DIY Spotlight: Charlotte MorrisPhiladelphia folk artist Charlotte Morris was highly scored in a recent New Music Critique, so impressed were we with the songs from her Both Sides album. She’s worked hard to get to this point, having fallen in love with music as soon as she could walk and talk.“By age 12 I was writing songs and teaching myself guitar, piano, ukulele, and others,” Morris says. “With songwriting, music grew from something I loved into something I needed.”After college, Morris moved to New York to pursue theatre. “However, it was at that time that I found my way back to songwriting,” she says. “This was the biggest change I’d ever been through—making such a huge move—and I didn’t know how else to process it other than writing. A little less than a year after moving, I released my debut EP, To New York, with Love, and started to figure out how I could move forward in this crazy industry that is music.”Morris describes her sound primarily as folk/Americana. “First and foremost, my music is rooted in honest and emotional storytelling,” she says. “I write what I’m feeling, so that might be really folky one day but super rock/pop-driven the next. Overall, my music is intimate, personal, and raw; it’s meant to feel like a conversation between best friends or a look into my personal diary.”The aforementioned Both Sides was released in May of this year. “It is the most honest and vulnerable I’ve ever been in my music,” Morris says. “It’s a collection of stories—some mine, some inspired by others—but all rooted in truth, growth, and the messiness of being human.”For Morris, DIY means owning “every aspect of your artistic identity.”“From writing, arranging, and performing, to recording, releasing, booking shows, and marketing,” she says. “Of course, it’s great to have help in as many of these areas as possible, but I still want to have ownership over the final decisions and what the world sees of me.”Morris is taking a well-earned break this summer but will be back on the road later in the year.Visit charlottemorrismusic.com for more.The post DIY Spotlight: Charlotte Morris first appeared on Music Connection Magazine.

Painting in Metal with Selective Electroplating
Most research on electroplating tries to find ways to make it plate parts more uniformly. [Ajc150] took the opposite direction, though, with his selective electroplating project, which uses an electrode mounted on a CNC motion system to electrochemically print images onto a metal sheet (GitHub repository).
Normally, selective electroplating would use a mask, but masks don’t allow gradients to be deposited. However, electroplating tends to occur most heavily at the point closest to the anode, and the effect gets stronger the closer the anode is. To take advantage of this effect, [ajc150] replaced the router of an inexpensive 3018 CNC machine with a nickel anode, mounted an electrolyte bath in the workspace, and laid a flat steel cathode in it. When the anode moves close to a certain point on the steel cathode, most of the plating takes place there.
To actually print an image with this setup, [ajc150] wrote a Python program to convert an image into set of G-code instructions for the CNC. The darker a pixel of the image was, the longer the electrode would spend over the corresponding part of the metal sheet. Since darkness wasn’t linearly proportional to plating time, the program used a gamma correction function to adjust times, though this did require [ajc150] to recalibrate the setup after each change. The system works well enough to print recognizable images, but still has room for improvement. In particular, [ajc150] would like to extend this to a faster multi-nozzle system, and have the algorithm take into account spillover between the pixel being plated and its neighbors.
This general technique is reminiscent of a metal 3D printing method we’ve seen before. We more frequently see this process run in reverse to cut metal.

Germany’s recorded music sales grew 1.4% in the first half of 2025, marking a significant slowdownThe country's recorded music industry trade group is urging the EU to create the conditions needed for an AI licensing marketplace
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FestiVAL 2025 is the first hybrid IRL/virtual microfestival — and it hopes Twitch is tuning inThis weekend in Los Angeles dozens of artists will take the stage at FestiVAL, a 24-hour microfestival running from 12 pm on 26 July in an undisclosed location. The audience? Over 800,000 attendees — potentially.
FestiVAL is the “world’s first hybrid IRL/virtual microfestival”, according to the organisers, and will play host to Twitch-partnered DJs, performers, and other content creators on the platform. These acts will all livestream the entire festival from various perspectives on their respective channels, providing viewers with a more holistic experience of the event.
“We’re trying to give everybody all the streams, angles, and perspectives so that they really feel like they’re there and that they’re not missing anything,” says Chris Valdes, AKA Valdudes, co-founder of the festival alongside CaseSpowboy, and a Twitch-performing DJ in his own right.

