Building an Escape Room Lockbox with the ESP32 Cheap Yellow Display (CYD)Here’s something fun from [Chad Kapper] over on HackMakeMod: Escape Room Lockbox with the Cheap Yellow Display.
You may have heard of the “cheap yellow display” (CYD), so-called due to the board’s typical color. It’s a dodgy cheapo board with, among other things, TFT display, touchscreen, and ESP32 built-in. You can learn more about the CYD over here: Getting Started with ESP32 Cheap Yellow Display Board – CYD (ESP32-2432S028R).
In this build eight AA batteries are used to deliver 12 volts to operate a solenoid controlling a latch and 5 volts for the microcontroller. The encasing is clear in order to entice players in an escape-room style sitting. The custom software is included down the bottom of the project page and it is also available from arduino.cc, if that’s your bag.
Of course we’ve done plenty of other ESP32 TFT projects before, such as Piko – Your ESP32 Powered Fitness Buddy and ESP32 Brings New Features To Classic Geiger Circuit.

Black Octopus Sound Ethereal Vocal Samples by RoniitBlack Octopus Sound and Roniit have released Ethereal Vocal Samples - a collection of vocal samples - ideal for a wide range of electronic musical styles. What's inside: 100% Royalty Free. 24-bit high quality wavs. Cleared for: Spotify, Youtube, Soundcloud, Record Label Releases. 0.71 Total GB Unzipped. 239 Total Sounds. 62 Vocal FX One Shots. 51 Vocal Hook Loops. 29 Vocal Adlib Loops. 25 Vocal Spoken Word One Shot. 22 Vocal Harmony Loops. 10 Vocal FX Loops. 9 Vocal Stack Loops. 8 Vocal Adlib One Shots. 8 Vocal Chant One Shots. 6 FX Foley One Shots. 4 Vocal Choir Loops. 3 Vocal Phrase One Shots. 2 Vocal Atmosphere Loops. Read More

Australia’s recorded music royalty rates for radio play to rise by 38% after tribunal rulingThe country's recorded music industry says it will push to end Australia's 1% cap on recording royalties paid by radio
Source

NoiseWorks Audio release NoiseAssist VoiceAssist combines six intelligent voice-focused processes into a single ARA-capable plug-in, and promises to a faster, more integrated approach to vocal and dialogue editing.

The RMX-100 has been reborn – AlphaTheta welcomes next-gen effects processor RMX-IGNITEBack in 2012, the release of the RMX-100 quickly left its mark on the DJ scene. Its ability to shape sound and process effects in real time was a game changer, amounting to a top-class reputation as a favourite amongst DJs and producers across the globe. Now, the effects unit has been reimagined for the next generation of DJs: enter the RMX-IGNITE.
Designed by AlphaTheta, the RMX-IGNITE breathes new life into the original RMX-100 unit. Loaded with a slew of new effects, an enhanced sampler section, 3-Band FX, the RMX-IGNITE is set to let your creativity run wild – and, thanks to its array of clear, large knobs and levers, its an intuitive way of physically ‘feeling out’ and producing a cracking live track.

READ MORE: Tonverk is Elektron’s most versatile sampler yet

The RMX-IGNITE is preloaded with 20 samples, which can all be processed live without the need for any computers or DAWs. If you’re keen to load on more samples, you can do so with the unit’s Sample Manager software, which allows you to load samples via a USB drive.
The PRO DJ LINK network also allows you to synch samples to your unit remotely, as well as allowing you to synch your BPM to your arsenal of other DJ gear.
In terms of your samples, each can be easily loaded to four trigger pad buttons, which can be played individually or layered to your tastes. Samples can also be tweaked via a Sampler Colour FX knob, which can add a pinch of character, with options ranging from Echo and Swing to Space and Delay.

