A vocoder belonging to late Kraftwerk legend Florian Schneider has sold at auction for over $250,000The Sennheiser VSM-201 vocoder belonging to late Kraftwerk co-founder Florian Schneider has sold at auction for $256,000.
Kraftwerk were one of the first groups to use the vocoder in electronic music, inspiring the likes of Daft Punk and many others. This makes Schneider’s vocoder a rare piece of electronic music history, which also includes custom modifications not seen on other vocoders of the same kind.

READ MORE: Black Friday music deals 2025: The best early deals we’ve found on synths, DJ controllers and plugins

According to Julien’s Auctions, the auction house which hosted the sale, the Schneider’s VSM-201 is “extremely rare, possibly unique”, with three modified MIDI jacks located on the back right of the chassis.
The vocoder was initially estimated to sell for between $30,000 and $50,000, so its quarter-million-plus final sale price smashed these estimates.
The VSM-201 was just one of 461 items sold by Julien’s as part of the Florian Schneider Collection. Many other pieces of gear in the collection came from Kraftwerk’s mysterious Kling Klang Studio in Düsseldorf, where the group recorded some of their most famed albums, including Trans-Europe Express (1977) and The Man-Machine (1978).
Credit: Julien’s Auctions
Other items in the collection included a super-rare 1930s Telefunken Volks-Trautonium pre-synthesiser, which Schneider purchased from its inventor Oskar Sala, as well as memorabilia including his 1968 German passport and one of the Panasonic Panaracer bycycles ridden by the band for their iconic Tour de France music video.
Like the Sennheiser VSM-201 vocoder, other items in the collection sold for way beyond their estimates; Schneider’s EMS Synthi A suitcase synthesizer, for example, sold at $115,000, smashing its $15,000 – $20,000 estimate.
As Julien’s explains, London’s Victoria & Albert Museum has made a statement saying it is interested in including some of the items from the collection in an upcoming exhibition from March until December 2027. “The winning bidder will be asked if their contact information can be shared with the V&A by Julien’s to discuss a loan,” Julien’s writes.
Learn more about the Florian Schneider Collection via Julien’s.
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AIR Music Technology Tape Double TrackTape Double Track is a faithful recreation of a classic double-tracking effect. The vintage 1960s ADT technique meets the flexibility of modern production workflows. If you're a fan of classic tape effects, you know the most subtle sonic details are what give a mix its magic. Take the Automatic Double Tracking (ADT) technique: Originally developed in 1966, this effect revolutionized recordings by creating the illusion of double-tracked performances using tape delay, varispeed, and modulation without requiring artists to re-record parts. AIR Tape Double Track combines all the vintage tape character you love with creative digital control to give you a flexible production tool that works across genres. Whether you're chasing the lush vocal textures of the '60s or adding subtle movement to guitars and synths, this plugin delivers the distinctive sound of analog double-tracking—made specially for your DAW or MPC. Bring vocals and instruments to life with a legendary double-track technique inspired by iconic 1960s studio recordings. Tape Double Track recreates the subtle pitch variations and natural movement of classic tape-based ADT, giving your tracks instant dimension for an overall richer sound. Tape Double Track allows you to sculpt exactly how your doubled track moves. Choose from sine, triangle, or random modulation shapes, and adjust the warp to create anything from a smooth, vintage wobble to an evolving, experimental texture. You'll end up with a mix that breathes and shifts naturally, adding emotion with each and every take. Capture the unpredictability of tape playback. Nuances in classic analog tape double tracking gave every recording unique character, making for truly organic, randomized moments and sound. Tape Double Track brings that organic variation back to give your productions a human touch and analog warmth with the convenience of digital control. At the heart of Tape Double Track is its Varispeed function: your main source for enhancing the double-tracking effect. You can easily alter modulation, change the pitch and speed of your recording, and visualize delay in real time between channels as the sound moves back and forth, emulating the vintage ADT tape-stretching technique. Read More

Best Black Friday Deals under $10 (+ get FREE plugins as a bonus)
After rounding up the best Black Friday deals under $20 yesterday, it’s time to look at the sub-$10 category. The lineup is unusually strong, and the listed deals also include a free gift (MASSIVE, Bloom Vocal Edit Lite, Galaxy Tape Echo, MixBox, Lunacy Time). Here are the best Black Friday deals under $10 right now, [...]
View post: Best Black Friday Deals under $10 (+ get FREE plugins as a bonus)

PSPaudioware announce PSP stereoAligner2 PSPaudioware’s latest release offers a handy, all-in-one solution for correcting phase and timing issues in stereo and multi-miked sources. 

