AudioRoute from Arvital Audio Depending on your setup, capturing system audio in a DAW can be a tedious process, so much so that Arvital Audio have set about developing a tool dedicated to making the process quicker and simpler. 

Hell Yes Loop Lab Tape It EasyTape It Easy is a tape-inspired audio effect by Hell Yes Loop Lab for saturation, weight, movement, wear and analog instability. It can be used subtly to soften peaks, add density and introduce gentle movement, or pushed further into heavier low-end bloom, darker wear, pitch drift, hiss and unstable transport behavior. The main controls are: Push: saturation and input drive. Glow: openness and tape brightness. Weight: low-end body, pressure and bloom. Wear: transient softening, darker tone and aged compression. Drift: non-repeating wow, flutter and transport instability. Dust: hiss, grit and worn texture. Blend: dry and processed signal balance. Level: final output level. Tape It Easy includes three tape speeds: Slow, 7.5 IPS: darker, heavier and less stable. Classic, 15 IPS: balanced body, saturation and motion. Fast, 30 IPS: more open, tighter and controlled. It also includes seven factory presets, user presets and A/B/C snapshot slots for comparing temporary plugin states. Tape It Easy is available for macOS as Audio Unit and VST3, and for Windows as VST3. Read More

Dusk Audio releases Tape Echo 2, a FREE Space Echo-style delay plugin
Dusk Audio has released Tape Echo 2, a free three-head tape delay and spring reverb plugin for macOS, Windows, and Linux. I am a massive fan of tape delays, especially when there is a spring reverb involved. This one is clearly going for the classic Space Echo-style workflow, which has been emulated many times already. [...]
View post: Dusk Audio releases Tape Echo 2, a FREE Space Echo-style delay plugin

Triton Audio launch the Tilt EQ Triton Audio's latest compact device packs 22dB of gain and a one-knob EQ circuit into an enclosure that's around the same size as an XLR connector. 

Anghami co-founder Eddy Maroun launches Arabic music IP platform IPNation, targeting $100m with backing from Influence Media PartnersIPNation describes itself as the first investment platform dedicated exclusively to Arabic music catalogs and entertainment IP.
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How we remixed Duran Duran and Nile Rodgers: Tips and tricks from Harrison, Trixie Mattel, and AlissiaWhen the versatile producer, vocalist, and DJ Harrison was asked to remix Free to Love, Duran Duran’s new song with Nile Rodgers, his answer was simple:
“It’s Duran Duran and Nile Rodgers. You don’t say no to that.”

READ MORE: How we remixed Morcheeba: Tips and tricks from Paula Tape, Frazer Ray, and Brother Counsell

While both of those artists made their mark in the 70s and 80s, their sound and style have resonated throughout the decades. Rodgers put his mark on Daft Punk’s sensational final album Random Access Memories (2013). Duran Duran have been consistently putting out material as they embrace new sounds, such as on their rave-ready Tove Lo collaboration, GIVE IT ALL UP (2021). They’ve also been reinvigorating classics with their funky flavour, as they did on their cover of The Specials’ GHOST TOWN (2023).
Free to Love is a white-hot anthem to honest inner expression that combines all the danciest elements of both artists. Read on to dive into how a slew of other dance stalwarts brought their identity to the new track:
Duran Duran. Image: Press
Harrison
What’s your gold standard for remixing — a track, a rule, or a general thought process you tend to follow?
Don’t fight the original. If a track’s worth remixing, something about it is already great, so the job is to protect that and then put your own fingerprint on top. The gold standard for me is when someone can hear the remix and instantly know it’s mine, but the original artist could hear it and feel like nothing they loved got lost.
That thick synth part in the intro really sets the tone for the remix. Tell us how you made it?
That intro sound is two patches: a pluck and a pad, both built in Serum 2. They’re saw waves with the pad heavily filtered. The character comes from frequency modulation. I used the noise oscillator as an FM source to modulate the main saw oscillators, so as you push the FM amount up, the noise crackles into the waveform and gives it that gritty, crunchy texture.
There are big nu-disco/future funk vibes here. What elements create that atmosphere, and how did you know that’s where you wanted to take the remix?
Honestly, the original does a lot of the heavy lifting. You’ve got Nile Rodgers on guitar, so the funk is already baked in. My whole approach was to stay in that same lane, because I love that sound, and then put my signature spin on top. That’s where the leads and the plucks come in.

