10 free sample packs for future house soundsAd feature with BandLab Sounds
As more and more boundary-pushing dance music enters the mainstream, artists like Ninajirachi are seeing success for their futuristic soundscapes, intricate rhythms, and shimmering textures. In this week’s free sample pack round-up, we’ve collected a selection of sounds perfect for those who want to channel that same energetic and experimental vibe.

READ MORE: Ninajirachi: “People love to ask artists how they’d describe their sound… I just want to surprise myself”

Whether you’re looking for glitchy percussion, glossy synths, or hyperpop-inspired vocal chops, these packs will help you freshen up classic noughties sounds and pave entirely new sonic pathways of your own.
Future Garage
Future Garage
Want to keep things strictly 130 BPM? This future garage pack features tons of dusty, foley-inspired loops to create off-kilter rhythms. You’ll also find deep and evolving bass sounds, ambient pads, and crunchy textures that strike a perfect balance between organic and synthetic.
Download Future Garage
Future Bass
Future Bass
Taking a cue from masterful sound designers such as Flume, these samples include ravey synth stabs, warped sonic texture, and attention-grabbing synths perfect for the festival stage. Alongside is a collection of hard-hitting drums and intense risers to get the energy flowing.
Download Future Bass
Future Glitch
Future Glitch
If you’re looking to get a bit weirder, the Future Glitch pack contains plenty of found sounds, synth phrases, and effects samples — all of which have been given a healthy dose of processing to turn them into something entirely new.
Download Future Glitch
Kawaii Future Bass
Kawaii Future Bass
From downsampled vocal chops to lush keys and whimsical lead lines, this future bass sample pack is heavily inspired by J-pop, video games, and anime. It’s perfect if you’re looking for a more upbeat and playful flavour.
Download Kawaii Future Bass
Kawaii Future Bass FX
Kawaii Future Bass FX
Building on the first Kawaii Future Bass sample pack, this collection provides all you need to transform your track into a detailed, release-ready production. Included are risers, foley-style percussion samples, and characterful ambience loops that deliver a nostalgic sound.
Download Kawaii Future Bass FX
Function Loops: Future Rave
Function Loops: Future Rave
It’s supersaw central with this Future Rave pack from Function Loops. Arpeggiated loops, dark textures, growling basslines, powerful 909 drum patterns — it’s all here, with a distinctly gritty, underground feel.
Download Function Loops: Future Rave
Cazzette
Cazzette
This high-energy sample pack from Swedish electronic producer Cazzette is brimming with aggressive sounds, featuring rumbling basslines, sharp metallic effects, and dynamic drum loops. Each sample is meticulously processed to bring out subtle details, ideal for crafting tracks to keep your listeners coming back for more.
Download Cazzette
Epic Stock Media: Fire Future Rave
Epic Stock Media: Fire Future Rave
Another pack that’s perfect for the main stage at an EDM festival, Fire Future Rave from Epic Stock Media offers up plenty of samples in the vein of tech and prog house. Want to get a bit heavier? There’s an abundance of low end here thanks to growling bass synths with a brostep flavour.
Download Epic Stock Media: Fire Future Rave
Tech House Vocals
Tech House Vocals
What floor-filling EDM anthem is complete without an earworm of a vocal hook? This pack features 105 samples, from spoken one-shots to longer melodic phrases — all of which have been run through distortion, autotune, and other characterful processing.
Download Tech House Vocals
Grimey Stutter House
Grimey Stutter House
This sample pack veers a little more leftfield, focusing mostly on synth loops that have been given a heavily percussive edge through liberal use of tremolo and rhythmic gating for a fluttering effect. You’ll also find minimal drums, analogue basslines, and eerie FX samples inside — perfect for that 3am warehouse set.
Download Grimey Stutter House
Driving Stutter House
Driving Stutter House
Serving up a more euphoric sound, this pack is inspired by the likes of Fred Again.. and Bunt, featuring highly rhythmic synths, pounding drums, and rolling basslines to keep the momentum going all night.
Download Driving Stutter House
[Editor’s note: MusicTech and BandLab are both part of the Caldecott Music Group.]
The post 10 free sample packs for future house sounds appeared first on MusicTech.

Palau introduces blockchain savings bonds with SoramitsuPalau Invest savings bonds will raise money for local infrastructure and provide a new means of saving.

