Restoration of former Beastie Boys recording studio underway, and you can helpA restoration project to revive G-Son Studios in Atwater Village, LA, is underway. G-Son was the former rehearsal and recording space for the Beastie Boys, and was also the headquarters for their own label, Grand Royal.
The project is being led by LA local, Adam Englander, with a vision to reopen G-Son as a living cultural venue for LA: a place for performances, screenings, workshops, DJ sets, gallery nights, rehearsals, and community programming. A public fundraising round will begin in May via Kickstarter.

READ MORE: “It’s still our quest to one day have Despacio here”: In Ibiza, Soulwax discuss the future of their famed sound system

G-Son studios became “one of the most mythic creative hideouts in LA”. On the outside it may have seemed like an unassuming old ballroom, but it was not only a studio, but a clubhouse, skate spot, basketball court, and experimental bunker where the Beastie Boys crafted some of their most famous works, including Check Your Head, Ill Communication, and Hello Nasty, as well as music videos like Pass the Mic.

After the Beastie Boys left, the building continued to house creative tenants, including Mad Decent Recordings, before eventually facing the risk of being gutted entirely. Other artists who utilised the G-Son space include Beck, Biz Markie, Run-DMC, Redd Kross, and Luscious Jackson.
According to the restoration team, construction crews were already inside preparing to tear things down when Englander and his project partner, Alex, stepped in. Since then, they’ve been slowly restoring the space by removing a collapsing stage, repairing infrastructure, fixing lighting, and uncovering original artwork that had been covered up, as pictured above. You can see more images from inside the venue below.
Credit: G-Son Studios
Credit: G-Son Studios
In the UK, similar action is being taken to save London’s iconic Battery Studios, which is currently under threat of demolition and redevelopment into residential flats. A petition has been launched to save the venue, which was originally founded in 1967 as Morgan Studios. In the petition, organisers describe the studio as an “irreplaceable cultural landmark”.
The post Restoration of former Beastie Boys recording studio underway, and you can help appeared first on MusicTech.

Five synths that define Nine Inch Nails’ soundOne of the most anticipated sets of Coachella 2026 was that of Nine Inch Noize, the collaboration between Trent Reznor’s iconic industrial rock band, Nine Inch Nails and the trendsetting techno veteran, Boys Noize.

READ MORE: Six synths that define Radiohead’s sound

Boys Noize, Trent Reznor and Reznor’s longtime collaborator and Nine Inch Nails bandmate Atticus Ross had performed together as an opening act for NIN’s recent world tour, but Coachella 2026 marked the first time they debuted their full set.
“The creative fulfillment of working on the Challengers and TRON scores with Boys Noize led me to think that including him in the Peel It Back tour could be an interesting way to express NIN in more purely electronic terms live – a concept I’ve wanted to explore for some time,” Reznor said in a statement.
Together, they played a series of Nine Inch Nails songs as well as one cut from Reznor and Ross’s other band, How To Destroy Angels, and even a track from the famed synth-pop outfit, Soft Cell. Except every song was remixed with a new kind of industrial flavor to reflect the fresh union of artists.
This kind of renewed approach defines Reznor’s career. Nine Inch Nails first formed in 1988, and in the subsequent 38 years, he has consistently tried new pieces of gear, ensuring no two releases sound the same.
“There’s always a good song in everything, an interesting experience to be had,” Reznor told Synth History in 2022.
And Reznor found good songs in the following five pieces of gear that ended up on albums such as Pretty Hate Machine (1989), The Downward Spiral (1994), and Hesitation Marks (2013).
1. E-mu Emax

The Emax was Reznor’s first real sampler, and according to him, he “got an Emax and that was Pretty Hate Machine.” He used it to make every single drum sound on the now platinum-selling album with a sample from an outside source.
Another noticeable instance of the Emax comes on Terrible Lie. The screechy synth line at the end of the song started as a woodblock, which Reznor ran through a distortion pedal, sampled with the Emax, and pitched down.
Emaxes were manufactured between 1986 and 1995, so an original often costs over $1,000. However, a software version is available for $49.
2. Kurzweil K2000

