The Dyke Delta: A DIY Flying Wing Fits FourThe world of experimental self-built aircraft is full of oddities, but perhaps the most eye-catching of all is the JD-2 “Dyke Delta” designed and built by [John Dyke] in the 1960s. Built to copy some of the 1950’s era innovations in delta-style jet aircraft, the plane is essentially a flying wing that seats four.
And it’s not just all good looks: people who have flown them say they’re very gentle, they get exceptional gas mileage, and the light wing-loading means that they can land at a mellow 55 miles per hour (88 kph). And did we mention the wings fold up so you can store it in your garage?
Want to build your own? [John] still sells the plans. But don’t jump into this without testing the water first — the frame is entirely hand-welded and he estimates it takes between 4,000 and 5,000 hours to build. It’s a labor of love. Still, the design is time-tested, and over 50 of the planes have been built from the blueprints. Just be sure to adhere to the specs carefully!
It’s really fun to see how far people can push aerodynamics, and how innovative the experimental airplane scene really is. The JD-2 was (and probably still is!) certainly ahead of its time, and if we all end up in flying wings in the future, maybe this plane won’t look so oddball after all.

Tunneling TCP By File ServerYou want to pass TCP traffic from one computer to another, but there’s a doggone firewall in the way. Can they both see a shared file? Turns out, that’s all you need. Well, that and some software from [fiddyschmitt].
If you think about it, it makes sense. Unix treats most things as a file, so it is pretty easy to listen on a local TCP port and dump the data into a shared file. The other side reads the file and dumps the same data to the desired TCP port on its side. Another file handles data in the other direction. Of course, the details are a bit more than that, but that’s the basic idea.
Performance isn’t going to be wonderful, and the files keep growing until the program detects that they are bigger than 10 megabytes. When that happens, the program purges the file.
The code is written in C# and there are binaries for Windows and Linux on the release page. The examples show using shared files via Windows share and RDP, but we imagine any sort of filesystem that both computers can see would work. Having your traffic stuffed into a shared file is probably not great for security but, you know, you are already jumping a firewall, so…
Of course, no firewall can beat an air gap. Unless you can control the fans or an LED.

Spotify’s bundle battle with songwriters dampens Reservoir’s earnings forecast for FY 2024Three things we learned from Reservoir’s latest earnings call
Source

Allen & Heath update CQ firmware The latest firmware for Allen & Heath's CQ-series mixers introduces some powerful new features.

Machinedrum says an hourglass is crucial to his creative process: “The point was to just keep moving forward”As a producer, it’s easy to dedicate too much time to a project in pursuit of perfection, so it’s important to have some kind of strategy in place to ensure you don’t fall victim to diminishing returns.
In the case of North Carolina-born producer Machinedrum – whose real name is Travis Stewart – he says he employs a technique that enables him to view a project objectively, and bin it off if necessary.

READ MORE: Benn Jordan dives deep into the “bats**t” software Aphex Twin has used throughout his career

In a wide-ranging new interview with MusicTech, Stewart says that during the making of his latest LP 3FOR82, he used an hourglass to ensure he was taking regular scheduled breaks.
“I’d have an hourglass on my studio desk and turn it over when I started working on an idea,” he says. “When the hourglass ran out, I’d walk out of the studio for five or 10 minutes, come back and take a listen to the track, and if I felt like it was really worth continuing to flesh out whatever the idea was, then I would.
“And if I just really didn’t like it, that was another reason for me to move on and also not try to rescue the idea. The point was to just keep moving forward.”
As producers, we’re often susceptible to the sunk-cost fallacy, and fail to make truly objective decisions about a project if we’ve invested heavily into it in terms of time. So the idea of an hourglass dictating breaks and mitigating the feeling of heavy time investment in a project is definitely a smart one.
Elsewhere in the interview, Machinedrum dives deep on early software-based trackers, and his new album, which features vocal performances from the likes of Mick Jenkins, Duckwrth, Kučka, Jesse Boykins III and Tinashe, and fuses together hip-hop, d’n’b and IDM.
Listen to ZOOM, from 3FOR82, below:

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Behringer’s new 1273 mic preamp is “more than just a remake” developed with one of the original engineers from NeveBehringer is currently rolling out a bunch of new gear, and among its new releases is the 1273 two-channel microphone preamplifier. The unit has a built in EQ, and was developed with John Price, who previously worked alongside Rupert Neve.
The 1273 takes inspiration from Neve’s 1073 of the 1970s, which became a staple in studios such as Abbey Road, Sound City and Capital Studios. It also influenced iconic tracks like Led Zeppelin’s When the Levee Breaks as well as The Who’s Who’s Next.