Komplete 15 just got more creative — and more affordableAd feature with Native Instruments
Native Instruments’ mammoth software library, Komplete 15, has been supercharged with a string of creative updates to Kontakt 8.
The version includes a streamlined GUI and a host of powerful Tools to inspire your music-making. And, starting tomorrow, Komplete will be 50% off, saving you hundreds of dollars, alongside other NI products like Massive X.
“At its core, Kontakt is three things,” says Tim Adnitt, Native Instruments’ VP of products and sound design. “It’s an instrument player, a sampler and an instrument-building platform. For Kontakt 8, we wanted to zone in on what creativity means in the context of each of these.”
In the latest version of Kontakt 8, that creativity is further unlocked by additions to Tools.

Tools takes incoming MIDI notes and transforms them to generate musical ideas. Upon Kontakt 8’s initial launch, Chords and Phrases Tools let producers quickly experiment with hundreds of chords and melodies, respectively. Now, six new Tools are on board to spark even more inspiration. Plus, you can now chain Tools together for a deeper layer of creative MIDI, alongside the galaxy of instruments in Komplete 15.
Arpeggiator transforms simple chords into moving, rhythmic patterns, while Pattern tool locks in your groove with customizable rhythmic sequences that add momentum and flow. If you need a more organic feel, the Humaniser adds natural variation to timing and velocity for lifelike performances.
For composers looking to expand their harmonic vocabulary, the new Chord Builder allows you to shape major and minor voicings, choose roots, and stack extensions to craft chords exactly your way. Perhaps most excitingly, you can now chain these Tools together—feeding the output of a Chord tool into an Arpeggiator, for example—to create complex, evolving musical structures from a single key press, with any blend of Kontakt instruments you prefer.
As part of Native Instruments’ Black Friday sales, which run until 31 December, NI customers can claim a 50% discount on all editions of Komplete 15. Meanwhile, there are savings on Massive X, Circular, Claire and more, plus sales on partner products like U-he Diva.
This is the perfect time to grab some of the company’s coveted standalone releases.
Check out the full sale at native-instruments.com
The post Komplete 15 just got more creative — and more affordable appeared first on MusicTech.

Enjoy Hypebot’s Thanksgiving Playlist 2025At a time when discussing politics, morality, lifestyle and just about anything else around the Thanksgiving table is fraught with danger, music remains a relatively safe topic. In that spirit, we bring you our Thanksgiving Playlist 2025 Edition.
The post Enjoy Hypebot’s Thanksgiving Playlist 2025 appeared first on Hypebot.

BPB offers the FREE Flame Sound Black Friday Bundle
Bedroom Producers Blog releases the Flame Sound Black Friday Bundle, a free, limited-time collection of premium cinematic sounds for any sampler or DAW that supports WAV files. This one is a special Black Friday freebie for BPB readers, and you won’t find this exact collection anywhere else. Free Flame Sound Black Friday Bundle I hand-picked [...]
View post: BPB offers the FREE Flame Sound Black Friday Bundle

I visited Sennheiser’s HQ for its 80th anniversary — here’s what I learnedIt may be a gloomy autumn day outside, but innovation burns brightly inside the headquarters of Sennheiser in Wedemark, Germany.
I’m invited here as a guest for the brand’s 80th anniversary celebrations, and this visit includes a rare glimpse of the factory floor and demonstrations of the brand’s most innovative technologies.

READ MORE: I tested Sony’s 360 Virtual Mixing Environment at Battery Studios — here’s how it works