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IRL (in-real-life) attendees, meanwhile, will be able to see the live comments of at-home viewers projected on a screen. Although it’s “another way for the viewers to feel involved in the festival,” says Valdes, it’s also about bringing the Twitch energy to FestiVAL as a whole. “It just adds this whole other element of interaction and magic that will create opportunities of awesomeness that we haven’t even planned on yet,” Valdes adds. In practice, that might look like in-chat memes emerging from moments of the festival, as well as live reactions to a track a DJ plays or an event from the in-person crowd.
DJs playing at the festival include Valdudes, CaceSpowboy, Chris Cox, Gabriel & Dresden, Magda Halina, Teknokat and more. In addition to DJs, FestiVAL will also welcome TheSushiDragon (“a tech guru, visual artist, genius”, says Valdes) plus ‘IRL streamers’ DippedInPoison, McD00dle, and WhoIsChelsea. These creators will be broadcasting on Twitch, interacting with IRL attendees, and even hosting minigames themselves, like tarot card readings.
FestiVAL is certainly a Twitch-focused event, but it is yet to secure the financial support of the livestreaming platform — it first has to prove itself.
“We, the community, came up with [FestiVAL] and said to Twitch, ‘Hey, what do you think? Do you want to help us out?’” says Valdes. “It has to go perfectly…and then they’ll send over their official sponsorship support. So far, it’s all looking good!“
The event does, however, arrive a year after the launch of Twitch’s DJ program, which was seemingly the company’s acknowledgement of its DJ community and their lucrativeness. During COVID-19, the number of streamer DJs rose, and there are still thousands of DJs streaming regularly on Twitch. The company’s goal was to offer more opportunities for DJs on the platform to monetise their performances and build a better framework for licensing and royalty payments from streams on Twitch.

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“[Twitch DJ] had two major effects,” explains Valdes. “The good effect has been that Twitch can now push DJs and promote us on the front page, host DJs at TwitchCon, and really bring them into the fold of Twitch — and ultimately get sponsorship money for an event like this.
“But the big drawback,” Valdes cautions, “is that since the launch [of Twitch DJ], it’s been slowly introducing more fees that we have to pay [as DJs on the platform]. So, more views, to speak, should translate into more revenue — and it does — but then, combined with the fees, some people are still making the same amount, or even less. People are still doing their thing and going strong, but it’s definitely been a struggle for a lot of DJs.”
To support its DJs, FestiVAL will pay its acts to perform, but artists will also be able to generate additional revenue via their individual Twitch streams. Viewers can donate and subscribe to creators during their set, offering an additional revenue stream for their performance, marking a first in the electronic music festival scene.
“We’re really hoping that that is the new model going forward,” explains Valdes. “Livestreaming is huge, we know people love it. Festivals are huge, we know people love those. We really want to bring those two worlds together, and help Twitch DJs break out, just not only on Twitch, but in the greater landscape.”
If it works, FestiVAL could mark a blueprint for the next generation of music events — one that recognises livestreaming not just as a stopgap, but as a permanent stage.
Grab your ticket for the event at festivalttv.com and find streams and updates on its Discord server. 
The post FestiVAL 2025 is the first hybrid IRL/virtual microfestival — and it hopes Twitch is tuning in appeared first on MusicTech.

Helping Artists identify and nurture Spotify Super ListenersAs a fans move along the path from initial discovery to superfan, being active listener is an important milestone in the journey. As their own plans for superfans take shape, the streamer is helping artists identify and nurture Spotify Super Listeners.
The post Helping Artists identify and nurture Spotify Super Listeners appeared first on Hypebot.