Fei-Fei Li picks Google Cloud, where she led AI, as World Labs’ main compute providerCloud providers are chasing after AI unicorns, and the latest is Fei-Fei Li’s World Labs. The startup just tapped Google Cloud as its primary compute provider to train AI models, a deal that could be worth hundreds of millions of dollars. But Li’s tenure as chief scientist of AI at Google Cloud wasn’t a factor, […]
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Mechanical Tool Changing 3D Printing PrototypeTool changing 3D printers are hot. The idea is that instead of switching filament, you swap out hot ends or other tools. That isn’t a new idea. However, most tool changers are expensive. [Engineers Grow] has one that is simple and inexpensive, relying on the printer’s own motors and some clever mechanics.
The first step was to make a modified extruder that allowed the filament to load and unload. The first attempt didn’t work well, but that is the nice thing about 3D printing — it is easy to try again. There is only one extruder, which is good from the standpoint that you don’t need a control board with many outputs and you avoid the expense of multiple extruders.

The next step is a spring-loaded filament guide to load and unload the new extruder. That didn’t work at first, either. Worse, fixing the problems required yet another redesign of the extruder.
The hot end holds with magnets. This isn’t always as stable as you would like, but it should work, especially with the pin alignment scheme. The tool plate engages with the head and moves to the side to break the magnetic grip. A bracket works the levers to handle the filament changes.
Everything seemed to work when manually moving things around. Macro development eventually wound up with everything working with two heads after troubleshooting a few issues. Of primary concern is the hot ends are not rigidly held, and docking wasn’t always repeatable. However, this is just a prototype and it does work. It only needs more rigidity and repeatability.
Outside of the printer itself, the changer costs about $100, although that will change depending on the number of extruders. Since the whole thing is printer-specific and not fully functional, there are no models or code — and it sounds like [Engineers Grow] plans to make them available only if you have a membership. But the idea is sound, and there is enough information in the video for you to do your own experiments using this mechanical-only design. Let us know what you come up with.
We’ve seen passive changers on CNC before. Many of the others we’ve seen use electromagnets. Our own [Sonya Vasquez] did a take on this with Jubilee.

ADAM Audio to launch D3V compact monitors ADAM Audio have announced that a new compact monitoring system with a built-in USB Audio interface will soon be joining their loudspeaker range. 

Spotify slams ‘outdated bureaucracy’ in Sweden as it moves ‘parts’ of 250 jobs from its home market after court ruling over night shiftsCourt rejects Spotify's request to allow its engineers in the market to work shifts between midnight and 5am
Source

Limp Bizkit’s Fred Durst sues Universal for $200m over alleged unpaid royalties (report)Durst's complaint alleges he was never paid royalties, despite the major commercial success of Limp Bizkit's early albums
Source

PRS Guitars Announces 2025 SE Series LineupPRS Guitars today announced the 2025 PRS SE Series lineup, bringing sophisticated new instruments, new colors, updated player-centric appointments, and new left-handed signature models to players.

NEW MODELS

2025 brings two stunning new electric models to the PRS SE Series with the PRS SE Custom 24-08 Quilt and the PRS SE Custom 24 Semi-Hollow Piezo. While the SE Custom 24-08 is an aesthetic update, the PRS SE Custom 24 Semi-Hollow Piezo is an all-new instrument for players seeking acoustic and electric tones in one instrument.

“Veneering is an artform our partners have mastered and branching out into more veneer materials like quilted maple, and further developing our staining operations, brings visual art to players while we also continue to advance the tactile elements of guitar making at PT Cort,” said PRS Guitars Chief Operating Officer, Jack Higginbotham. “Meanwhile, the SE Custom 24 Semi-Hollow Piezo model represents our continued quest to bring innovation, sophisticated versatility, and value regardless of where a guitar sits inside of our lineup. The piezo system developed with Lloyd Baggs and his team truly shines in this guitar.”

Also debuting for 2025, the PRS SE T60E is the newest addition to the SE acoustic-electric family’s Tonare Grand body shape. Built to exude full, vintage tone, the SE T60E pairs ziricote back and sides with a solid spruce top, PRS hybrid “X”/Classical bracing and a PRS-voiced Fishman Presys VT pickup.

LEFT-HANDED SIGNATURE GUITARS

As teased earlier this year, three new left-handed signature models are also now available: PRS SE Silver Sky, PRS SE Silver Sky Maple, and the PRS SE Zach Myers.

“We put years into creating guitars that meet the exacting specifications from our Signature Artists. For them to attach their name to a model means it must be everything they need and everything other players, from beginner to pro, will need,” said PRS Guitars Director of Artist & Community Relations, Bev Fowler. “We are pleased to finally offer these two artist models for left-handed players.”

UPDATED APPOINTMENTS & NEW COLORS

Updated appointments and new colors across much of the lineup also continue to elevate the playing experience of the PRS SE Series. For 2025, many of the guitars in the SE Series will now feature lampshade knobs (replacing speed knobs), and guitars that sport a 5-way blade electronics switch will be upgraded to PRS’s proprietary flat-tip switch design. Both of these designs are modeled after appointments found on PRS’s Maryland-made electrics and give players a more ergonomic, player-friendly experience.