To start the day, a keynote presentation by CEO Dr Andreas Sennheiser — grandson of founder Fritz — is poignantly interspersed with clips from pivotal historical speeches captured using Sennheiser microphones, including Martin Luther King’s “I have a dream” in 1963 and Ronald Reagan’s “Tear down this wall” in 1987. Musical artists are also well represented in the keynote, from The Scorpions approaching the brand to create a “fat-sounding” mic for live use, through to the exuberant, acrobatic energy of P!nk’s live performances, which rely on Sennheiser wireless tech.
Press pass. Image: Barry Watson
Quoting Fritz Sennheiser, Andreas explains that “engineers need to have space and time for crazy ideas”. Judging by my experiences, these crazy ideas are indeed alive and well, as they jostle to innovate while continuing to support existing products, many of which are workhorses that have remained unchanged for decades (as they just work).
A few surprises came up on my trip, though. Here’s what I found out:
HD25 headphones. Image: Nady El-Tounsy
1. HD25 headphones gained popularity aboard Concorde (and not in a DJ booth)
The HD25 headphones are beloved by DJs the world over for their near-indestructible quality, user-replaceable parts, swivelling ear-cups and inherent sound quality. These qualities translate well into on-the-go headphones for favourite tunes.
It comes as a surprise to me, then, that a variant of the HD25s was developed for use on the passenger in-flight entertainment system of the luxurious, fast — but discontinued — Concorde aircraft.
The story goes that high-profile, wealthy musicians flying Concorde took such a liking to them that they simply took them away with them so they could use them at home and in the studio. I don’t think anyone in modern-day Economy class has had a similar spark of inspiration when listening to the crappy, 50p prong-connector headphones they’re provided — hopefully, today’s DJs are better equipped!
The historical farmhouse around which the Sennheiser campus has grown. Image: Barry Watson
2. Sennheiser’s headquarters remain in the same spot as when the company was founded
In a transition from fields to factory, the Sennheiser campus has grown around a farmhouse in the German countryside that served as the original headquarters when the company was founded. While state-of-the-art offices, factories and even a creche have sprung up around it, the farmhouse remains a peaceful corner of the campus that serves as a reminder of the company’s roots.
On my tour, I also spot an older factory building, now used as office space, bearing a previous reincarnation of the company’s logo, preserved for posterity. Sennheiser strikes a great balance of honouring the past while constantly looking forward.
The past is preserved in the form of previous brand logo on the original factory buildings. Image: Barry Watson
3. Immersive audio on speakers is far more achievable in a car than at home, and Sennheiser is nailing it
There’s lots of hype around immersive audio formats such as Atmos, but the reality is that, without a considerable budget and the right size and type of room, playback of immersive audio on speakers — to fully realise the creative intention — is not at all practical. Spatial audio in headphones approximates the extra dimensions offered by a 3D soundfield, but never gets close to the sheer power and immersion of, say, a 7.1.4 speaker array. For what it’s worth, I don’t think it’s all a gimmick; I believe that, when done well, an Atmos mix can surpass a stereo mix for many types of music.
This is where AMBEO comes in; clever immersive audio software that Sennheiser licenses to a range of car manufacturers including Cupra and Smart. The software processes immersive audio and upmixes conventional stereo material to send it to a surround speaker array built into the car interior. The whole system is scalable, including the 12-speaker horizontal-only setup on Cupra cars, and a 22-speaker, ‘with-height’ system on newer Smarts.
Controls for an 11-speaker AMBEO in-car system. Image: Barry Watson
I’m hugely impressed by both systems, with the larger Smart setup having the edge for level of immersion. It’s great fun auditioning a load of tracks, and even stereo releases upmixed by AMBEO’s Concerto algorithm sound a little more three-dimensional and alive; we’ve come a long way from dodgy upmixes of stereo music to make Dolby 5.1 concert DVDs, with their phasey, reverb-drenched rear surround channels.
It strikes me that this all works best in EVs, since engine noise won’t get in the way of the impeccable audio. Hey, with AMBEO on board, you’d almost want to get stuck in traffic. I’ve rarely wished such a thing.
Wireless receiver/transmitter beltpacks and antennae for Spectera. Image: Barry Watson
4. Sennheiser’s latest wireless technology is a big deal
“Sweat is ugly”, remarks Volker Schmitt (Technical Application Manager) as he explains the challenges of stress-testing wireless systems. He’s here to present Sennheiser’s new Spectera; a revolutionary wireless system that combines up to 64 channels into a single, 1U controller box.
Spectera replaces the racks and racks of gear you’d previously need to handle this many wireless channels, and employs dynamic utilisation of system resources that can be user-controlled using various priority lists and codec settings. For example, using a lower quality codec for in-ear monitors while reserving maximum quality for the lead singer’s vocal mic. It’s all impressive and hugely flexible.
The pièce de résistance, however, is the bidirectional capability of the system. Both a microphone and in-ear monitors (IEM) can be handled by a single transmitter/receiver beltpack – especially handy for energetic performances where you want the tech to be as unintrusive as possible.
Spectera and its associated hardware don’t come cheap, but I’m struck by the creative possibilities and the relative ease of set-up. I predict that Spectera will become the go-to system for all manner of live events, film and TV.
The MD441 microphone, which has a hand-assembled capsule. Image: Nady El-Tounsy
5. Hand assembly still plays a huge role in production
The Wedemark factory makes a range of Sennheiser-branded products, and Neumann microphones (a Sennheiser brand since a buyout in 1991). With a vast complex of factory buildings, the campus-wide workforce has grown to 2200, with a three-year training programme for factory workers being run in a college on site.
Touring the factory, I’m taken back by the amount of hand assembly that’s going on, from soldering, to paint spraying, and assembling dynamic mic capsules. Many of the individual workstations are equipped with Sennheiser’s self-devised jigs to assist with holding and moving components while they’re being worked on, and test gear is all developed in-house too.
While hand assembly is still dominant, some stages of the process are automated, such as this robot arm finishing Neumann mic capsules. Image: Barry Watson
The high level of attention to detail is plain to see. At one point, factory boss Andreas Gruening recounts the amount of effort and testing required just to find a suitable fabric for the inside of the headbaskets of Neumann mics. The factory sends test gear to the fabric supplier and makes them test every roll to find the ones that work best as pop shields — charmingly, ‘Popschutz’ in German — and only buys those best few rolls of fabric to mount inside mics at the factory. Fussiness pays off.
There are a number of what Gruening refers to as “collaborative robots” — I like how this makes them sound friendly and helpful. The prize for neatest and most mesmerising robot is a lively, yellow arm that mills the surface of capsules for the iconic Neumann U 87 microphone.
The post I visited Sennheiser’s HQ for its 80th anniversary — here’s what I learned appeared first on MusicTech.