There’s also a slew of Sample Roll triggers to adjust the rhythmic and timing intervals of your samples. The unit also has a new Groove Roll feature, which can also add a little extra spice to your samples.
In terms of the effects on offer, there are six unique Lever FX to play with: Echo, Juggle, Reverb, Reverse, Solo and Stretch. Then, the Lever FX section allows you to flick between your set effects via its three unique levers.
There are also six Isolate FX abilities, which can be applied to your low, mid and high frequencies. There’s Drive, Ducker, Echo, Filter, Rhythm and Tape Reverb options, which should allow room for plenty of experimentation.
In terms of the RMX-IGNITE’s 3-Band FX section, there are two types of effects available to play with: Lever FX and Isolate FX. Either can be applied to your high, mid and low frequency bands, as well as easily being able to combine with the six effect types on offer.
You can apply each to the high, mid, and low frequency bands independently, and freely combine up to 6 types of effects. With sub-parameter knobs for tonal adjustment, you can shape track progressions and deliver rich, expressive performances.
Credit: AlphaTheta
Elsewhere, the RMX-IGNITE also has a Release Echo, which can be triggered with the push of a very large, glowing button. It allows you to reset your sound smoothly, with an echo tail leading you back to your baseline original track.
In terms of connectivity, the unit supports digital send/return connections with the DJM-A9 and DJM-V10 mixers. This can be done via a single USB cable to the MULTI I/O terminal. The unit is also kitted out with the latest DSP and high-grade audio converters, which AlphaTheta assures will provide “professional-level” sound quality thanks to the unit’s 96 kHz/64-bit DSP processing.
The RMX-IGNITE is available now for £1,039, which includes 3 months of Loopcloud.
The post The RMX-100 has been reborn – AlphaTheta welcomes next-gen effects processor RMX-IGNITE appeared first on MusicTech.

AKG’s C-Series: new professional condenser mics aimed musicians and content creatorsNAMM 2026: AKG has announced its new C-Series of professional condenser microphones, aimed at “today’s musicians and content creators”.
Designed for musicians, podcasters, YouTubers and streamers, the new C-Series comprises three microphone models, the C104, C114 and C151, each with a precision-engineered, transformerless FET circuit for an “ultra-low noise floor and expansive dynamic range”.

READ MORE: Is the Akai MPC One+ still worth buying in 2026?

Each mic in the series also boasts a broad frequency response, ensuring the “faithful preservation” of a range of sonic elements, from musical instrumental parts and vocals to speech content for podcasts and other content.
In terms of the differences between each of the three mics, the C104 is a large diaphragm cardioid condenser, the C114 is a multi-pattern condenser and the C151 is a small diaphragm cardioid condenser mic.
C-Series mics are designed for seamless setup and ease of use, with a user-friendly design aimed at content creators who simply want to plug in and get recording. 
The series also features sustainability at the heart of its design; with the body of each mic crafted from 100% recycled PIR metal, and each element, from packaging to accessories, “thoughtfully engineered for minimal environmental impact”.
Credit: AKG
For most content creators, how things look on video is everything, and so AKG has taken care to ensure its new C-Series mics “look as striking on camera as they sound during playback”, incorporating a contemporary aesthetic while paying tribute to its design legacy.
“When we set out to create the new AKG C-Series microphones, our goal was simple: let’s design a mic that creators would reach for every day – not just because it sounds incredible, but because it makes the process easier, smoother, and more inspiring,” says Philip Feinman, Product Manager, Recording and Broadcast at HARMAN Professional Solutions, AKG’s parent company. 
“We listened closely to what musicians and content creators truly need, and we’re proud to deliver a microphone lineup that becomes a natural extension of the creative process.” 
“AKG has a rich tradition in design innovation for microphones, headphones, and audio products,” adds Chris Hansen, Director, Recording and Broadcast at HARMAN.
“Our passion to lead helps drive our efforts to deliver world-class products and solutions for our customers, partners, and the global community of creative artists and individuals.”
You can find out more about the new C-Series line of professional condenser microphones at AKG.
The post AKG’s C-Series: new professional condenser mics aimed musicians and content creators appeared first on MusicTech.

