and iterate on their designs at an astounding rate.
Kolb spent years building his team of human engineers. Talented audio developers are rare in his experience, and refining the development workflow took time. Before AI came onto the scene, the team at Lunacy manually coded CUBE, a sample-based virtual instrument and BEAM, a multi-effects plugin.
Lunacy’s next project, dubbed NOVA, invites people to build, share and remix plugins “like Google Docs for audio”. It never originally involved AI at all, but with the codebase already built, Kolb and his team took the chance to see what more AI could do with it.
Lunacy NOVA. Image: Press
“We had already built by hand a custom audio engine to make our product work. AI already has access to our algorithms and infrastructure paradigms, so all it is doing is coding – putting together the Lego blocks that we’ve handed it.”
If AI is having an impact for companies, it’s an even bigger shift for solo developers. As a former tech lead at Google and first-time plugin developer, Evan Mezeske wanted to combine his love of music with his background in programming. The result is Anukari, a weird and wonderful physics-based synth that takes inspiration from the 3D modelling environments usually found in video games.
At first, AI was simply a curiosity, and he did the first couple of years’ work the old-fashioned way. When Mezeske finally got round to seeing what AI could do, his initial reaction was mixed. “I was seeing it do things that I’ve spent my whole life getting good at […] and now there’s a robot that does my job. I went through a period where I was shocked and disoriented.”
“But at some point I realised I had to come to terms with the fact that this is how the world is now. I was like, okay, well, what does this mean for me? It means that I, as a solo entrepreneur, can’t afford to get help programming. But I can afford Claude.”
The allure of Large Language Models such as Claude, ChatGPT and Gemini is that you can talk to them in natural language and ask them to execute entire development cycles from design to testing to executing code. Experienced programmers might use it to bridge between languages they’re not familiar with, but people who have never written a line of code can also get AI to build their idea.
The danger here is that this paradigm might result in low-quality, buggy and uninspiring music software, as a consequence of developers not fully understanding the code being produced. This is something Kolb is aware of: “We don’t want everyone and their grandmother to come in and build awful things and share them. We’re trying to really curate the system such that it’s tasteful.”
Evan Mezeske. Image: Christopher Marchetti
Vibe coding might seem easy, but the reality is music software requires dedication and hard work to orchestrate something that not only operates, but performs well and sounds great too. Vibe coding might be a gateway to a new generation of plugin makers, but for Mezeske, the quality of new software will be determined by how much detail, direction and effort goes into the AI and Human working process.
“If vibe coding means I say ‘build Anukari’, it’s going to go off and do something awful. But in terms of the prompts that I gave Claude for the 3D renderer, it was something like a thousand chat interactions, starting with a huge thousand-line design essay and then a thousand iterations on that where I gave it feedback and provided direction. Is that vibe coding? I’m not sure. Personally, I think of vibe coding as somebody providing a lot less direction, in which case I think the results are going to be pretty poor.”
Furthermore, audio development comes with challenges that are highly unique to the industry. As Mezeske found out, audio software has to run on multiple operating systems, a long list of different DAWs, and there are all sorts of features worth considering from MPE to multichannel to microtunning and MIDI 2.0. “There’s just this vast surface area of contact points with other parts of software that are complex. It has to be in real-time, and on top of that it can’t crash. I mean, that’s insane, right?”
Anukari UI. Image: Press
At Lunacy, the secret recipe that goes into their DSP development is not something Kolb is ready for AI to cook with just yet. “It’s not perfect. Earlier this year, we were trying to figure out how Claude Code would fit into our workflow. If you used it on certain deep-level things like DSP algorithms or something, it would often fail or mess something up. It’s gotten better, but we kind of avoid using it on anything that’s too delicate.”
Nonetheless, AI has suddenly made music plugin and software creation exponentially more accessible, allowing musicians and producers to build bespoke tools that fit their needs exactly.
For Scott Young—a producer by night and a former front-end developer—AI helped him overcome personal learning difficulties to build his first plugin. Based in Hong Kong, he couldn’t find many local studios that were developing audio software, and so “found the courage to do it” himself. The result was Acetate, born from a need to create quick club-ready masters for the venues he was performing at.
Scott Young. Image: Press
Although Young’s project began as a means to solve his own problem, ultimately he’s determined to create a high-quality tool that others find useful too. “I wanted to make a statement that this could be done,” says Young. “That it could be done at studio-quality output. Just because I couldn’t do it on day one doesn’t mean that I can’t do it a year later.”
As the barrier to plugin development lowers, we might see a renaissance of plugins that are niche, esoteric, and unique — just as we did at the turn of the millennium with the introduction of the VST standard. On the other hand, we might be hit with a wave of bad plugins, poorly optimised or full of bugs, with bad actors hoping to make a quick buck.
In the current AI-sceptic landscape, getting the balance right for both users and plugin makers is difficult but necessary. For Kolb, it’s a matter of seizing the tools before they are co-opted by others.
Acetate analysis. Image: Press
“If you’re in the camp of ‘let’s never touch it, it’s only evil’, I think that’s wrong. We’re going to get swallowed alive by the evil tech giants if we do that. We need to find out how to harness this superpower in a way that feels creative so we can beat companies that are trying to bypass the creative process.”
At a time when the plugin and software market is arguably over-saturated, AI might—in the right hands— have a surprisingly positive impact on music software.
As Mezeske puts it: “To me, the cool thing about music is the human creative process and the way that that connects to other people. I like the idea of superhuman cyborg people realising ever more of their creative dream in more detail. If the AI tools are amplifying a human being’s creative process and the agent is helping realise that much more rapidly than they could on their own, I think that’s very cool.”
The post Vibe coding has come for music plugins – are we witnessing a revolution? appeared first on MusicTech.