Another key piece of Reznor’s arsenal for his earlier, groundbreaking records such as The Downward Spiral, was the Kurzweil K2000 (it was also a favorite of another electronic icon, Jean-Michel Jarre). The synth has Variable Architecture Synthesis Technology (VAST), which allows users access to 31 algorithms of different component configurations. These built-in options empower them to extensively manipulate their chosen sound without getting into the technical minutiae of modular.
One sound on The Downward Spiral listeners might not expect to be software is the squeaky clean acoustic guitar on Hurt. It’s actually the acoustic guitar patch on the K2000 Orchestral ROM. Going the complete opposite direction, the crunchy computerized drums on The Becoming are also all K2000.
This vintage synth was mass-produced between 1991 and 2000, so a real one can be pricey, and as of now, there are no direct software versions.
3. ARP Odyssey

Reznor’s CV goes far beyond Nine Inch Nails, even winning two Academy Awards for Best Original Score alongside Atticus Ross. Most recently, they won for the Disney/Pixar film, Soul (2020), but their first was for Aaron Sorkin’s Facebook origin story, The Social Network (2010). Just as Mark Zuckerberg, played by Jesse Eisenberg, is sitting down drunk at his computer making a website where users compare women’s looks, the piece In Motion begins, which was created in part with an ARP Odyssey.
Given the synth was “lying around” in Reznor’s studio as recently as 2022, it naturally made its way onto other records as well. Namely, The Hand That Feeds, the Grammy-nominated cut from With Teeth (2005). The synth and drum break was fueled by the ARP Odyssey.
Being such a classic, it makes sense that Korg has an ARP Odyssey software version readily available for $49.99.
4. Waldorf MicroWave

The Waldorf MicroWave came about when Waldorf set out to make its own version of the PPG Wave 2, and Nine Inch Nails has used several versions of the MicroWave since. Reznor auctioned off a MicroWave XT and a MicroWave Access Programmer around 2009. Waldorf also made a custom MicroWave for Nine Inch Nails.
They used the Microwaves extensively on The Fragile (1999). Charlie Clouser, who was in Nine Inch Nails from 1994 to 2000, said of the MicroWave:
“I basically rely on three synths: the Nord, the (Access) Virus, and the MicroWave.”
5. Native Instruments Maschine

For Nine Inch Nails’ 2013 album, Hesitation Marks, Reznor composed the majority of the songs using Native Instruments’ Maschine. Despite having a massive arsenal of synths (and the money to buy anything he wanted), he chose to work on one device to use the limitation to his advantage. Beyond the sound banks that come with the product, he also used Soundtoys Native Effects bundle.
“I liked the limitation that everything was in Maschine; I liked the fact that it could be easily automated with fingers on knobs, and you don’t have to spend time assigning stuff,” Reznor once told Soundtoys. “And I liked the fact that it felt pattern-based.”
The post Five synths that define Nine Inch Nails’ sound appeared first on MusicTech.

Baby Audio Atoms is 60% OFF at Plugin Boutique until May 13
Plugin Boutique is running a 60% discount on Baby Audio Atoms, bringing the physical modeling synth down from $99 to $39 until May 13. Atoms is Baby Audio’s second virtual instrument, following the analog-flavored BA-1, and it’s a very different animal. Instead of oscillators, Atoms generates sound using a physical model of interconnected masses and [...]
View post: Baby Audio Atoms is 60% OFF at Plugin Boutique until May 13

“Creators’ needs are evolving”: Avid introduces Pro Tools 2026.4, with Track Pin – a simple new way to navigate complex sessions – front and centreAvid has unveiled the next version of Pro Tools – version 2026.4 – bringing about a number of upgrades to immersive audio production, workflow improvements and more.
Headlining the new features for Pro Tools 2026.4 is the introduction of Track Pin, a new way to stay focused while working with large, complex sessions. 
Professional audio projects can become unwieldy, often amassing hundreds of tracks in a single session. Even if you’re not working with quite that many tracks, you’ll know that it becomes more and more difficult to navigate a session the more complex it becomes.
With Track Pin, you can now lock important tracks in place within the edit window, meaning they remain visible onscreen as you navigate your session. This means crucial elements of a mix, like a lead vocal, for example, can be pinned and easily referred to, meaning far less unnecessary scrolling and more efficient editing and mixing.