Soundtoys 5.5 arrives With the launch of Soundtoys 5.5, the renowned collection now includes the recently released SpaceBlender plug-in, an array of new factory presets and resizeable GUIs across the whole collection.

Top 5 Best Selling Merch for MusiciansThinking about selling merch but not sure where to start? Learn the best selling merch for musicians. They are easy to launch, customizable, and perfect for musicians at any stage.
The post Top 5 Best Selling Merch for Musicians appeared first on Hypebot.

“Most vocal solutions fall into two categories: they’re overly complex or overly simple. We felt there was a gap we could fill”: Why guitar modelling giant Neural DSP has ventured into the world of vocal processingThis week saw the launch of Mantra, a new comprehensive vocal processing plugin from Neural DSP, a company which, until now, has been associated primarily with guitar amp modelling and processing.
Mantra is designed to “reimagine the entire vocal chain”, with compressor, EQ, pitch correction, de-esser and harmonisation functions all housed within one plugin. In fact, Neural calls it a “world-class vocal studio in one plugin”.
But why now for Neural DSP to foray into the world of vocal processing, when its stake in the guitar and bass digital processing market is already so strong? Ultimately, it came down to spotting an opportunity, as Neural DSP CPO and Co-Founder Francisco Cresp and Plugin Product Manager Francois Barrillon tell MusicTech.

After being one of the main players in guitar and bass amp modellers and plugins for some time, why now for Neural DSP to foray into the world of vocal processing?
Francisco Cresp: “We’ve spent years building tools that remove technical friction for guitarists and bassists. Getting a great tone used to mean spending a lot of money and dealing with complicated gear. We changed that by making it simple to get professional results, whether you’re on stage or working from a bedroom studio.
“When we looked at vocal production, we saw a similar opportunity. Most existing solutions fall into one of two categories: they’re either overly complex, requiring stacks of plugins and deep technical knowledge, or they’re overly simple, offering very limited control and unsatisfying results. We felt there was a gap we could fill.
“With Mantra, we wanted to combine the best of both worlds. We used our expertise in analog modelling to design modules like saturation and compression that feel and respond like high-end studio gear. But we also designed the interface and workflow to be modern, fast, and intuitive, so you don’t have to spend time figuring out plugin chains or routing.
“Another key part was tracking. A lot of vocal plugins sound great in mixing, but they’re not usable when tracking because of latency. Mantra was built to deliver a fully processed sound in real time, with no noticeable latency, so vocalists can perform with confidence and hear the near final sound as they record.
“We saw this as the right time to enter the vocal space because we had the experience, the tech, and a clear understanding of where we could offer something different.”
Credit: Neural DSP
A lot of the messaging surrounding Mantra’s release relates to the simplification of vocal processing workflow. Was this a strategy to appeal to those less experienced with vocal processing, or for more advanced users, too?
Francois Barrillon: “We wanted Mantra to be immediately usable for anyone, even if they’ve never mixed vocals before. But the idea wasn’t to oversimplify or limit control. Instead, we focused on making powerful tools faster and more intuitive to use. Beginners can simply browse through presets and get great results by adjusting just a few of the quick controls.
“Even experienced producers often find vocal chains messy and time-consuming. You’re dealing with multiple plugins, routing, latency issues, and overlapping parameters. Mantra puts everything you need in one place, with a signal path that just works, so you can stay focused on the sound and performance with no interruptions to your creative flow.
“So yes, the accessibility helps newer users, but we designed Mantra to be a serious tool that advanced users would trust in real sessions.”
Credit: Neural DSP
Does Neural DSP plan to release more tools catered to vocals – or perhaps production and mixing, more broadly – in the future?
Cresp: “We’re always paying close attention to how people are making music and what kinds of tools they’re reaching for. With Mantra, we saw an opportunity to apply our strengths, particularly in analog modelling and intuitive interface design, to an area that could benefit from both.
While we don’t have anything specific to announce at the moment, we’re certainly exploring ways to expand on what Mantra represents. If we feel there’s something meaningful we can contribute, something that reinforces our core goal of removing technical friction from the creative process, we’ll definitely consider it.”
Mantra is available now for €199. Learn more at Neural DSP.
The post “Most vocal solutions fall into two categories: they’re overly complex or overly simple. We felt there was a gap we could fill”: Why guitar modelling giant Neural DSP has ventured into the world of vocal processing appeared first on MusicTech.