Duran Duran’s vocals remain a primary feature in your remix. How much processing & mixing did you have to do to make the vocals sit so nicely?
Processing-wise, they only needed some light EQ and compression, then I rode the vocal level against the plucks and the bass. Every time the pluck hits, the vocal lifts slightly and never gets lost in the mix. The other big thing was restructuring. I moved certain vocal phrases into different sections, especially around the drops, so they’d hit harder and work in a club context.
Were there any effects, instruments, or synths you used for the remix that it wouldn’t be complete without?
The Moog Sub 37 handles the sub bass, sitting underneath a bass pad built in Serum 2. On the mix side, FabFilter Saturn was essential on the drum bus. Each drum part got its own EQ and light compression, then everything was bussed together and hit with Saturn. I love it because it’s multiband, so you can distort specific frequencies without wrecking the rest. The API 2500 glued the drum bus together, and I used it again on the synth bus. I also ducked the mid-high range with FabFilter Pro-Q, so the vocal always pushes through when the synths hit.
Harrison. Image: Press
Trixie Mattel
It feels like this song was begging for an up-tempo dance remix. Did you know immediately which direction you wanted to go with it?
I knew I wanted to go very up-tempo and disco, and I figured when I watched the music video, the references are so disco vibes that I knew it would match up with what I think the group’s original intention was with the song.
I love the sustained synth line that carries the song’s danciest moments. Can you tell me about what mood you wanted this part to establish, and if it’s evocative of another era or artist in dance music?
Two of my idols are Purple Disco Machine and De Soffer. They both are masters at really simple, driving basslines with very intentional but restrained synths. I dream of even channelling a tiny bit of their magic.

The drums are obviously a big part of this remix. What kind of processing/effects did you use to help them cut through the mix?
I’m really into very metallic and sparkly top lines, and I love very processed retro hi-hats, especially when they play off a very simple, driving kick.
Is there anything you learned from doing this remix that you’ll now incorporate into your own projects?
Remixing is so weird because you go from being at home on your computer to an artist as big as Duran Duran. Sometimes it’s hard to believe. It’s very validating, and it reminds me to go for it. Plus, the source material was great for a remix because the main hook from the chorus is basically an arpeggiation of a minor chord, which is so easy as a starting point.
Trixie Mattel. Image: Press
Alissia
What’s your gold standard for remixing a track, a rule, or a general thought process you tend to follow?
I don’t actually do remixes often, but when I do, it’s because I genuinely connect with the artist or the music. For me, a remix should preserve the heart of the original while offering a fresh perspective. I also love making edits and remixes for my own DJ sets. It’s a fun way to reinterpret a song and make it work for the dancefloor while still respecting what made it special in the first place.
You’ve made a name for yourself in the world of funk, soul, and R&B. How did you get connected with a new wave band like Duran Duran?
Last year I released my single Hypnotic Night featuring EarthGang and Nile Rodgers. Nile and I have become good friends and collaborators. He reached out to me about this collaboration with Duran Duran and asked if I’d be interested in creating a dance remix. I immediately said yes!
Alissia. Image: Press
Stylistically, your remix deviates a lot from the original. Was this the intention from the beginning, or was there something that inspired you and sent you down that path?
Definitely intentional. My goal was to create something that DJs could play in their sets that felt dancefloor-driven and club-friendly, while still keeping enough of the original song that fans would instantly recognise it!
Talk to me about the swells and pads in the remix. What are your go-to instruments and techniques for giving these so much presence?
I’m a huge fan of analogue gear. On this remix, I used my Prophet-10, Moog Voyager, and Roland vocoder VP-330!
You’ve used the guitar and the vocal as the main callbacks in this remix. How did you determine what original material stayed in your version?
Since it’s a collab song of Duran Duran and Nile Rodgers, it felt important to preserve the elements that immediately define the record. Nile’s guitar is so iconic, and Duran Duran’s chorus is instantly recognisable, so those became the anchors of the remix.

You are a revered bass player — can you give a few quick tips for getting your favourite bass tone, with this remix as a reference?
I always try to get the sound before I even hit record. A great bass tone starts with the instrument, your hands, and your pickup selection/setting. If it already sounds great plugged straight into the DI, you don’t need to do much afterwards. I’ll usually run it through a little EQ and some compression, but I try to keep processing to a minimum. I like hearing the natural character of the instrument.
Were there any other effects, instruments, or synths you used for the remix that it wouldn’t be complete without? How did you use them?
I had a lot of fun experimenting with some of my favourite gear. I ran a few elements through my Furman RV-1 spring reverb, which has an amazing character. I also used my H-Delay, which is one of my go-to delay plugins.
The post How we remixed Duran Duran and Nile Rodgers: Tips and tricks from Harrison, Trixie Mattel, and Alissia appeared first on MusicTech.

Did EMI Tell Queen to Cut "Bohemian Rhapsody" in Half?

Phoebe Gates and Sophia Kianni reportedly knew Phia was ‘cookie stuffing’ for monthsPhia, the shopping startup co-founded by Phoebe Gates and Sophia Kianni, is once again under fire for its alleged business practices.

SEC to address crypto regulations in absence of CLARITY passageThe US securities regulator scheduled a meeting this week with the potential to step up on digital asset policies without congressional action.

