Universal Audio releases A-Type Multiband Dynamic Enhancer for Apollo and UAD hardware
Universal Audio has released the A-Type Multiband Dynamic Enhancer, a new UAD-exclusive plugin for Apollo interfaces and UAD hardware that brings vintage vocal processing magic into modern mixes. If you’ve ever wondered how classic rock vocals from artists like Queen, Fleetwood Mac, and Journey managed to leap out of the mix with clarity and presence, [...]
View post: Universal Audio releases A-Type Multiband Dynamic Enhancer for Apollo and UAD hardware

PSPaudioware introduce PSP DRC plug-in PSP DRC promises to provide users with an essential tool for modern music production, and boasts some advanced processing capabilities that are seldom found in contemporary hardware or software.

Reverse reverb: What it is and how to use it
Learn about what reverse reverb is and see how you can apply it to your own vocals (or any other sound of your choice).

From dorm room to Splice: How music production became my superpower
Andrea LeClerc shares her journey in music and discusses how Splice helped her take control of her creativity.

Honey, I Blew Up The Line Follower RobotSome readers may recall building a line-following robot during their school days. Involving some IR LEDs, perhaps a bit of LEGO, and plenty of trial-and-error, it was fun on a tiny scale. Now imagine that—but rideable. That’s exactly what [Austin Blake] did, scaling up a classroom robotics staple into a full-size vehicle you can actually sit on.
The robot uses a whopping 32 IR sensors to follow a black line across a concrete workshop floor, adjusting its path using a steering motor salvaged from a power wheelchair. An Arduino Mega Pro Mini handles the logic, sending PWM signals to a DIY servo. The chassis consists of a modified Crazy Cart, selected for its absurdly tight turning radius. With each prototype iteration, [Blake] improved sensor precision and motor control, turning a bumpy ride into a smooth glide.
The IR sensor array, which on the palm-sized vehicle consisted of just a handful of components, evolved into a PCB-backed bar nearly 0.5 meters wide. Potentiometer tuning was a fiddly affair, but worth it. Crashes? Sure. But the kind that makes you grin like your teenage self. If it looks like fun, you could either build one yourself, or upgrade a similar LEGO project.

Spotify says support for external payments on iOS has already boosted subscriptionsSpotify says its ability to direct its customers to external payment links in its iOS app has already had a positive impact on sales. In a newly filed amicus brief in support of Epic Games in its ongoing legal battle with Apple over external payments on the App Store, Spotify claims its internal data indicates […]

New Spotify Upcoming Releases hub powered by Countdown PagesThe new Spotify Upcoming Releases hub is dedicated to highlighting soon-to-be-released albums. It's powered by Countdown Pages and is designed to build new release discovery and momentum.
The post New Spotify Upcoming Releases hub powered by Countdown Pages appeared first on Hypebot.

Royalties generated by German artists on Spotify reached $520m in 2024, up 17%Germany is among the leading countries in Europe in the popularity of local-language music
Source

Lutefish’s New Device Aims to Solve the Biggest Problem in Remote Music CollaborationMinnesota-based music tech company Lutefish aims to make online music collaboration easier, better, and more musical. Founded by musicians who know the pain of laggy jam sessions and clunky digital tools, the company has just launched the Lutefish Stream, a new device designed to tackle one of the biggest challenges in the world of remote music-making: latency.Unlike traditional software-based solutions, the Lutefish Stream is a plug-and-play hardware device that connects directly to your router via Ethernet. It streams ultra-low-latency 48K audio in real time, offering musicians the ability to rehearse, write, or jam together from hundreds of miles apart—as if they were in the same room. With latency as low as 30–35 milliseconds, it’s fast enough to make tight, real-time collaboration possible.A statement from the company notes that the device was “created by musicians, for musicians,” and is designed to “make it easier than ever to rehearse, jam, and create music together across distances (up to 500 miles apart).”But Lutefish didn’t stop at just solving the latency problem. This week, the company introduced a new feature for the Stream: the In-Session Metronome, designed to help musicians stay in sync, without stepping on anyone’s creative toes.A statement from the company discloses that the metronome allows users to “stay perfectly in time while jamming remotely,” with customizable tempo, volume, and sound options. Importantly, only the user who activates it hears it, preserving the organic flow of a live session without introducing a distracting global click.“Rhythm is critical when you’re making music,” said Patrick Finn, business manager at Lutefish. “With the Stream, and now the in-session metronome, we’re giving musicians tools that make online collaboration not just possible, but musical, connected, and fun.”The metronome supports a range of features typically found in professional studio tools: adjustable tempo from 30 to 252 BPM, multiple sound types (including click, wood block, and cowbell), and on-the-fly activation. Whether you're locking in a groove or working through a complex time signature, the feature is built to give musicians more control without disrupting the group’s vibe.The Lutefish Stream also supports professional audio gear, including microphones, instruments, and mixers. Its design skips the need for complicated software installs or unreliable wireless connections, making it a practical solution for musicians at any level who want to collaborate more often and more effectively.Lutefish describes itself as “more than a company—we’re a community of musicians driven by a shared passion for creativity, innovation, and the power of music.” That ethos is embedded in its mission to break down the barriers that prevent musicians from making music together—whether they live across the street or across the state.If remote collaboration has felt frustrating, impersonal, or just plain impossible, Lutefish’s Stream might be a game-changer. It’s not just about playing together; it’s about making the experience feel authentic again.More information is available at www.lutefish.com.The post Lutefish’s New Device Aims to Solve the Biggest Problem in Remote Music Collaboration first appeared on Music Connection Magazine.