Echograin releases Tranzwave v2.0 wavetable synth for Kontakt Player (now 20% OFF)
Echograin has launched Tranzwave Version 2, a major update to its Fizmo-inspired wavetable synth for Kontakt Player. The new version of Tranzwave refines nearly every aspect of the instrument while expanding its creative potential with deep modulation and randomization features. Tranzwave was already a solid tool for atmospheric and textural synthesis, but this new update [...]
View post: Echograin releases Tranzwave v2.0 wavetable synth for Kontakt Player (now 20% OFF)

Terry Marshall, co-founder of Marshall Amplification, donates £100k of his own money to grassroots venuesTerry Marshall, the co-founder of Marshall Amplification, and his wife Lesley, have made a personal donation of £100,000 to the Own Our Venues funding initiative to secure the futures of vital grassroots venues.
Own Our Venues was launched in 2023 by Music Venue Properties (MVP), with the aim of securing important grassroot music spaces, which have been rapidly closing down throughout the UK. The initiative has already raised £2.88 million to secure five grassroots music venues by placing them into community ownership, protecting them from the instability of commercial landlords and ensuring they remain “affordable, accessible, and artist-first”.

READ MORE: The £1 ticket levy scheme has already raised £500,000 for grassroots venues

Grassroots venues, also known as GMVs, are essential in nurturing rising and local music talent. Music Venue Properties recently announced a new £3 million fundraising Own Our Venues campaign with the aim of protecting a further seven iconic GMVs: The Joiners (Southampton), Bedford Esquires, The Croft (Bristol), The Sugarmill (Stoke), Peggy’s Skylight (Nottingham), The Pipeline (Brighton), and The Lubber Fiend (Newcastle).
Marshall comments: “Small venues have played a vital role over the years in my long career as a professional sax player, and, of course, created the path to success for countless other musicians too. But so many have closed their doors since I first started out at the age of 14.
“My wife Lesley and I get to grassroots venues whenever we can, as we both appreciate live music close up and personal. (I still do the occasional guest appearance at 81). We hope that future generations of musicians and music lovers will be able to have these amazing experiences too. That’s why we’re supporting Own Our Venues with a substantial contribution. With enough support from others in the music industry and fellow artists, Own Our Venues can make that hope a reality. It’s up to you.”

Matt Otridge, COO of Music Venue Properties, adds: “Grassroots venues are where careers begin and ensure communities have access to local, live music. They’re rehearsal spaces, testing grounds, and second homes for countless artists. That’s why Terry and Lesley’s incredible £100,000 donation is more than generous, it’s leadership.
“It shows the deeply personal impact these spaces have on everyone and reminds the music industry that we all have a role to play. Their contribution builds on the belief already shown by over 1500 community investors, and we’re proud to welcome them into the Music Venue Properties family.”
If you’d like to support the funding initiative, investments are available from just £50. Find out more via the Own Our Venues Crowdfunder.
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Nomad Factory release Liquid Bundle III Nomad Factory have launched the latest version of Liquid Bundle, kitting the six included plug-ins out with some GUI upgrades and performance improvements.

You can now share legally-safe remixes made with Hook directly to SoundCloud Hook, the app that lets you legally remix songs for social media, has officially integrated with SoundCloud.
The Hook app launched in October last year, allowing music fans to share short-form remixes and mash-ups to platforms like TikTok and Instagram Reels, all while compensating the original artist. This new, “strategic integration” with SoundCloud means fans can now share their Hook-made remixes, which can be up to 60-seconds long, directly with SoundCloud’s community.