Splitting a Ball Bearing to Cut Out Backlash
Gears are usually the biggest contributors to backlash in a mechanical system, but they’re far from the only culprits. Ball bearings are a less obvious source of imprecision, since any gaps between the balls and the races can lead to axial wobble. Precision mechanisms can eliminate this by pairing two ball bearings, holding the outer races fixed, and applying a preload force to the inner traces. [Chronova Engineering], however, has a different solution, for which he split a ball bearing in half.
Besides taking up more room, thermal expansion also means that it’s difficult to apply a consistent preload force between two ball bearings. Instead, to make a self-contained preloaded bearing, [Chronova Engineering] first disassembled a single ball bearing. The most difficult part of this is taking apart the ball cage; the two parts of this are normally riveted together, but he managed to find a crimped cage and pry it apart. After taking the bearing completely apart, he cut the outer trace in half along the circumference, then reassembled the bearing. The split outer trace makes it possible to press the two halves together, preloading it and removing slop.
To see how well this worked, [Chronova Engineering] replaced the the ball bearing supporting one end of the feed screw for a milling machine with this new bearing. Before the replacement, it had a backlash of 0.1 to 0.2 millimeters; after the modification, it dropped to 30 to 40 microns. This kind of bearing is already known in the machining world – four-point-contact bearings use a very similar principle – but they don’t seem to be well known.
For more about these common yet remarkable rotary mechanisms, check out our article on bearings. If, on the other hard, precision isn’t a priority, you can always 3D print ball bearings.

Raccoon Audio RoboCompRoboComp RoboComp is a flexible compressor built for both everyday dynamics control and creative stereo shaping. Dial in clean, musical compression with familiar Threshold, Ratio, Attack, Release, Makeup Gain, and Mix controls, then take things further with M/S Focus. M/S Focus lets you shift RoboComp's compression toward the Mid or Side information of your signal. Tighten the centre while leaving the stereo field more open, control wide material independently, or use long release settings to create dramatic stereo movement and blooming effects. RoboComp works just as well for subtle control as it does for aggressive sound design. Tighten drums, add sustain to guitars, smooth vocals, glue buses together, create pumping effects, or make reverb and delay tails gradually expand from mono into stereo. Key Features Flexible Threshold, Ratio, Attack, Release, and Makeup Gain controls. M/S Focus for Mid/Side compression and stereo shaping. Create evolving mono-to-stereo bloom effects Mix control for instant parallel compression. Ideal for drums, guitars, bass, vocals, synths, buses, reverbs, and effects. From transparent dynamics control to exaggerated pumping and movement. Available for macOS and Windows AAX, VST3, and AU plugin formats. RoboComp. A compression with a wider perspective. Read More

Boris FX reveal Sequoia 2026.5 Sequoia 2026.5 introduces a new Spatial Panner that unifies the software’s stereo, surround and immersive audio panning capabilities, along with a whole host of other new features and improvements. 

Exceleration Music strikes strategic partnership with Christian hip-hop label Reach RecordsExceleration's distribution company Redeye Worldwide will handle global physical and digital distribution for Reach's new releases
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John Mellencamp at the Hollywood Bowl, Los Angeles, CAJohn Mellencamp is a Rock and Roll Hall of Fame Inductee (2008), Songwriters Hall of Fame Inductee (2018), 13-time GRAMMY nominee, and has sold more than 60 million albums worldwide. Mellencamp played the Hollywood Bowl last night (8/10) for a night of hits. 2026 marks the 50th anniversary of Mellencamp’s debut album, Chestnut Street Incident. It was in the ’80s that Mellencamp found major success with albums like his No. 1 American Fool and Top 10 albums Uh-Huh, Scarecrow, The Lonesome Jubilee, and Big Daddy. In the ’90s, Mellencamp had two Top 10 albums, Human Wheels and Mr. Happy Go Lucky, and continued that success in the 2000s with Freedom’s Road and Life, Death, Love and Freedom. In 2017 and 2018, Mellencamp had back-to-back No. 1 albums on the Folk chart with Sad Clowns & Hillbillies and Other People’s Stuff. Overall, Mellencamp has had 13 albums certified between Gold and 5x Platinum and 16 Top 25 albums.

At the Bowl, Mellencamp took the stage around 8:15 p.m. with no opening act, playing until almost 11 p.m. with a 15-minute intermission. Mellencamp last played the Hollywood Bowl in 2024 as part of Willie Nelson’s Outlaw Music Festival, and the year before played the Dolby Theatre down the street. Mellencamp played Phoenix the night before, where the show was delayed after just six songs due to thunderstorms.