Windows-G releases E-PeakClipper500 as a FREE VST3 clipper for Windows
Windows-G has released E-PeakClipper500 as a free VST3 clipper plugin for Windows. We covered E-PeakClipper500 last year as a JSFX clipper for REAPER, which could also run in other DAWs through the free YSFX wrapper. This new release is a native Windows VST3 version, so Windows users can load it directly without the extra wrapper [...]
View post: Windows-G releases E-PeakClipper500 as a FREE VST3 clipper for Windows

Tuva 1.5 adds project playback across five major DAWs (30% OFF)
Tuva has released its biggest update so far, adding audio and MIDI playback directly inside DAW project previews. BPB readers get 30% OFF with code SUMMERBPB30. We first covered Tuva earlier this year as a smart sample manager with AI tagging and project browsing, followed by the Tuva 1.4 update, which added customizable views, tabs, [...]
View post: Tuva 1.5 adds project playback across five major DAWs (30% OFF)

UJAM introduce Virtual Drummer Neon The latest addition to UJAM’s virtual drum line-up has been designed with contemporary pop, disco, dance, and electronic productions in mind, and promises to deliver the punch and precision of electronic drums while preserving the groove and feel of a real drummer.

If Apple sends you a push notification alerting you to a spyware attack, take it seriouslyApple now sends out push notifications to iPhone lock screens when the company identifies government spyware targeting someone's devices.

Suno launches Studio 2.0 with MIDI support, an AI chat bar… and no download limitSuno claims that "Grammy-winning artists" have used Suno Studio in the past to "make chart-topping hits"
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City of Baltimore goes after prediction markets for sports bettingThe city’s complaint over gambling laws and deceptive trade practices included Robinhood, Webull and Coinbase as partners with prediction market platform Kalshi.

Moon Walker at the The Vera ProjectEclectic alternative people of varying ages could be found littered around Seattle Center on June 14th, all of whom were clearly residents of “Wasteland Country”, courtesy of Brooklyn-based band Moon Walker. Harry Springer, better known as the face and front man of the project Moon Walker, is known for weaponizing the short-form algorithm in his favor to promote his dystopian, politically charged indie rock. In an era where social media has a chokehold on the music industry, many artists are forced to become influencers in order to promote their art; Moon Walker, however, has been able to use this formula to push his artistic message of anti-capitalism and general political nihilism.