READ MORE: Behringer and Roland dominate in new world map showing most popular synth brands by country

Built around a Class A discrete circuit, Behringer says the 1273 ensures the highest signal integrity with minimal coloration. Each input and output stage is equipped with a custom-built Midas transformer for maintaining signal clarity, and there are also gain controls for each channel for a variety of input types such as mic, line, and instrument.
Credit: Behringer
For those switching between different mics, a dynamic to a ribbon for example, a tone switch adjusts the transformer impedance for whatever you have in use. The 1273 also includes an electronically controlled, resistor-stepped rotary gain switch that offers up to 80 dB of gain adjustment.

“Every so often an iconic piece of hardware takes the music industry by storm and transforms into a beloved fixture in studios worldwide. The 1073 was one such piece of gear,” says Behringer.
“A mic preamp with a unique voice and rich sound, it became famous for shaping the sounds of many music generations, from the grit of ‘70s rock and roll, to the polished pop of the ‘80s.”
It adds, “Today, we pay homage to that iconic studio cornerstone… The 1273 is more than just a remake. Developed with one of the original engineers, their valuable knowledge and experience ensures that the 1273 not only remains faithful to the original but is able to meet the demands of modern production.”
The 1273 is priced at $699, and is available for immediate shipping. Find out more and view full specs over at Behringer.
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Best free sample packs for Oberheim-style synth soundsAd feature with BandLab Sounds
When Tom Oberheim launched his eponymous musical instrument company in 1969, no one anticipated the immense impact his synthesizers and drum machines would have on music in the decades to come.
Oberheim is the name behind legendary instruments like the OB-Xa, Matrix-12, and SEM. Known for their lush pads, punchy basses, and expressive leads, the iconic sounds of these synths are prized for their distinctive character and versatility. You’ll recognise them from countless classic tracks – the heroic synth riff of Van Halen’s ‘Jump’, the driving drums of New Order’s ‘Blue Monday’, and even the menacing soundtrack to the original Terminator.
READ MORE: TEO-5, as told by Tom Oberheim: “If we made this 30 years ago, we’d have ruled the world”
Flash forward to 2024 and the company has launched the Oberheim TEO-5, a modern take on the Oberheim instruments we know and love, that’s both more compact and more affordable than its predecessors.
Fancy bringing some of Oberheim’s timeless essence to your own productions without dipping into your wallet? We’ve partnered with BandLab to bring you a collection of free sample packs inspired by this much-lauded synth manufacturer – dive in below.
Ober Pads

Pads are definitely one of Oberheim’s strong suits. In this pack of 101 loops and chord progressions, you’ll find everything from dark, evolving atmospheres to bright brass timbres and plucky garage stabs.
Download MusicTech Ober Pads
Berlin Sounds
If there’s one thing Berlin is known for among synth heads, it’s techno. This pack draws from the city’s rich culture of electronic music, offering up a selection of arps, synths, drums, and FX with a darker tone.
Who knows? Maybe this sample pack is your ticket to the Berghain.
Download MusicTech Berlin Sounds
Synth Horror Film

Taking a more sinister turn, thee Synth Horror Film pack offers 100 samples comprising spooky leads, warbling keys, driving arps – and a whole range of metallic atmospheres to truly creep your listeners out.
From John Carpenter-style synthwave to the industrial leanings of Trent Reznor, this diverse composer toolkit is sure to inspire your next soundtrack.
Download Synth Horror Film here
Sweeping Cinematic Synths Vol 1
Modern film music frequently combines organic orchestral timbres with complex synthetic textures. This pack provides a taste of both, with 62 loops that deliver lush strings, atmospheric arps, and warm bass tones.
Download Sweeping Cinematic Synths Vol 1
Patch & Play Lab: Experimental Electro