Mellencamp’s band played an intro before walking out, leading into “Lawless Times.” The 24-song set had everything a fan would want, including “Small Town,” “Lonely Ol’ Night,” “R.O.C.K. in the U.S.A. (A Salute to 60’s Rock),” “Jack and Diane” (acoustic), “Rain on the Scarecrow,” “Authority Song,” “Pink Houses,” “Crumblin’ Down,” “Cherry Bomb,” and the closing song, “Hurts So Good.”

Following the first half, Mellencamp said, “Now you've seen the first guy opening act. The next guy told me to tell you to get your dancing shoes on.”

Before “Rain on the Scarecrow,” Mellencamp talked about Farm Aid, which he formed with Nelson and Neil Young. Last year marked the 40th anniversary of their annual benefit concert supporting family-run farms.

Photos by Alex KluftThe post John Mellencamp at the Hollywood Bowl, Los Angeles, CA first appeared on Music Connection Magazine.

Reflecting on the genius of Madonna’s “otherworldly” producer, William OrbitOn Thursday 23 July, the music world lost the legendary William Orbit. Branded by Madonna as her very own “madman genius”, the English producer shared his mad vision with plenty of notable acts, shaping the sound of the 90s and early 00s pop world, from Blur to All Saints.
The news dropped last Friday (7 August), with Orbit’s team sharing a statement on his official Instagram. “It is with profound sadness that the family and friends of William Orbit announce that William passed away at home on 23 July 2026,” the announcement read. “We are deeply saddened by his passing. He will be greatly missed by us and by so many whose lives he touched through his music, friendship and kindness.”

READ MORE: “On a personal creative level, it’s how we got to Random Access Memories”: Thomas Bangalter on Daft Punk’s Tron: Legacy score

While Orbit was born in the London borough of Hackney on 15 December 1956, his work would take him far and wide. His first shot at working with the Queen of Pop, Madonna, in 1998 pushed Madonna’s sound into a new age and catapulted him to acclaim; Ray of Light was covered in his signature electronica fingerprint, and it went on to bag four Grammy awards.
At the time, Madonna wasn’t quiet about her appreciation of Orbit’s “genius”. In fact, in a July 1998 edition of Keyboard magazine, she said: “William is a complete madman genius. I’d come to him with an idea of where I wanted to go musically, hum melodies or read lyrics, and then leave him alone in the laboratory. Sometimes he’d go in the direction I wanted and sometimes he’d swerve off somewhere else entirely. We’d end up with trance tracks that were eight minutes long… We really put our noses to the grindstone.”

The following year, Orbit would also see aiding Britpop unit blur on their 1999 record, 13. Once again, the pairing was electric, helping churn out come of Blur’s stand-out cuts, like Coffee & TV and Tender. Again, a year later, he would crack another killer record with All Saints, with their 2000 sophomore release, Saints & Sinners topping UK charts.
Outside of his collaborative work, Orbit also released 12 studio albums in his own right, including 1995’s Pieces in a Modern Style, a record that gave classical pieces the Orbit treatment, transforming them into experimental, electro-ambient creations.

In light of the loss, Orbit’s collaborators have been keen to share their love. Madonna in particular shared a moving post in honour of her “madman” Orbit: “I had an epiphany when I met you and started working with you – I realised that music did not have to fit into categories or genres… So we created our own…”
“You pressed a magic button inside of me and I fell into a galaxy of unrealised dreams. Your music gave me a magic carpet to fly on and I visited many places. Sad and Joyful. I sang in ways I’d never sung before. I used words without caring if they made sense or not. In many ways you were my Ray of Light…”
“Only you could inspire me to write a song like Drowned World or Swim. You were so otherworldly. So singular. The years passed and I moved on to make music with other people, but I have never forgotten you or the magical time we spent together… Goodbye Billy Bubbles. I was so lucky to have known you and fallen down the rabbit hole with you.”

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Elsewhere, All Saints’ Nicole Appleton also shared a post in memory of Orbit. “So very sad today to hear about the passing of the wonderful William Orbit,” she writes. “I absolutely love the music he made with Madonna and felt so lucky when he worked with All Saints. We were fortunate enough to work with him on many occasions and on many songs. In the studio, he made me feel so confident, comfortable and always brought the best out in me. He was a treasure in the music industry and we had the most amazing times in the studio and socially.”
On Orbit’s official post, other artists have also reached out to share their love. Spice Girls export Mel C, who worked with Orbit on her 1999 debut solo record, Northern Star, called it an “honour to have worked with this great man”. Elsewhere, DJ Fatboy Slim called Orbit a “trailblazer and a gentleman” that the music world owed “a debt of gratitude”.
Back in 2022, William Orbit joined MusicTech’s My Forever Studio podcast to reveal his signature production techniques, particularly those surrounding his use of delay in synthesis. “I think in milliseconds now. Milliseconds are very important,” he said.
The post Reflecting on the genius of Madonna’s “otherworldly” producer, William Orbit appeared first on MusicTech.