Tonverk is Elektron’s most versatile sampler yet£1,199, elektron.se
Elektron fans knew of Tonverk long before it was officially announced, having been leaked via Elektron’s own Elektronauts forum in early 2024.

READ MORE: Polyend’s MESS gives you wildly creative effects sequencing

Back then, information on the new device was scant, but prospective users were nonetheless excited for what appeared to be a new form factor for the Swedish developer: smaller than the likes of the Octatrack and Analogue Rytm but larger than the Digitakt or Digitone-style boxes.
Now, over a year later, Elektron declares on its website, “In many ways, Tonverk could be your perfect Elektron workstation.” Will it live up to such an epithet?

At the time of its leak, many were quick to deduce that Tonverk appeared to promise expansive effects routing capabilities, lending itself toward the Octatrack side of things, while its 13-key onboard keyboard suggested more Analogue Four-style chromatic playability. Both of these predictions were correct: Tonverk is a polyphonic multisampler offering a host of functions that tie several strands of the company’s output together rather neatly. Its sequencer offers eight stereo audio tracks, four bus tracks, three send tracks, and a mix track. It also provides a raft of new effects, a variety of interesting routing options and, significantly, multisampling.
There’s an accompanying MPC-esque Auto Sampler, which can automatically map samples from MIDI-connected hardware instruments— indeed making monophonic ones playable polyphonically if desired. This is a must if you don’t want to spend hours inputting individual samples for every instrument, which can number in the hundreds when it comes to more expressive instruments. Happily, Tonverk’s 1023 sample slots per project across 4GB can accommodate these with ease. The included SD card offers an overall memory of 64GB, so you’re unlikely to find yourself frustrated in this department— and if you are, you can simply get more storage.
Image: Press
Its physical size will come as a welcome development for some; more spacious than Elektron’s smaller boxes (doubtless many will prefer its Trig keys being in a more intuitive single row than the double rows of Digitakt, Digitone and Syntakt) but more compact than the larger-format instruments. It’s not far off the size of the Roland SP-404MKII, only oriented in landscape instead of portrait.
Tonverk’s build quality is predictably solid, with a sturdy steel enclosure and a few well-deployed additions on the rear. USB-C is now supported when it comes to connectivity, and since it’s also used for the power supply, there are two ports. There’s also a slot for an SD card on the rear (great news for CF-card-carrying Octatrack users), and four separate audio outputs alongside the headphones output and two audio inputs. On the main panel, the primary volume knob is now an endless encoder presenting a digital readout on the screen instead of the analogue pot found on previous Elektron units. The sequencer Page LEDs have also gone, once again favouring a screen-based display. This is perhaps a pragmatic decision as well, since Tonverk offers up to 256 steps per pattern per track, and 16 LEDs would likely look a little overwhelming.
Trig keys here take on a slimmer, Digitone-like form instead of the larger square buttons found on many other Elektron boxes. As a long-time Digitakt user I find these to be on the slim side, but then again, others who aren’t so prone to bashing their sequencer buttons with abandon (and fairly poor aim) might prefer them. The first eight are for stereo audio tracks, followed by four for bus tracks, three for sends and one for Mix. These are lit subtly differently to indicate their roles (a touch too subtly, perhaps). Audio tracks are of course self explanatory, but there is one very powerful trick up Tonverk’s sleeve. Alongside the two more conventional track ‘Machines’— Single Player (single samples) and Multi Player (multisampled instruments)— there is a Subtracks Machine which allows each track to accommodate up to eight different samples of its own, programmed via the lower row of the onboard keyboard. Every sample can be sequenced separately, and while