Looking for a bit more grit? Patch & Play Lab have you covered with Experimental Electro, a collection of sounds that wouldn’t be out of place in the Blade Runner universe.
The crunchy drum hits, undulating drones, and retro bass sounds in this vintage-inspired pack will give you some serious inspiration and a strong starting point.
Download Patch & Play Lab: Experimental Electro
Patch & Play Lab: Amped Monosynth Part 2
Despite being best known for its polyphonic instruments, Oberheim has also released monophonic synths like the OB-1. You can capture a flavour of these sounds in Amped Monosynth Part 2 – albeit with a heavy dose of character, courtesy of the different guitar amps through which these samples have been recorded.
Download Patch & Play Lab: Amped Monosynth Part 2
Analogue Exploration with Tibasko

Think Oberheim synths sound a little too retro? Think again.
In this pack, British electronic duo Tibasko show just how effective these instruments can be in a modern context. Beefy basslines, verbed-out pads, and delicate keys – there’s plenty here to suit producers of house, techno, garage, or whatever else, along with some crispy one-shot drums.
Download Analogue Exploration with Tibasko
Nolan Gerwing: Experimental Synths

Self-professed analogue synth nerd Nolan Gerwing offers up a glowing collection of retro-inspired sounds and textures. Many of these are perfect for bringing an edge to poppier productions, but you’ll also find some weighty low-end loops in the mix.
Download Nolan Gerwing: Experimental Synths
Vintage Analogue Arps
The infectious pulse of an arpeggiator is one of the most versatile compositional tools, no matter what genre of music you’re producing. Its repetitive nature can bring new dimensions to a simple vintage synth patch, and this pack has 112 loops that do exactly that, letting you instantly add some movement and bounce to your track.
Download Vintage Analogue Arps
Marie’s Synth Sounds Sampler

Baltimore native Marie Ann Hedonia serves a collection of aggressive synths and drums. Modular percussion loops, dirty bass sounds, and glitchy sound effects – if you’re looking to get a bit weirder, this is the pack for you.
Download Marie’s Synth Sounds Sampler
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Subscribe to this calendar & never miss an industry event againMusic publicity firm Shore Fire shares an annual Calendar of Key Entertainment and Sports Events. "The Best Calendar" gathers information on events from music, entertainment, sports, literature, and culture.....
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Monetizing your music: A guide for indie artistsDiscover the secret to financial success as an independent musician with these proven strategies. Unlock multiple revenue streams and boost your earnings by diving into our comprehensive guide for indie. Continue reading
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99Sounds Release FREE Cinematic Textures Sound Library
99Sounds released Cinematic Textures, a free cinematic sound library crafted by Dronny Darko. Cinematic Textures contains 40 royalty-free cinematic sound effects, drones, and soundscapes. The sounds are provided in 24-bit WAV format and are compatible with all major digital audio workstations. The included sounds are ideal for ambient music, but they will also be useful [...]
View post: 99Sounds Release FREE Cinematic Textures Sound Library

Celebrating 25 Years of AMERICANAFEST: A Milestone in Americana MusicCelebrate 25 years of AMERICANAFEST, the premier event that unites Americana music’s finest artists and passionate fans. Explore the festival’s rich history and its influential role in shaping the genre.. Continue reading
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Droplets: Physics-based sequencer plug-in Droplets is an innovative sequencer application/plug-in equipped with a built-in synth engine that boasts a rather unusual interface. 

Is Antelope Audio’s ZEN Quadro the best audio interface under $600?Paid partnership with Antelope Audio
Whether you’re a producer or musician, a podcaster or streamer, or just someone who revels in high-quality sound, your choice of audio interface is vital to the success of your projects. However, in such a busy and crowded marketplace, it can be hard to know where to start and the questions can seem endless: Does an interface have enough inputs and outputs for my needs? Will the preamps complement and support my mics and instruments? What difference do the converters make? Should I get the red one or the black one?!
Faced with such myriad choices, options and variables, many of us simply set a budget and then buy whatever feels right in that budget. After all, you get what you pay for… right? Well, not always — sometimes you get a lot more.
Take, for example, ZEN Quadro Synergy Core, the latest interface from pro-audio experts Antelope Audio. Built into a smart, compact and rugged casing, the ZEN Quadro is laden with high-end features normally found only on expensive pro-studio grade hardware — in fact, some of its capabilities outstrip even these high-cost options! Yet despite this, the ZEN Quadro is just $599/€599.