“We are happy to bring our latest efforts to the guitar-player community. It almost feels like we are presenting a song we wrote instead of a guitar we’ve designed. It’s a personal effort and our team has all the right kinds of pride around sharing these new instruments and enhancements. Paul can often be heard saying ‘this is our time,’ and I feel that across the spectrum of our instruments, from our Maryland-made guitars through our SE Series,” said PRS Guitars Chief Operating Officer, Jack Higginbotham.

Many models have also been updated with new colors, like Cobalt Blue and Fire Red acoustic models as well as new blue, gold, and silver satin metallics on the $499 USD PRS SE CE Standard, a model introduced earlier this year.The post PRS Guitars Announces 2025 SE Series Lineup first appeared on Music Connection Magazine.

3D Printering: Listen to KlipperI recently wrote about using Klipper to drive my 3D printers, and one natural question is: Why use Klipper instead of Marlin? To some degree that’s like asking why write in one programming language instead of another. However, Klipper does offer some opportunities to extend the environment more easily. Klipper runs on a Linux host, so you can do all of the normal Linux things.
What if you wanted to create a custom G-code that would play a wave file on a speaker? That would let you have custom sounds for starting a print, aborting a print, or even finishing a print.
If you recall, I mentioned that the Klipper system is really two parts. Well, actually more than two parts, but two important parts at the core. Klipper is, technically, just the small software stub that runs on your 3D printer. It does almost nothing. The real work is in Klippy, which is mostly Python software that runs on a host computer like a Raspberry Pi or, in my case, an old laptop.
Because it is Python and quite modular, it is very simple to write your own extensions without having to major surgery or even fork Klipper. At least in theory. Most of the time, you wind up just writing G-code macros. That’s fine, but there are some limitations. This time, I’m going to show you how easy it can be using the sound player as an example.
Macros All the Way Down
Normally, you think of gcode as something like: G1 X50 Y50. Some of the newer codes don’t start with G, but they look similar. But with Klipper, G1, M205, and MeltdownExtruder are all legitimate tokens that could be “G-code.”
For example, suppose you wanted to implement a new command called G_PURGE to create a purge line (case doesn’t matter, by the way). That’s easy. You just need to put in your configuration file:
[gcode_macro g_purge]
gcode:
# do your purge code here
The only restriction is that numbers have to occur at the end of the name, if at all. You can create a macro called “Hackaday2024,” but you can’t create one called “Hackaday2024_Test.” At least, the documentation says so. We haven’t tried it.
There’s more to macros. You can add descriptions, for example. You can also override an existing macro and even call it from within your new macro. Suppose you want to do something special before and after a G28 homing command:
[gcode_macro g28]
description: Macro to do homing (no arguments)
rename_existing: g28_original
gcode:
M117 Homing...
g28_original
M117 Home done....

Not Enough!
By default, your G-code macros can’t call shell commands. There are some ways to add that feature, but letting a file just run any old command seems like an unnecessary invitation for mayhem. Instead, we’ll write a Klippy “extra.” This is a Python class that resides in your klipper/klippy/extra directory.
Your code will run with a config object that lets you learn about the system in different ways. Suppose you are writing code to set up one single item, and it doesn’t make sense that you might have more than one. For example, consider an extra that raises the print speed for all printing. Then, you’d provide an entry point, load_config, and it would receive the config object.
However, it is more common to write code to handle things that could — at least in theory — have multiple instances. For example, if you wanted to control a fan, you might imagine that a printer could have more than one of these fans. In that case, you use load_config_prefix. That allows someone who writes a configuration file to specify multiple copies of the thing you define:
[hackaday_fan fan1]
pin: 8
[hackaday_fan_fan2]
pin: 9
The Sounds
In this case, we do want to allow for different sounds to play, so we’ll use load_config_prefix. Here’s the short bit of code that does the trick:

Play a sound from gcode

#

Copyright (C) 2023 Al Williams

#

This file may be distributed under the terms of the GNU GPLv3 license.

import os
import shlex
import subprocess
import logging
class AplayCommand:
def init(self, config):
self.name = config.get_name().split()[-1] # get our name
self.printer = config.get_printer()
self.gcode = self.printer.lookup_object('gcode') # get wave and path
wav = config.get('wave')
path = config.get('path',None)
if path!=None:
wav = "aplay "+path+'/'+wav
else:
wav = "aplay " + wav
self.wav = shlex.split(wav) # build command line
self.gcode.register_mux_command( # register new command for gcode_macro
"APLAY", "SOUND", self.name,
self.cmd_APLAY_COMMAND, # worker for new command
desc=self.cmd_APLAY_COMMAND_help) # help text

cmd_APLAY_COMMAND_help = "Play a sound"

def cmd_APLAY_COMMAND(self, params):
try:
proc = subprocess.run(self.wav) # run aplay
except Exception:
logging.exception(
"aplay: Wave {%s} failed" % (self.name))
raise self.gcode.error("Error playing {%s}" % (self.name))

main entry point

def load_config_prefix(config):
return AplayCommand(config)