DsgDnB offers multiple FREE plugins for macOS, Windows, and Linux
DsgDnB, a musician and developer with several interesting projects on the go, is currently offering multiple free plugins for macOS, Windows, and Linux. Current projects include PresetShare (a synth preset-sharing platform and music community) and producing drum & bass music under the name DSG and as part of various collectives. You can find more information [...]
View post: DsgDnB offers multiple FREE plugins for macOS, Windows, and Linux

6 Ways Bandsintown’s New Marketplace Helps Artists Level UpBandsintown for Artists features over 30 integrations and partner tools to help indie artists grow, amplify their visibility, and connect closer to fans.
The post 6 Ways Bandsintown’s New Marketplace Helps Artists Level Up appeared first on Hypebot.

Apple Launches Apple Creator Studio: New Creative Powerhouse for Musicians and ProducersApple has announced the launch of Apple Creator Studio, a new subscription bundle designed to unify its most powerful creative tools under one roof. For musicians, songwriters and producers, this marks a significant shift in how Apple’s professional ecosystem can be accessed and utilized.
The post Apple Launches Apple Creator Studio: New Creative Powerhouse for Musicians and Producers appeared first on Hypebot.

UMD192 interface from SSL Equipped with MADI, Dante and USB connectivity, the UMD192 is capable of delivering 192 channels at 48 and 92 kHz, or 128 channels at 192kHz. 

Is the Akai MPC One+ still worth buying in 2026?£555, akaipro.com
Music would look extremely different today if not for Akai. Starting with the MPC60 in 1988, the brand’s sampler units have shaped everything from house and techno to hip-hop, becoming the go-to for names like J Dilla, Dre, and Fred Again.