Flagship converters
The most important factor that determines an audio interface’s sound quality is the analogue-to-digital and digital-to-analogue converters. Antelope Audio has some prestige in this field, with much of its reputation built on its impressive converter and clocking technology.
This expertise is present in ZEN Quadro, which comes loaded with the exact same converters as found in Antelope’s high-end Galaxy interfaces. These have been paired with the company’s proprietary 64-bit AFC (Acoustically Focused Clocking) digital clock technology, ensuring hyper-accurate wordclock timing and ultra-low jitter.
Sonically, this translates to tremendous audio detail and clarity, accurate and spacious aural imaging, and an astonishing 130dB of dynamic range when operating at 192kHz/24-bit. This easily outperforms all other interfaces in its class (not to mention many in higher classes!).
Console-grade preamps and generous I/O
To maximise the power of the superb converters, Antelope Audio looked to the preamp designs of high-end mixing consoles of the 80s and 90s. The resulting 6-transistor design recreates those classic consoles’ clarity, colour and character while delivering up to 75dB of near-noise-free gain.
Antelope Audio ZEN Quadro. Image: MusicTech
ZEN Quadro boasts four console-grade preamps, one for each analogue input channel. All can be switched to line mode for connecting to synths and other line-level sources, whilst the first two – conveniently located on the front of the unit – can also switch to a Hi-Z mode for use with electric guitars, basses and the like.
In addition to these four analogue inputs, ZEN Quadro can handle an additional eight channels of digital input via its optical ADAT port, plus a further pair of digital channels served via a coaxial S/PDIF input.
Output provision is similarly generous: Alongside the main left/right monitor output jacks there’s a stereo coaxial S/PDIF digital output and pair of secondary line outputs, useful for feeding signals to external effects or for providing different monitor mixes to different performers. There’s also a pair of headphone outputs, each of which carries its own mix and is powered by its own independent headphone amp.
All of this adds up to an impressive 14 input channels and 10 output channels, more than enough for everything but the largest, most complex sessions. Moreover, all analogue ins and outs can be switched to DC-Coupled mode, allowing them to send and receive CV signals from analogue and modular synths.
Synergy Core
Some high-end interfaces feature onboard DSP to add audio effects and processors directly within the hardware. This takes some of the effect processing strain away from the host computer and allows effects to be applied to input signals without introducing any significant latency. This is useful for input conditioning with EQs, compressors and the like, and to ensure performers can hear properly how their performance will sound, which is crucial for vocalists.
What’s particularly exciting about ZEN Quadro is Antelope Audio’s Synergy Core’s processing power. ZEN Quadro’s unique combination of FPGA and DSP chips allows effects chains to be added to any of the interface’s analogue and digital input channels, as well as to the main DAW playback busses – ideal for monitor-calibration EQ and mastering processors.
Antelope Audio ZEN Quadro. Image: Antelope Audio
The interface comes pre-loaded with 37 effect processors covering all important bases – preamp emulations, EQs, dynamics processors and such – with more than 50 additional processors available. Many Synergy Core effects are modelled on classic boutique hardware too, injecting tons of class and character into your recordings.
Guitarists are particularly well served by Synergy Core, with a large collection of classic guitar amps to choose from, along with a stack of cabinet emulations that are so detailed they even allow the type and position of the (virtual) mics to be adjusted.
Synergy Core is made even more compelling by the interface’s ability to run fully standalone. Impressively, you can recall up to five custom-made presets, with many of your routing, parameters, and mixer channel settings accessible directly via the unit’s high-res colour display. This is perfect for live performances, allowing ZEN Quadro to act as the mixer for an entire band, or for it to take the place of large, bulky and expensive guitar rigs.
Multiple Hosts
As a USB Class Compliant device, ZEN Quadro will work with any host computer, operating system or device that supports the standard. If you’re on Windows, you’ll need an additional ASIO driver, which can be installed separately.
Antelope Audio Zen Quadro
The interface has rather a special trick up its sleeve here too: it sports a second USB-C port that can be connected to a second, simultaneous host, which allows audio signals to be routed between those hosts.
This unique feature is a big deal for podcasters and streamers, massively simplifying tasks such as routing audio from phone-in guests into the main program stream, or playing in music and sound effects. It is also ideal for musicians who use synths or effects running from a tablet as part of a performance.
Overall, then, it is clear that ZEN Quadro is punching far above its weight. No interface of comparable price can match ZEN Quadro’s impressive feature set and stunning audio fidelity, and no interface with comparable features can match ZEN Quadro’s amazing asking price.
So, perhaps all of those confusing audio interface buying questions can be boiled down to just one: “Where can I get a ZEN Quadro?!”
Learn more at Antelope Audio.
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Harrison Audio’s 32Classic Channel Strip plugin brings the iconic console sound to your DAWHarrison Audio has launched the 32Classic Channel Strip, a new plugin based on the legendary Harrison ‘32 Series’ console used by artists the likes of Michael Jackson, John Coltrane, Fleetwood Mac, Led Zeppelin and many more.