READ MORE: Is agentic AI coming to Pro Tools? Avid announces “strategic partnership” with Google Cloud to further integrate AI into its portfolio

Elsewhere, Pro Tools 2026.4 enhances the DAW’s AI-powered speech-to-text capabilities, making lyric- and dialogue-driven workflows “faster, more flexible, and more efficient”. Additionally, transcription data is now automatically carried through to newly rendered files when producers perform processing operations like AudioSuite, Commit and Consolidate.
Pro Tools 2026.4 also introduces support for MPEG-H, a fast-growing broadcast standard, with a new MPEG-H Renderer plugin, as well as Dolby Headphone Personalisation for producers working with Dolby Atmos.
Credit: Avid
There’s also a raft of new instruments and sound content to inspire your projects, including the introduction of Native Instruments’ Massive X Player, a Pro Tools Massive X expansion pack for all users, and NI Lo-fi & Chill Plucks and Haze expansion packs for active subscribers and perpetual license holders.
“We’re accelerating innovation across our audio portfolio and giving creators faster and smarter tools to deliver their best work – whether they’re weekend warriors creating new tracks, or professionals making the world’s most demanding audio content,” says Chris Winsor, Director of Pro Tools Product Management at Avid, speaking exclusively to MusicTech.
Winsor notes how producers are increasingly looking for AI tools to help optimise their workflows.
“Creators’ needs are evolving – they’re looking for faster workflows, more creative freedom and practical AI tools that help them save time and work more efficiently,” he says. “That’s why we’re building strategic partnerships that help artists and producers accelerate delivery and reduce friction with intelligent, integrated technologies. Our Splice integration is a game-changer, putting the best royalty-free sound library and millions of samples at the fingertips of music creators.”
While AI adoption among musicians and producers has been the subject of some debate in recent years, Winsor reassures Pro Tools users that Avid’s approach to AI is always with the creator in mind.
“AI and automation are top of mind for the industry, but our approach to AI is simple: put the creator in the driver’s seat and help them accelerate the mundane,” he continues. “Our technologies like Speech-to-Text or AI-powered chord symbols, and carefully curated AI partner integrations are all designed to give creators more control, speed, and freedom in the moments that matter.”
Learn more about Pro Tools 2026.4 at Avid.
The post “Creators’ needs are evolving”: Avid introduces Pro Tools 2026.4, with Track Pin – a simple new way to navigate complex sessions – front and centre appeared first on MusicTech.

Lewitt introduce the LCT 440 Pure stereo pair Lewitt are now offering matched pairs of their LCT 440 Pure that come with an array of accessories aimed at tackling stereo miking duties. 

Release Title:
Экстрасенсы
Main Artist:
Даня Юрк
Release Date:
22/04/2026
Primary Genre:
Hip Hop/Rap
Secondary Genre:
Alternative Rap
https://publme.lnk.to/437285-
#newmusic #Release #Music #indepedent #artist #hiphop #rap

Video details
Video title:
Милый Котик
Artist(s):
Alice MassLove
Genres:
Pop, Electronica
Release Date:
10 Apr, 2026
https://www.youtube.com/watch?v=_wBXxithO40
#newmusicvideo #VEVO #Music #LifeCycleLtd #artist #pop #dance

Analog vs. digital synthesizers: What’s the difference and which should you choose?
Learn about the strengths and limitations of analog vs. digital synthesizers, and when you'd want to reach for each.

RealOpen and TRON verify $9.4M in USDT for crypto-enabled real estate purchasesRealOpen, the leading platform for buying real estate with crypto, today announced the conclusion of its collaborative "Fast Moves, Fast Payments" Holiday Campaign with TRON

Google gains 25M subscriptions in Q1, driven by YouTube and Google OneGoogle added 25M paid subscriptions in Q1, reaching 350M total, as YouTube and Google One grow.

Using a VT-100 TodayYou may not know what a ADM-3, a TV910, or a H1420 are, but you probably have at least heard of a VT-100. They are all terminals from around the same time, but the DEC VT-100 is the terminal that practically everything today at least somewhat emulates. Even though a real VT-100 is rare, since it defined what have become ANSI escape sequences, most computers you’ve used in the last few decades speak some variation of the VT-100’s language. [Nikhil] wanted to see if you could use a VT-100 for real work today.
While the VT-100 wasn’t a general-purpose computer, it did have an 8080 inside. It only had about 3K of RAM, which was enough to act as a serial terminal. A USB serial port and a terminal with modern Linux, how hard could it be?