READ MORE: Tonverk is Elektron’s most versatile sampler yet

The MPC’s legendary status is obvious — but perhaps less obvious is its place in a world of DAWs. In 2015, Akai shook up the classic MPC workflow with a 7-inch touch screen, a new focal point for its modern samplers like the MPC One+ that landed in 2023. However, two years is a long time with today’s constant bombardment of new gear.
Although 2025 saw Akai release MPC3 — a complete software overhaul that bolstered the sampler range with new features and workflow improvements — it’s not obvious whether the MPC One+ still deserves a spot in a modern producer’s arsenal.
So I’m here to find out: is MPC One+ still worth buying?
Image: Press
First impressions of the MPC One+
Unboxing the MPC One+, I’m struck by its crimson appearance. With a satisfying selection of buttons, knobs, and a large touchscreen arranged on its square chassis, just looking at the device makes me excited to turn it on.
I’m generally not one for manuals, preferring to use instinct to find my way around a new piece of gear. But after half an hour of aimless and frustrated button pushing, it becomes clear that’s not going to be possible with the MPC One+. I’ve been entrenched in Ableton Live for about 15 years, and the unit’s workflow feels pretty alien.
Humbled, I download the MPC One+ manual which, to Akai’s credit, includes a fantastic tutorial for first-timers, significantly demystifying the workflow. It can’t have been easy to pack so much functionality into such little space and still retain a degree of usability.
Elsewhere, the signature 4×4 pad grid feels excellent to play, with colour-coded outlines that signify the type of sample on each pad, although clean freaks be warned — the rubbery texture seriously attracts dust and lint.
Input and output volume knobs are hidden on the back, and they’re not the easiest to adjust without looking. However, the touch screen is crisp, vibrant, and most importantly, responsive.
Despite my initial frustration, I come to the end of the tutorial both confident and optimistic.
Image: Press
Is Akai MPC One+ easy to use?
Having crafted a simple four-track loop through the tutorial, I now have a decent handle on how to work with MPC One+. I explore the dedicated Sampler mode a bit further, which is blazingly fast. Users can pipe in external audio, say from a turntable, and chop it to the pads in mere seconds.
Working up loop-based sketches is engaging and immediate — but escaping eight-bar purgatory is where the MPC One+ starts to put up a fight.
Unlike a DAW, where you have a clear picture of what’s going on in your project at all times, you have to keep a lot more in your head with the MPC One+. It’s not always apparent how its operating modes relate to each other, or where things are saved. Furthermore, tasks like recording automation feel finicky and time-consuming.
In a way, this forced slowing down is a positive — it makes the entire process more intentional. But it also gets in the way, and when I make music, I find the best stuff comes out when I’m working fast. Even though I don’t doubt it has the necessary features, I shudder at the thought of mixing a complex session on MPC One+.
Image: Press
What sounds does MPC One+ include?
Included with the One+ is an impressive bank of factory sounds and presets, albeit fairly commercial in aesthetic, with plenty inspiring me as I audition samples. Drum kits, synth stabs, vocal chops — Akai has covered all bases, and for new producers, there’s a bounty of sounds for getting started.
The on-board effects plugins provide ample mangling potential if you don’t like what you hear, but users can also plug in SD cards or USB sticks, and even download new samples from Splice directly on the device.
What if you’re not so sample-driven? The MPC One+ also boasts many of AIR’s synth plugins like Jura, Mini D, Sub Factory, and Drumsynth. These all sound fantastic, adding serious sound design credentials to the device. Be warned, though: many involve additional purchases.
One+ and Splice. Image: Press
Advanced features of the MPC One+
One look at the MPC One+ PDF manual — given its 500-page heft — makes it clear Akai has thought of almost everything with this machine.
I’m impressed that it supports onboard stem separation, although this costs an extra $10 to unlock. It’s also extremely slow, taking over 15 minutes to process a three-minute track into drums, bass, vocals, and ‘other’. The results are pretty heavily artefacted, which I actually like from a creative standpoint, but it’s likely quicker and more effective to use a desktop tool before loading the stems onto your memory stick.
For live performance, MPC One+ is a serious contender. Although I groan at yet another additional purchase, the Pro Pack ($99) adds several advanced features, including Ableton-style clip launching, which feels like it should have been a focal point of the device’s workflow from the start.
The eight CV outputs are another boon, letting you sync up modular gear, and I’m confident One+ will make a robust sequencing and sampling command centre for more expansive hardware rigs.
Image: Press
Alternatives to the MPC One+
MPC One+ is capable of transforming a demo into a complete stereo bounce, and it’s an incredibly powerful centrepiece for your setup, but it feels kneecapped when it comes to harnessing that power. As a result, it lands in an awkward middle ground between a groovebox and a sort of ‘hardware DAW’. If I had £600 to spend, I’d be more inclined to double down in either direction.
For a pad-based flow that ties neatly into software setups, Ableton Push 3 is the obvious choice — and there’s also the standalone version that eliminates the need for a computer.
If it’s a sampler and sequencer you’re after, Teenage Engineering’s K.O. II is half the price of a One+. It’s a much more limited device, but it’s also more immediate, offering a tactile way to generate loops that works well as part of a bigger setup.
The older MPCs deserve a shout-out here — a used MPC2000XL is around £700, and an MPC1000 is even less. Again, these units are far more limited than One+, but their old-school workflow and nostalgic appearance might inspire you in the same way it did countless others.
Image: Press
Should I buy the MPC One+ in 2026?
So, is the Akai MPC One+ still worth it in 2026? The short answer is yes — but as with any piece of gear, it really depends on your needs.
If you’re a regular DAW user who’s comfortable with your workflow and likes to create quickly, it’s probably not for you. But if you’re just getting started with production and looking for an all-in-one device you can grow with, it could be up your alley, particularly if you’ve got an affinity for trap, hip-hop, house, and other genres synonymous with the MPC name.
Don’t get me wrong, I have a lot of fun using MPC One+. Many of my frustrations will likely melt away through greater use, but other speed limits are tricky to break, and I’m left feeling ambivalent.
The device is hugely capable and endlessly deep, but its greatest strength can also be its biggest hurdle.
My advice is to give it a try and keep an open mind — and if you don’t like it, treat it like a sample and flip it.
Image: Press
Key Features