READ MORE: Sony Music CEO wants free streaming users to start paying – would it ever work, though?

Capturing Harrison’s classic console sound, the 32Classic Channel Strip features a new ‘Drive’ control for dialling in warm, harmonic saturation based on the transformer-coupled mic preamp in the 32Classic console.
The plugin boasts a 4-band parametric EQ section and full dynamics processing; Users can switch between Shelf and Bell mode on the high and low bands, while using the overlapping mid-bands to carve their sound. High-pass and low-pass filters are also included, which range from 25Hz to 3.15kHz, and 160Hz to 20kHz respectively, for a wide range of control from extreme to beautifully subtle.
In addition, the 32Classic’s fully featured compressor provides all the control you would expect in a premium standalone unit, offering three modes of compression and a sidechain filter with a sweepable frequency and a ‘listen’ function.
The three modes are as follows: ‘Comp’, which provides highly versatile, traditional VCA-style compression; ‘Level’, which offers a smooth gain reduction for subtly taming dynamics; and ‘Limit’, a fast-acting, aggressive style of compression for adding punch and energy to your tracks. There’s also an ‘Emphasis’ dial for those who want more vintage character.
Like on the original console, the 32Classic plugin’s Gate/Expander is designed to be highly intuitive. The gain-reduction metering offers instant visual feedback, allowing you to take full control of your sounds. The routing section, meanwhile, easily rearranges the processing order of the Gate/Expander, Compressor, and EQ for complete versatility.
The 32Classic is available in several formats including VST2, VST3, AAX, and AU as part of the SSL Complete and Complete Access subscriptions from $14.99/month, or perpetual purchase via the Harrison eStore.

Learn more at Harrison Audio.
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Warm Audio’s WA-19 microphone unveils a forgotten treasure that truly sparkles£209 / $199 / €219, warmaudio.com
It seems like every piece of classic studio gear is available in some form or another these days. The clue’s often in the numbers — an ‘87’ here, a ‘73’ there — not to mention the virtual emulations of historic recording facilities, vintage hardware and iconic acoustic spaces.

READ MORE: Warm Audio’s WA-44 expertly revives a vocal microphone design from the 1930s