As it turns out there were a few issues. MacOS assumes terminals can take data at 9600 baud with no handshaking, apparently. It also means that any application that assumes redrawing the whole terminal is fast will be sorry for that choice.
Of course, there are commands modern VT-100-like terminals accept that the original didn’t. However, as you’ll see in the post, all of these things you can either live with or solve.
It is easy to make your own VT-100 replica. While the VT-100 may seem simple today, it was a marvel compared to even older terminals.

Audio Fusion Bureau releases RoomDiY, a FREE acoustic room simulation plugin
From developer Audio Fusion Bureau comes RoomDiY, a free acoustic room simulation plugin for macOS and Windows. RoomDiY offers advanced real-time acoustic modelling and room analysis. In short, the plugin allows you to design the ideal acoustic space for any given project. We’ve covered many convolution reverb plugins that offer impulse responses of real-world spaces, [...]
View post: Audio Fusion Bureau releases RoomDiY, a FREE acoustic room simulation plugin

UMG generated $3.39 billion in Q1, up 8.1% YoY – driven by BTS, Olivia Dean, Taylor Swift, and moreUniversal Music Group has published its Q1 2026 results for the three months ending March 31
Source

Recording industry Renaissance man David Goggin (aka Mr. Bonzai) passes at 78Music Connection was saddened to learn of the passing of David "Mr. Bonzai" Goggin this week:

David Goggin (often known by his pen name “Mr. Bonzai”), whose journalism, photography, visual art, and advocacy chronicled the golden age of recording studios, has died peacefully after a valiant fight with two cancers and a stroke. He was 78.

David is survived by his wife of 42 years, acclaimed artist Keiko Kasai, with whom he shared a long and intimate personal and artistic partnership. She was the muse for over 1,000 of his drawings and portraits.

A true Renaissance man, Goggin was an accomplished artist, writer, photographer, journalist, filmmaker, and poet. He was best known for his monthly interviews with producers, engineers, and musicians for Mix magazine and later EQ magazine from the late 1970s through the 1990s. He produced over 250 interviews for both these magazines, offering quirky, insightful, and vivid portraits of studio life, where some of the era’s most iconic albums were recorded. His work documented the voices of producers, engineers, and session musicians often overlooked in mainstream music reporting.“

I just kind of fell into it. I was always around music,” Goggin told podcaster Daniel Keller. “I wasn’t thinking about a career; I was just doing what I loved. Suddenly, I’m in the studio with these legends, documenting them making their music. This became my life—capturing these moments. I realized I had a front-row seat to history.”

Born in Kingston, New York in 1947 to cartoonist Edward James Goggin and Anna Marie Farrell, David Goggin graduated from the University of California at Irvine (UCI) with a degree in English Literature. After producing light shows for concerts by Janis Joplin and Buffalo Springfield at UCI, he spent a year studying abroad at the University of Edinburgh and traveled extensively in the UK, where he met John Lennon in 1968-1969, and witnessed a session where The Beatles recorded “I Am the Walrus.” This experience ignited Goggin’s lifelong passion for the craft of recording and the people behind it.

While at UCI, Goggin studied drawing with David Hockney; it was a pursuit he continued throughout his lifetime. Building from his drawing technique, his art practice expanded to include delicate wire sculptures that are widely collected by an eclectic group of Hollywood luminaries including Norman Lear.Goggin started his career in media in the late sixties, hosting a late-night comedy radio show in Montreal. When the show was cancelled, David returned to Orange County and began work in the recording industry as the studio manager at the Lyon Recording Studio, while doing publicity for an affiliated company, Lyon Lamb Video Animation Systems.

Goggin’s first break as a music journalist came with the then-startup Mix magazine in 1979, where editor and soon-to-be lifelong friend David Schwartz invited him to write a monthly column about the pressured, offbeat life inside a small Orange County recording studio. Writing under the pen name Mr. Bonzai, his columns became a staple of the magazine, evolving into his first book and the popular Lunching with Mr. Bonzai series. Over his career, Goggin wrote more than 1,000 articles and interviews for major publications in the U.S., Europe, and Asia, including Rolling Stone, The New York Times, Billboard, and The Hollywood Reporter, Sound & Recording Japan.