these must still obey many of the overall track’s settings, each gets its own settings on the Source, Filter, Amplitude, and Modulation pages. It won’t give you the same discrete control over every sound that track-by-track processing will, but with these it’s essentially possible to sequence eight different drum machines simultaneously— a whopping 64 samples at once! That’s expansive, even for Elektron. Those familiar with other Elektron devices might be disappointed to find no such machines for slicing, repitching or stretching, but as of the latest firmware update a powerful new granular machine named Grainer has made an appearance, with more hopefully on the way.
The Tonverk keyboard. Image: Press
The chromatic keys are of the same size as the Trig keys, and these I did appreciate, greatly; no more menu-diving to allocate pitch to a sample or awkward chromatic keyboard mapping over the Trig keys. There’s also a Step Edit button, which expands upon Elektron’s classic Grid Recording mode by allowing step-by-step editing with the keyboard, with a small LED dot on each key acting as an intuitive display for different notes and states on different sequencer steps— triggers with red, for instance, or parameter locks with flashing red or yellow. There is a handy column of LEDs alongside this to indicate the keyboard octave, and if there are notes programmed out of range of the selected octave, the relevant octave LED will indicate this. This is of course aside from the extra performability accommodated by the keyboard. I could punch in melodies with ease with the transport going, improvise in real time over a pattern or even use Tonverk as a capable synth in its own right, not least with its arpeggiator or Chord mode. It’s a brilliantly thought out piece of design, and I’d imagine constituted one of the primary reasons for increasing Tonverk’s form factor. Suffice to say, it’s well worth it.
The next Trig keys along are for four separate buses, allowing groups of tracks to be processed as a subgroup (all 12 of these tracks can also be used for MIDI). As anyone familiar with the Elektron workflow will tell you, effects and parameter locks are as crucial to the output of these machines as the sounds themselves, so to be able to process select groups of sounds in this way is a powerful feature; one I found created huge amounts of movement and dynamic excitement. Beyond these are the Trig keys for sends, allowing for further effects processing in parallel, either from the Tonverk’s internal algorithms or from external effects units via the C/D audio outputs.
As for those effects, it’s a generous list— more than the Octatrack and more than I have column space for here. But of the 17 (yes, 17) individual effects available I can say I particularly enjoy the Degrader suite of bit crushing, drive, redux, stuttering and more. Another stand-out is the expansive (and brilliantly named) Rumsklang Reverb, which gives control over both early and late stage reflections and has some of the best visual parameter animations I’ve seen on Elektron devices.
The Tonverk auto sampler. Image: Press
At the end of the Trig keys is the Mix track, which allows for control over the mix at large, including a master effect with modulation options. All other routing is handled via an easy-to-navigate routing menu screen, which even allows control over which sounds are sent to the headphones output. I would have liked to see two further audio inputs, since involving any outboard effects means it’s impossible to receive or record audio from anywhere else, but as it stands, this impasse is relatively infrequent.
At this point, it’s hard to think of a gap in Elektron’s catalogue, but if there was one, Tonverk does a fine job of filling it. Its sampling power is considerable, but its routing, effects and workflow are such that it really makes every sound it produces its very own.
Tonverk is priced reasonably, too: at the upper end compared to the likes of the Roland SP-404MKII, but more or less around the price point of the larger Akai MPC X and exactly halfway between the Digitakt II and the Octatrack MKII.
‘Your perfect Elektron workstation’? It may just be.
In and out on the Tonverk. Image: Press
Key features