READ MORE: Subtext now lets Artists on SoundCloud text their fans directly

The collaboration also enables DJs to discover new remixes on Hook, and export them to their own SoundCloud pages. Using SoundCloud’s integrations with Serato, Algoriddim, Denon DJ, Numark, and other DJ software and hardware, they can also be mixed into their live sets.
Hook’s aim is to continue a sustainable model of monetisation for the future of music creation, with each of its remixes rights-cleared and trackable. Since its launch, Hook has signed deals with “dozens of music partners” which includes music from more than 1,200 artists such as Hardwell, Swae Lee, Soulja Boy, Sadie Jean, Jaden Smith, Killer Mike, and many more.
To mark this integration with SoundCloud, the two platforms have teamed up to create the Lil Wayne Tha Carter VI Remix Challenge. To enter, Hook users can select one of three featured tracks – Hip-Hop (feat. BigXthaPlug, Jay Jones), Sharks (feat. Jelly Roll, Big Sean), or Banned from NO – from Lil Wayne’s Tha Carter VI album to create their own remix.
Fans who listen to the record on SoundCloud will be invited to customise the featured songs via the Artist Storefront on each track page for both web and mobile, where they will be sent directly to Hook. By sharing your finished remix to SoundCloud, you’ll be in with a chance to win prizes including tickets to Lil Wayne’s upcoming tour, and a signed copy of Tha Carter VI vinyl.

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“Fans aren’t just listening to or reacting to music anymore; they are helping to shape it,” comments Hook Founder and CEO, Gaurav Sharma. “For many years now, SoundCloud has played a key role in helping to transform and catalyse music trends around the world.
“This partnership builds a bridge between creation and culture, enabling fans to go from ‘listener’ to ‘remixer’ to ‘music tastemaker’ in seconds. Nothing could mark this collaboration in a more appropriate way than this fun Lil Wayne remix challenge that we think fans are going to love.”
To learn more about the Hook app, or find out more about Tha Carter VI Challenge, go to the official Hook website.
The post You can now share legally-safe remixes made with Hook directly to SoundCloud  appeared first on MusicTech.

HeadRush VX5 puts real AutoTune at your feet in an ultra-portable pedal made for live performanceHeadRush has unveiled the VX5, a powerful new vocal effects pedal that brings studio-grade pitch correction and vocal processing to the stage in a sleek, travel-friendly format.
Billed as the “first performance-ready pedal to feature genuine Antares AutoTune”, the VX5 allows singers and performers to access the same iconic vocal tuning technology used in countless hit records – without the need for a computer or DAW. Whether you’re a producer, gigging musician, or content creator, the VX5 promises to deliver polished, expressive vocals with minimal fuss.

READ MORE: 5 audio effects that will make your synth pads more rhythmic

From light tuning for pitch consistency to the iconic, stylised AutoTune effect popularised by artists like T-Pain and Travis Scott, the VX5’s dedicated Retune Speed and Humanize controls enable a wide range of vocal correction options. The pedal also features a deep suite of studio-grade effects such as reverb, delay, chorus, and flavour effects for signature sound customisation. All with “zero perceivable latency”.
Another standout feature is its Intelligent Harmonizer mode, which can automatically generate vocal harmonies based on your chosen key and scale – or connected guitar/ keyboard input.
The VX5 also functions as a 24-bit/48kHz stereo USB audio interface, making it easy to record vocals directly to your device. USB-MIDI support allows you to automate preset changes during live sets, ideal for syncing with backing tracks or playback rigs.

Navigating your sound on stage is straightforward thanks to two top-panel footswitches, which let you scroll through presets or switch up your sound mid-song.
A dedicated Talk Mode quickly mutes all effects for you to speak with the audience between songs, while A/B mode enables toggling individual effects within a preset. A vibrant colour display and streamlined menu system make adjusting settings fast and frustration-free even mid-performance.
Priced at $299, the unit includes 99 factory presets with storage for up to 250 in total. Under the hood, the VX5 features a high-quality XLR mic preamp with +48V phantom power, plus an XLR line output with ground lift switch to eliminate unwanted noise issues caused by ground loops.
Get an in-depth look at the HeadRush VX5 below.