Among his many skills was his ability to elicit brain-scratching quotes from pressured artists. Film composer CJ Vanston called him “the mother of all flies on the wall,” and Suzanne Ciani said he was “always a charming and clever centerpiece at any industry convention,” while “Weird Al” Yankovic said that Mr. Bonzai “got inside my mind when I wasn’t looking,” and Graham Nash observed that his greatest talent was “being invisible,” and George Massenburg described him simply as “curiosity and joy.”

Many of his articles featured his award-winning photography, establishing him as Los Angeles’ preeminent recording studio photographer. Sights of Goggin, in his pork pie hat, metallic glasses, lanyard Montblanc fountain pen, and multi-colored shirt, working booths at industry conventions with a Leica camera and ladder in hand, made him one of the most recognized figures in the pro-audio industry.

Goggin’s early studio stories were compiled into his first book, Studio Life: The Other Side of the Tracks (1984), and his life’s work included seven more books: Santa’s Secret Sled (1980), co-written with Bruce Lyon; Hal Blaine and The Wrecking Crew (1990), co-written with legendary session drummer Hal Blaine; The Sound of Money (2000), co-written with his friend and client Chris Stone; Faces of Music (2006); Music Smarts (2009); and John Lennon’s Tooth (2012).

In 2025, he co-authored Buzz Me In: Inside the Record Plant Studios with music journalist Martin Porter, reconstructing the wild and innovative history of Record Plant Studios in New York, Sausalito, and Los Angeles, where Goggin worked as a press agent.

In addition to his work at Record Plant, Goggin collaborated with the studio’s owner Chris Stone on industry advocacy groups such as SPARS and the World Studio Group. He co-founded, with producer/engineer Ed Cherney and Stone, the Music Producers Guild of the Americas, which later became the Producers & Engineers Wing of the Recording Academy.

He was also active in the National Association of Music Merchants (NAMM) community, producing conference sessions with audio-industry pioneers and hosting the Technical Excellence & Creativity (TEC) Awards. He appeared on NAMM’s TEC Tracks stage in January 2026, with Devo frontman Mark Mothersbaugh and producer Bob Margouleff to discuss the making of the 1980 hit “Whip It” at Record Plant.Mothersbaugh once called him “a master of modern music photojournalism,” obliquely adding that “Mr. Bonzai is the future of the past.”Goggin’s company, Communication Arcs, provided PR and photographic services to leading pro-audio manufacturers and recording studios, including Sony, Telefunken, Sommer Cable, Ocean Way Recording, United Recording, and Bernie Grundman Mastering.

For half a century, David Goggin’s work compiled the audio and visual history of the recording studio era, bridging the early creative chaos of the analog studio age and the digital birth of personal music production, always focusing the lens on the people and technology behind the scenes that made the music happen.

"David 'Mr. Bonzai' Goggin was a friend of mine, and to countless others in the Pro Audio/MI industries," says MC publisher Eric Bettelli. "Dave's contribution to our industry spans decades. He was a top notch professional music journalist, publicist and author, whose work speaks for itself. He just never missed a beat. And most of all, Dave was one of the good guys, who was always eager to share his incredible talent with all. A real Mench. Dave, RIP, and hope to see you again on the other side."The post Recording industry Renaissance man David Goggin (aka Mr. Bonzai) passes at 78 first appeared on Music Connection Magazine.