7-inch touch screen plus hardware buttons
16 RGB pads with aftertouch
Up to 128 MIDI tracks and 8 stereo audio tracks per project
Over 100 effects and plugins
Stereo, balanced 6.3mm jack inputs/outputs
MIDI in/out
8 CV outputs
16 GB onboard storage plus SD card slot and USB port
Wi-Fi and Bluetooth connectivity
Splice integration
Dimensions: 272 x 272 x 53 mm
Weight: 2.1kg

The post Is the Akai MPC One+ still worth buying in 2026? appeared first on MusicTech.

GRAMMY Nominations 2025: Best Album NotesThe 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 Album Notes category.

Take a look at the nominated albums below--who do you think will win?

See the full list of nominees in every category here.

Adios, Farewell, Goodbye, Good Luck, So Long: On Stage 1964-1974Scott B. Bomar, album notes writer (Buck Owens And His Buckaroos)

After The Last SkyAdam Shatz, album notes writer (Anouar Brahem, Anja Lechner, Django Bates, Dave Holland)

ÁrabeAmanda Ekery, album notes writer (Amanda Ekery)

The First Family: Live At Winchester Cathedral 1967Alec Palao, album notes writer (Sly & The Family Stone)

A Ghost Is Born — 20th Anniversary Deluxe EditionBob Mehr, album notes writer (Wilco)

Miles '55: The Prestige RecordingsAshley Kahn, album notes writer (Miles Davis)The post GRAMMY Nominations 2025: Best Album Notes first appeared on Music Connection Magazine.

Musk denies awareness of Grok sexual underage images as California AG launches probeThe California Attorney General has opened a formal investigation into Elon Musk's xAI after its chatbot Grok began generating nonconsensual sexual images of real women and even children.

420 Plugins 420 Stereo Widener420 Stereo Widener is a fast, mix-friendly way to open up the stereo image without sacrificing focus. It's built to add separation and dimension where it matters. Keys, guitars, pads, backing vocals, and wide background elements, while keeping the center solid and the mix translation-safe. Start by dialing in Width to set how far the sides expand, then use Bass Focus to keep your low end anchored in mono. Bass Focus sets the frequency below which content stays mono. For example, set it to 200 Hz and everything under 200 Hz remains centered and tight. Treble Focus works the same way in reverse: it sets the high-frequency cutoff above which content stays mono, helping you avoid brittle "phasey" top end while still widening the body and presence range. Use 420 Stereo Widener subtly for polish and clarity, or push it harder when you want an obvious spread that still holds together in mono. 420 Stereo Widener is part of the larger 420 Plugin Suite, and you can try the full suite free for 30 days. Read More

A New Life For An Old AmplifierAn audio amplifier was once a fairly simple analogue device, but in recent decades a typical home entertainment amplifier will have expanded to include many digital functions. When these break they are often proprietary and not easy to repair, as was the case with a broken Pioneer surround-sound device given to [Boz]. It sat on the shelf for a few years until he had the idea of a jukebox for his ripped CDs, and his returning it to life with a new main board is something to behold.
Internally it’s a surprisingly modular design, meaning that the front panel with its VFD display and driver were intact and working, as were the class AB amplifier and its power supply. He had the service manual so reverse engineering was straightforward, thus out came the main board in favor of a replacement. He took the original connectors and a few other components, then designed a PCB to take them and a Raspberry Pi Pico and DAC. With appropriate MMBASIC firmware it looks as though it was originally made this way, a sense heightened by a look at the motherboard inside (ignoring a couple of bodges).
We like seeing projects like this one which revive broken devices, and this one is particularly special quality wise. We’re more used to seeing it with gaming hardware though.