Learn more at Headrushfx.
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“You kind of know what you’re going to get”: Chris Lake on the problem with “traditional great synths”Chris Lake is no stranger to dancefloor alchemy. Known for his sleek productions and chart-topping tracks, the British producer is also a gearhead with an instinct for what works – and what doesn’t – in a studio setup.
On a new episode of MusicTech’s My Forever Studio podcast, brought to you in partnership with Audient, Lake opens up about his approach to sound design, why he prefers synths that ‘misbehave’, and how creative constraints can be a secret weapon.

READ MORE: My Forever Studio: Howard Benson says tech can’t save bad songs

Discussing the allure of less traditional synths, Lake explains that sometimes, too much precision can be counterproductive.
“I think sometimes that can be the problem with some of the traditional great synths,” he says. “Like, you kind of know what you’re going to get and you can really dial in the sound that you know you’re going to get.”
“It’s predictable, it’s easy to get to. And that can sometimes be a hindrance, depending on the style of music you’re making.”
Instead, the producer is drawn to gear that throws a bit of unpredictability into the mix. He recalls a studio moment with French DJ-producer Sébastien Léger that forever changed how he viewed the creative process.
“I remember when I was working with Sébastien Léger. He’s like, ‘I’m not looking for the best idea. I’m just looking for the best mistake.’ And that’s really stuck with me, just like looking for that little piece of magic that you weren’t expecting to find. And I like the pieces of gear that increase the chances of you getting to that.”
It’s a mindset that also explains his fondness for semi-modular synths – tools that impose just enough limitation to spark something fresh.
“It’s like, put the guardrails up. Don’t give me too many options. I don’t want to get lost in this.”
“I’m a musician. I actually want to make something,” says Lake, who earlier this month released his first full-length album Chemistry. “I think one of the best things about modular for certain types of people is that they love that you can make anything and everything. You can go so many different directions. And that’s part of the joy of it.”
“[But] that’s not the joy for me. I actually like the restrictions. I like working within restrictions because it can get to a result quicker.”

The post “You kind of know what you’re going to get”: Chris Lake on the problem with “traditional great synths” appeared first on MusicTech.

Marshall’s Heston 120 soundbar is another bold move from the guitar amp brand£899, marshall.com
Few audio brands have successfully occupied both the pro and consumer spaces. Marshall, however, has reason to be proud of its efforts so far, finding success in recent years with its audio products like the Emberton and Motif Bluetooth speakers, and earbuds styled after the company’s legendary guitar amplifiers and speakers.
The Heston 120 is a step up in terms of price, ambition and scale; the company’s first soundbar, designed to compete at the higher end of what one might reasonably spend on such a product without venturing into the supremely costly world of audiophile models from the likes of Bang & Olufsen.