Note that the AplayCommand object does all the actual configuration when you initialize it with a config object. So, to create an “aplay object” in your config files:
[aplay startup]
wave: powerup.wav
path: /home/klipper/sounds

[aplay magic]
wave: /home/klipper/sounds/wand.wav
Then, to use that sound in a macro, you only need to use:
[gcode_macro get_ready]
gcode:
   aplay sound=startup
You can make as many different sounds as you like, and if you provide an entire path for the wave parameter, you can omit the path. Optional parameters like this require a default in your code:
path = config.get('path',None)
Obviously, this assumes your Klipper computer has aplay installed and the wave files you want to play. Or, switch players and use whatever format you want.
You can read more about options and other things you can do in the “Adding a host module” section of the code overview documentation. Another good resource is the source code for the stock extras, many of which aren’t really things you’d probably consider as extra.
So next time you want to add some features to your printer, you can do it in Python with less work than you probably thought. Haven’t tried Klipper? You can learn more and get set up fairly quickly.

Universal Audio’s Apollo X Gen 2 announced Comprising a total of seven new models, the Apollo X Gen 2 series features the best conversion specs of any Apollo to date, and introduces a whole host of new features and functions. 

Arturia release Synthx V Arturia's latest release offers a detailed emulation of the Elka Synthex, and introduces some new features that bring the classic sound into the modern era.

.MUSIC Domain Registration Opens: Control your Music Identity Now!Top level .MUSIC domain registration is are available after several pre-registration rounds along with a new verified MusicID program.
The post .MUSIC Domain Registration Opens: Control your Music Identity Now! appeared first on Hypebot.

CARYS: A Case Study in Independent Artist GrowthDiscover how CARYS refined her artistic direction to grow her fanbase and amplify her brand. CARYS: A Case Study in Independent Artist Growth reveals key strategies behind her transformation and. Continue reading
The post CARYS: A Case Study in Independent Artist Growth appeared first on Hypebot.

Brazil climbs the global top 10: a new era for the music market [MIDiA’s Tatiana Cirisano]The music industry in Brazil is now officially a powerhouse, climbing into the top 10 markets worldwide. Discover what’s driving this explosive growth.
The post Brazil climbs the global top 10: a new era for the music market [MIDiA’s Tatiana Cirisano] appeared first on Hypebot.

Ticket touts cost UK music fans an extra £145 million per year: “All too often fans are forced to pay a price decided by a stranger on the internet”Ticket touts are costing UK music fans an extra £145 million annually, according to a recent report by global research firm YouGov.
The survey, conducted among music fans over the age of 18, found that ‘almost half’ of gig-going fans find it difficult to identify a ticket resale platform, and that approximately one in five tickets end up on a resale platform of some sort.

READ MORE: UK government to look at transparency of dynamic pricing and “the technology around queuing systems which incentivise it” following Oasis ticket chaos

O2 – which sells over a million tickets each year through its Priority customer reward platform – says of the findings: “We are tired of professional ticket touts abusing the market and stealing tickets out of fans’ hands.”
“Music fans deserve the chance to buy tickets at a price set by their favourite artist, but all too often they are forced to pay a price decided by a stranger on the internet. Consumers deserve more protection and better information about the tickets they’re paying for.”
The company also claims that it has prevented more than 50,000 suspected bots from entering its Priority platform over a six-week period.
In light of these issues, O2 has called for several steps to improve the current ticketing system: Better legislation against the sale of concert tickets for significant profits; clearer information during the sale process on ticket resale platforms, such as a pop-up notification that explains who the ticket is being bought from and the potential risks involved; and clearer identification of ticket resale platforms on search engines. Currently resale websites can buy their way to the top of search results, without having to mention their tickets are second-hand.
Gareth Griffiths, O2’s Director of Partnerships and Sponsorship, has a few tips for music fans in the meantime. They include checking the artist’s website and social media for official ticket partners and educating yourself on the risks of buying a second-hand ticket — While platforms like Viagogo may offer a full refund should you fall victim to a ticket scam, they cannot guarantee entry to the show.
Alternatively, gig-goers can turn to fan-to-fan platforms such as Twickets and Ticketmaster’s resale marketplace, where tickets can be resold for no more than the price originally paid (plus fees).
In related news, the UK government recently said it will investigate dynamic ticket pricing following mass outcry over the soaring prices of tickets to Oasis‘s reunion tour.
The post Ticket touts cost UK music fans an extra £145 million per year: “All too often fans are forced to pay a price decided by a stranger on the internet” appeared first on MusicTech.