Arriving at notorious all-ages venue The Vera Project early was clearly the strategy, as the merch line spanned across the entire venue, right as doors opened. From New Order to Militaire Gun, band shirts could be seen all over the main ballroom on older crowd members, presumably those who hear older glam and psychedelic influences in the bands’ sound. While functioning primarily as an indie/rock group, Moon Walker has been cited as having influences all over the map, including blues, glam, garage, and psychedelic rock.

Super Cassette

Initial opening band Super Cassette gave the crowd a queer Californian pop-punk summer, as they chanted original songs about drugs, satan, and gender to a crowd hungry for whimsy. While still maintaining a core pop sound, the band could diversely channel Pansy Division-style pop-punk one minute and The Strokes-style indie melancholia the next. Chicago-based band Pretoria followed shortly after, making what can only be described as 2000s Disney Channel montage music, with a bit of subtextual jazzy surfy-ness.

Pretoria

After a quick coffee break at The Vera Projects' in-house cafe, it was time to be consumed by the bleak bright yellow world of Moon Walker’s fifth album, WASTELAND COUNTRY. Aesthetic consistency was on full display as the band arrived in matching jumpsuits, à la Devo. It was clear that the “Wasteland Country” concept ran far deeper than just the album, as the backtrack serenaded the crowd with a haunting orchestral melody before robotically announcing “Each day begins with a happy face”. The band quickly jumped into hits off the album such as “HAPPY FACE”, “SUPERNATIONALIST”, and “EVERYBODY GOES TO HEAVEN”. The tracks took

on a far darker and more blues-inspired tone when performed live as the raw guitar melted seamlessly with the deep, hollow bass notes.

Other tracks from the project's past, like “Regular People” and “Ban This Song,” were resurrected, alongside covers of Nirvana's “Heart Shaped Box” and Black Sabbath's “War Pigs”. The covers were, of course, given an apocalyptic sci-fi brutalist spin to fit the show's message. The band's presence left little to be desired as they maintained a rockstar-like swagger with a throughline of chaotic insurgence

Moon Walker is a project that is incredibly sure of itself; between the social media marketing and the visual direction of the latest releases, Springer knows he’s going places. These days it's sacrilege not to be self-deprecating and overtly humble, so this project feels like a breath of fresh air. It will be interesting to see what other stories the band has to tell us in the coming years through their albums and tours.

Moon WalkerThe post Moon Walker at the The Vera Project first appeared on Music Connection Magazine.

How Oliver and dwilly make their sounds in Ableton Live
Watch acclaimed producers Oliver (BLACKPINK, Megan Thee Stallion) and dwilly (KATSEYE, bbno$) as they craft samples and beats from scratch in Ableton Live.

Tearing Down A Cheap Digital CaliperMost hackers and makers end up with a cheap pair of calipers in the toolbox at some point or another. [DiodeGoneWild] decided to take a particularly cheap plastic pair and tear them down to see what makes them tick measure.
The electronics is, unsurprisingly, all contained inside the carriage which slides along the ruler. The ruler itself has an etched copper strip inside, underneath the scale sticker, with repetitive T-shaped sections. Meanwhile, the PCB in the carriage has a series of plates for capactive sensing. As the carriage slides along the copper strip inside the ruler, the capacitive sensing plates pick up varying capacitances which are directly proportional to how far the carriage has moved, allowing for precise measurement of relative position. Zeroing is a job for the user, via the ZERO button. We get to see how this works on the bare hardware level, and [DiodeGoneWild] even breaks out the oscilloscope to help show us what’s going on.
[DiodeGoneWild] also notes that these calipers are particularly frustrating for how quickly they discharge batteries while in storage. This may be down to the convenience feature, wherein moving the caliper switches the display on. There’s no hard off switch here—so the caliper is always drawing some juice even when it’s just in the cupboard. This is why these things are forever turning up dead when you need them.
If you’ve never pulled apart one of these cheap tools, this is a great way to see what’s actually going on under the hood. We’ve seen some other great teardowns lately, like this deep dive into a cheap pair of smartglasses. Video after the break.