When we heard about Warm Audio’s WA-19 dynamic microphone, we figured it would be a recreation of the legendary AKG D19c. While it’s surprising there hasn’t previously been a copy of this classic all-purpose dynamic mic from the 1960s, it’s no surprise that vintage specialist Warm Audio should be the brand to create it.
Long before the Shure SM57 earned its reputation as the go-to choice of cardioid dynamic mic for studio and live applications, the D19c could be found in the hands of everyone from maverick producer Joe Meek to the engineers at EMI’s Abbey Road Studios, as well as in live and broadcast sessions. Most famously, the mic was used extensively on The Beatles’ recording sessions, notably on Ringo Starr’s drums, though as their engineer Ken Scott once recalled, “We used the D19 on everything… it was used on piano quite a bit.”
Available in nickel or black, the former (designated WA19N) more accurately evokes the look of the historic mic, while our review sample (a WA-19B in black) looks more modern. The mic is slim enough to be easily placed when close to individual drums for example, yet with its strong metal construction it feels reassuringly robust, weighing in at 200 grams.
The WA-19 on a stand
The fixed cardioid response is more focused than many other mics with the same pattern due to excellent off-axis rejection, particularly in the lower frequencies. This is useful when recording loud bands in small spaces, reducing boomy bleed from bass cabs. It also makes the WA-19 a brilliant choice for under-snare placement to minimise spill from the kick drum.
Low frequencies can be further tamed with the variable acoustic high-pass filter ring, which cuts up to 10 dB at 50 Hz without any discernible phase shift, while ventilated slots along the body behind the capsule lessen the bass tip-up of the proximity effect, facilitating the accurate capture of sources at close range.
Loud volumes are no problem either, with a quoted maximum level of 145 decibels, so heavy rock guitarists and screaming metal vocalists are well catered-for.
As you may rightly assume, the WA-19 is an incredibly versatile microphone, one which can be used for the same jobs as the ubiquitous SM57. However, at roughly twice the price of the ‘57 does it justify the price tag?
The WA-19 with its stand clip and padded pouch
The answer is a resounding “yes”. The WA19 has a sound characteristic unlike most other dynamic mics. With a superlative high frequency response, it expresses many of the characteristics of a small diaphragm condenser, such is the clarity and treble detail on offer.
For drums, the WA-19’s inherently snappy and sizzling response is superb, losing nothing of the zing from cymbals when used as an overhead (where you might otherwise select a condenser) and accentuating the crack of a close-mic snare drum without the need for much EQ sweetening. Toms are particularly well served as the mic is less prone to low-end ringing and boom than simpler mics without a high-pass-filter or the tuned-in proximity reduction.
While its sublime high-end is flattering to most sources, the WA-19 doesn’t quite reach the stratospheric heights of a condenser when ultra-bright extension is desired. Rather, its voicing favours applications where presence and brilliance is required to cut through busy mixes. This is made clear when used to record electric guitar. It can be used quite successfully positioned right up against the speaker grille sure enough, however judicious placing at a little distance away from the speaker yields superb results, capturing the full, direct tone of the guitar and amp without excessive room ambience. Experimenting with the variable high-pass filter pays dividends here, removing any low-mid muddiness to spotlight vivid musical communication and clarity.
Such is the level of articulation the WA-19 expresses, it effectively reproduces all the filigree detail and delicacy of acoustic instruments and voices. It even serves well enough as a vocal mic if options are limited.
The WA-19 on a snare
Many potential users will, of course, be attracted to the mic because of its documented use on Beatles recordings. After all, Waves’ Abbey Road plugins recreate pretty much all the outboard effects and acoustic spaces of EMI’s studios in the 1960s and beyond.
With all that to hand, it’s an obvious move to try to capture some of that magic by recreating the simple yet effective two-mic set up used to record Ringo’s drum kit. Using an AKG D12 (the direct descendent of the D20 used on those sessions) on bass drum with the WA-19 placed above the kit at head height, a pretty convincing splashy 60s drum sound is achieved when squashed through a Fairchild 660 compressor plugin.
Warm Audio’s WA-19 is a cracking, versatile dynamic microphone with a sophisticated sound that sets it apart from the competition. While its vintage vibe and cool retro looks will appeal to classic gear nerds and 60s freaks, this is a brilliantly capable, meticulous recreation that is ideally suited to modern pop and rock recording.
In the studio or on stage, the WA19 is a class act, delivering pristine audio in a multitude of situations. Try it on drums and electric guitar — you won’t be disappointed.

Key features

Dynamic, cardioid design
Variable 50 Hz acoustic high-pass filter
XLR connector
Frequency response: 30 Hz – 18 kHz
Max SPL: 145 dB
Impedance: 200 Ohms
Weight: 200 g
Colour: nickel or black
Comes with stand clip and padded pouch

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