READ MORE: Sonos Arc soundbar review: sleek, powerful and Dolby Atmos-compatible

In case anyone needs a refresher, soundbars exist to enhance the home entertainment audio experience. But the Heston 120 does much more, incorporating multiple speakers firing in different directions to create a surround sound effect without the additional boxes and trailing wires.
Before we get to that, though, some basics: Weighing just over 7 kg, the soundbar is well built and feels like a solid piece of kit. The design is again clearly taken from Marshall’s black leather-style guitar amps and has a classy feel. While any design is a matter of personal taste, Marshall has pulled off the right balance of high-end finish and retro looks here. In the box, you get a power cable and an HDMI cable, with a downloadable mobile app working as the device’s remote. Not including a physical remote for a product at this price might irk some people, and not unreasonably, though increasingly many regularly use iOS apps as remotes, so maybe it’s not a stretch.
Around the back you’ll find a selection of ports, including HDMI 2.1 with eARC (a high-bandwidth audio transfer protocol that allows seamless transmission of uncompressed, multichannel audio), HDMI passthrough, RCA for connecting devices like turntables with a preamp stage and a USB-C port that can be used to charge a portable device. There’s also a 10/100 Ethernet port for connecting to your router if it’s nearby, which will take some load off your wi-fi network.
Image: Press
While the HDMI connection is essential for achieving latency-free streaming from your TV or set-top box to the soundbar, many of the Heston’s other talents work over wi-fi 6 or Bluetooth 5.3 connections. Use the mobile app to get things set up – joining your wi-fi network is easy, as is pairing any devices.
The soundbar supports multiple codecs from simple AAC to FLAC and also supports AirPlay 2, Google Cast, Spotify and Tidal Connect, all of which can be managed in the app and pre-programmed to the three hardware shortcut buttons on the bar itself. Apple users should note that streaming music over AirPlay from an iPhone, Mac or iPad allows lossless quality, while Bluetooth is restricted to much lower-bandwidth AAC.
Internally, the soundbar houses a total of eleven speakers made up of two subwoofers, two mid drivers, two tweeters and five full-range drivers, each powered by its own class D amplifier – two at 50W and nine at 30W.
As noted earlier, this model creates a surround sound effect by employing drivers that fire in multiple directions from inside the unit instead of from separate physical speaker cabinets. Dolby Atmos and DTS-X are natively supported, and the soundbar will allocate compatible source channels to speakers dynamically.
There’s also a room calibration procedure you can run from the app that uses the two small onboard microphones — we do notice that this results in a slightly more focused surround effect.
Image: Press
Heston’s performance with movies and indeed with TV is superb. There are four modes you can choose from the top panel (as well as volume and EQ) or from the app – movie, music, night and voice, each of which is self-explanatory. In movie mode, the soundstage is hugely impressive, revealing the power and detail of a well-mixed surround production in a way regular speakers can’t manage. In 2024’s Twisters, tornadoes are viscerally rendered, debris crashing around you as the score pulsates. In Alien: Romulus, jump scares are greatly enhanced. The Dolby Atmos effect is quite remarkable from a single box, with sounds genuinely seeming to come at you from different directions. Even with simpler content the soundstage is broad, rich and deep, the low end being particularly striking.
It’s also capable when playing music, although it’s impossible to escape the fact that this is a soundbar and not a pair of stereo speakers. That’s not a criticism but rather just a recognition that even the best soundbar is going to output music in a way that’s different to a pair of stereo monitors. Maybe only music producers will notice the difference, but it’s there nonetheless. You might argue that music playback will always be a secondary feature in a product primarily designed for movies and TV, which is a valid point.
The Heston 120 is priced the same as the Sonos Arc, which has a similar feature set, adding voice control and smart home integration, which Heston doesn’t have built in, but lacks DTS-X support and some of the casting options. It also lacks the RCA inputs that make the Marshall compatible with a wider range of hardware.
After experiencing your movie collection and favourite streaming services through this soundbar, it’s tough to go back to a smaller, less capable model, let alone the TV speakers, which seem almost comically weak by comparison. And yet £899 is a serious investment – you’re probably spending at least that much on your TV to make this whole package perform as well visually as it does sonically.
But why pair this with a cheap TV? If you are the kind of person who takes your home viewing seriously, you’ll love the sonic depth, power, and sheer visceral joy this soundbar adds to your experience. Sounding as impressive as it looks, you might never go to the cinema again.

Key features

11 drivers with dedicated class-D amplifiers
Frequency response 40 Hz – 20 kHz with a total output of 150W
Wi-fi 6, Bluetooth 5.3, 10/100 Ethernet
HDMI 2.1 eARC and passthrough, RCA inputs and sub output
Dolby Atmos and DTS-X
Room calibration via app
AirPlay 2, Google Cast, Spotify Connect
Multiple sound modes
Tactile on-body controls
1.1m width, 7kg weight

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