No Type No Tag Beats StuttermationStuttermation is a dynamic, timeline-based stutter, glitch, and time-manipulation multi-effect built for precise rhythmic audio editing inside a DAW-synced plugin. Instead of relying on MIDI triggers or static LFO patterns, Stuttermation lets you draw audio manipulation events directly onto a timeline and shape each moment independently. The plugin is built around Blocks. Each block can have its own rate, buffer behavior, gate shape, pitch movement, probability, direction, filtering, drive, volume, pan, and envelope curves. This makes it possible to chain tight stutters, halftime chops, reverse cuts, pitch ramps, gated 808 tail edits, accelerating glitches, distorted rhythmic effects, and full-loop transformations inside one continuous sequence. Main Features Timeline-Based Block Sequencing: Draw, resize, duplicate, delete, and arrange stutter blocks on a DAW-synced timeline with customizable snap settings, zooming, smooth scrolling, and an interactive minimap. The timeline is capped at 500 bars for stable large-session behavior. Per-Block Slice Engine: Each block renders through a strict slice-local playback core, so the block's rate controls slice count while pitch, halftime, reverse, and buffer length shape what happens inside each slice without changing the number of slices. Dynamic Rate Morphing: Set independent Start and End rates for a block, from slow rhythmic chops to rapid glitch bursts, for smooth accelerations, decelerations, and evolving stutter movement. Musical Buffer Length Control: Choose Match Rate or shorter buffer lengths per block. Shorter buffers play only that portion of each slice, then smooth to silence without stretching or repeating the audio, preserving pitch and transient integrity. Advanced Audio Grabbing: Choose how each block captures audio: Start of Block for classic stutter sampling, Moving Playhead for live granular behavior, or Fixed Offset for repeatable delayed capture. Gate Shape Modes: Shape every slice with dedicated gate modes: Truncate for tight cuts, Fade for smoother exits, and T-Safe for transient-conscious slicing. Gate percentage, Attack, Release, Reverse, and Halftime are all set per block. Bass and 808 Tail Handling: Designed to work cleanly on sustained low-end material, including 808 tails and bass notes, with adaptive entry smoothing, safer slice transitions, and pitch-aware rendering. Transient-Aware Pitch Rendering: Pitch ramps and pitch-shifted blocks use improved slice handling to preserve punch on transient-heavy material while keeping sustained bass and 808 content stable. High-Quality Interpolation: Includes multiple interpolation modes, including an upgraded HQ sinc mode for smoother pitch movement, cleaner high-rate stutters, and improved resampling quality. Per-Block Curve Envelopes: Draw automation curves directly onto blocks with adjustable tension for ease-in/ease-out movement. Available lanes include Volume, Pitch, Pan, High-Pass Filter, Low-Pass Filter, and Overdrive. Envelope Workflow Tools: Copy and paste envelope shapes between lanes, apply built-in shapes such as ramps, saws, squares, and pulses, and use slice-aligned visual guides for faster rhythmic editing. Drive and Distortion Control: Shape distortion per block with the Overdrive envelope, optional drive-only 2x/4x oversampling, and a 2x Drive option for more aggressive saturation when needed. Output Safety Stage: A transparent final safety stage helps catch stacked blocks, heavy drive, and dense overlapping effects before they create unexpected output spikes. Generative Probability: Use Block Probability to decide whether an entire block triggers, and Stutter Probability to control whether individual slices play, creating evolving rhythms from static loops. Randomize and Humanize Tools: Quickly generate new ideas with randomize options for selected block settings and envelopes, plus humanize tools for subtle rate and probability variation. Polyphonic Micro-Grain DSP: A 16-voice slice/grain engine with explicit voice allocation, click-conscious transitions, and stable voice stealing for dense overlapping blocks and fast stutter patterns. Channel-Safe Automation: Volume, pan, filter, wet, and drive transitions are smoothed and audited to avoid block-entry leaks, center blips, and opposite-channel artifacts. Global Playback Modes: Fine-tune the overall engine behavior with global Transition, Interpolation, Timing, and Mix modes for different editing styles and playback needs. Visual Slice Feedback: Timeline blocks show slice shapes, gate behavior, probability markings, envelope overlays, reverse direction, and compact gate-mode badges for quick visual editing. Built-In Preset Manager: Save, load, and browse XML-based stutter sequences across sessions and DAWs, including block settings, gate modes, envelopes, probability, global modes, and timeline data. Support. For support or inquiries: NO.TYPE.NO.TAG.BEATS@gmail.com FAQ. Does Stuttermation use MIDI triggering? No. Stuttermation is timeline-based. You draw blocks directly where you want the effect to happen. Can each block have different settings? Yes. Every block can have its own rate, buffer length, envelopes, gate mode, reverse, halftime, drive, filter, pan, probability, and more. Does it work on 808s and bass tails? Yes. The engine has been tuned for sustained low-end material, including 808 tails and bass notes. Can I use it for glitch effects? Yes. Use rate morphing, pitch envelopes, buffer length, probability, reverse, drive, and filter envelopes to create glitch builds and rhythmic edits. Read More