Polyphonic multisampler and audio processor
8 stereo audio tracks
4 bus tracks
3 send effect tracks
1 mix track
Up to 256 steps per pattern and track
Onboard chromatic keyboard with step editing
Auto Sampler for mapping multisample instruments
8 voices per audio track
Selectable machines per audio track (Single Player, Multi Player,
Subtracks MIDI)
Onboard effects and modulation
Flexible routing
2 USB-C ports / USB bus power
2 6.3 mm audio inputs
4 6.3 mm audio outputs
1 6.3mm headphone output
5-pin DIN MIDI in, out and thru
SD card slot

The post Tonverk is Elektron’s most versatile sampler yet appeared first on MusicTech.

Get a FREE plugin from Universal Audio this Black Friday (limited-time offer)
Universal Audio is getting in on the Black Friday freebie action with a limited-time offer entailing one free plugin. You can pick up one free plugin from Universal Audio between Black Friday and Cyber Monday (the offer ends on December 1, 2025). Use the coupon code “BFPICK1FREE” at checkout to claim your free plugin. Now, [...]
View post: Get a FREE plugin from Universal Audio this Black Friday (limited-time offer)

Here’s what happened in crypto todayNeed to know what happened in crypto today? Here is the latest news on daily trends and events impacting Bitcoin price, blockchain, DeFi, NFTs, Web3 and crypto regulation.

Franklin Audio introduce the MP-10 The MP-10 will accept a signal from just about any mic, and features custom circuitry that’s been designed specifically to optimise the signal’s level and impedance to play nicely with guitar rigs. 

Building a Low-Cost Satellite TrackerLooking up at the sky just after sunset or just before sunrise will reveal a fairly staggering amount of satellites orbiting overhead, from tiny cubesats to the International Space Station. Of course these satellites are always around, and even though you’ll need specific conditions to view them with the naked eye, with the right radio antenna and only a few dollars in electronics you can see exactly which ones are flying by at any time.
[Josh] aka [Ham Radio Crash Course] is demonstrating this build on his channel and showing every step needed to get something like this working. The first part is finding the correct LoRa module, which will be the bulk of the cost of this project. Unlike those used for most Meshtastic nodes, this one needs to be built for the 433 MHz band. The software running on this module is from TinyGS, which we have featured here before, and which allows a quick and easy setup to listen in to these types of satellites. This build goes much further into detail on building the antenna, though, and also covers some other ancillary tasks like mounting it somewhere outdoors.
With all of that out of the way, though, the setup is able to track hundreds of satellites on very little hardware, as well as display information about each of them. We’d always favor a build that lets us gather data like this directly over using something like a satellite tracking app, although those do have their place. And of course, with slightly more compute and a more directed antenna there is all kinds of other data beaming down that we can listen in on as well, although that’s not always the intent.

Nordic founders are taking bigger swings, and it’s paying offTen years ago, raising €1 million in Copenhagen was enough to make waves in the region’s tech scene. Today, the Nordics are turning out billion-dollar companies like Lovable — which hit $200M in revenue just 12 months after launching.  Dennis Green-Lieber, founder of AI-powered customer intelligence platform Propane, has had a front-row seat to that shift over the […]

GRAMMY Nominations 2025: Best Traditional R&B PerformanceThe 2025 GRAMMY nominations are here and we're going to help you to untangle it all right up until the big event, continuing with the Best Traditional R&B Performance category.

Take a listen to the nominated perfomances below--who do you think will win?

See the full list of nominees in every category here.

Here We AreDurand Bernarr

UPTOWNLalah Hathaway

LOVE YOU TOOLedisi

CrybabySZA

VIBES DON'T LIELeon Thomas

SZA Photo by Erin Cazes; The Come Up Show from Canada/Wikicommons licensed under the Creative Commons Attribution 2.0 Generic license.The post GRAMMY Nominations 2025: Best Traditional R&B Performance first appeared on Music Connection Magazine.