NITO study of 20 shows found $6.2M in ticket reseller profitAn analysis of 20 concerts in Maryland showed $6.2M in ticket reseller profit above original face value. The study was conducted by NITO (National Independent Talent Association) at the request of Maryland State Attorney General's Office.
The post NITO study of 20 shows found $6.2M in ticket reseller profit appeared first on Hypebot.

Fracture Sounds release FREE Electric Strings for Kontakt Player
Developer Fracture Sounds has released Blueprint: Electric Strings, their latest free vintage string synth for Kontakt Player. In my last post, I incorrectly stated that the excellent cinematic library, Arrival, was compatible with the free Kontakt Player, and it’s not (I convinced myself that Pianobook libraries were always compatible). If any of you have read [...]
View post: Fracture Sounds release FREE Electric Strings for Kontakt Player

Engineer Michael B. Tretow – an “eternal part of the ABBA sound” – dies at 80Michael B. Tretow, an audio engineer who worked extensively with ABBA – and was often called the group’s ‘fifth member’ – has died aged 80.
In light of the news, all four members of the Swedish pop powerhouse have issued emotional tributes praising Tretow’s role in crafting the ABBA sound over the course of their career.

READ MORE: Zeds Dead sampled a century of sound to create their new sci-fi bass odyssey

In a collective post on the ABBA Facebook page, Björn Ulvaeus says Tretow’s “importance for ABBA cannot be overstated”, adding: “He was curious and always willing to try new paths. It could be anything from the latest tech to a sound he had heard somewhere.
“Without his thoroughness and talent, our songs would not be played as much as they are to this day.”
Benny Andersson adds: “You meant more to the four of us in ABBA than any other person. I hope and think that you felt that throughout the years when working (and laughing non-stop) in the studio.
“Our music lives on as it seems, and you are the one who made it sound timeless. You were a fantastic inspirer and bringer of happiness. And the finest sound engineer the world has ever seen.”
Meanwhile, Frida describes Tretow as an “eternal part of the ABBA sound”, while Agnetha Fältskog notes: “You were not in good shape at all, but your laughs and your sense of humour were still ever so present.
“So many wonderful memories are with us. Your encouraging words during the recordings meant a lot. We are sad now, such a unique and talented person has left us.
Michael B. Tretow worked on all but one of ABBA’s albums, 2021’s Voyage. He also worked on Chess, a musical with music from Benny Andersson and Björn Ulvaeus, and created numerous jingles for Swedish radio television.
While Benny Andersson and Björn Ulvaeus share production credits on ABBA’s albums, it’s widely thought that Tretow – always listed as an engineer – played a key role in creating the ‘ABBA sound‘.

In their own words. Michael B. Tretow, ABBA's sound engineer throughout their career, has left us. He will be fondly remembered.Photo credit: TT
Posted by ABBA on Wednesday, May 21, 2025

The post Engineer Michael B. Tretow – an “eternal part of the ABBA sound” – dies at 80 appeared first on MusicTech.

Inspira & Endura plug-ins from MQA Labs MQA Labs' new plug-ins aim to provide music creators with unprecedented control over the critical details in their recordings by introducing previously unavailable methods for managing impulse response, noise-shaping and dither.

“It’s real sampling gold, right at your fingertips”: Tracklib launches a new mobile app to make beats on the goOver the past year, Tracklib has been expanding its musical offerings, from royalty-free sounds to a new desktop platform. Now, the platform has announced its latest venture – a mobile app to make beatmaking quick and easy on the go.
The Tracklib app offers artists access to the platform’s existing library of pre-cleared and curated sounds. Producers can experiment with vintage sounds spanning from vintage ‘70s soul to rare funk grooves, or toy with samples packs provided by Grammy-winning producers. And you can work with the comfort that every sample is ready and legal to use.

READ MORE: Will GTA 6 change the way gamers discover music?

The app allows you to drag, mix and match different ideas in the palm of your hand. You can pinpoint perfect loops, adjust pitch and BPM, and let your creativity run rampant.
Thankfully, Tracklib syncs up your mobile beats with your Tracklib account. This allows you to seamlessly transition your beats from your phone to your computer, so you can brainstorm on the go, get home, load up your computer and drag your new beat straight into your favourite DAW.
The app is available to Tracklib premium subscribers, and is currently only available on iOS. Of course, you could test out the app with a free Tracklib trial, to see whether you gel with it.

“Most beatmaking apps rely on generic stock sounds,” Andreas Liffgarden, Chairman of Tracklib, says. “What we’ve built is the first of its kind – a mobile app that gives producers instant access to an amazing, curated catalogue of hundreds of thousands of songs and sounds.”
“It’s real sampling gold, right at your fingertips,” he insists.
Tracklib is a favourite among many high profile artists, with Drake, Kendrick Lamar and Kaytranada all experimenting with Tracklib samples. The portability of the new Tracklib app could help these artists bash out more hits, allowing creativity to flourish even outside of the studio.
While the new app is exciting on its own, the company has teased more new products down the line. “We’re just getting started,” Andreas Ahlenius, CEO of Tracklib, teases. “More is coming very soon.”
The Tracklib mobile app is now available on iOS, and can be used with a free trial or a Tracklib subscription is required.
Credit: Tracklib
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“People sleep on this”: Vaughn Oliver reveals his favourite hack for crafting drum loopsVaughn Oliver, one half of the production duo Oliver, is no stranger to crafting killer drum loops. As the creator of Power Tools, one of Splice’s most downloaded sample packs, his sounds have featured in hits by the likes of Dua Lipa, The Weeknd, SZA, Doja Cat, Adele and many more.
Now, in a new tutorial, the producer, DJ, and mix engineer peels back the curtain on some of the techniques behind his signature loops, and offers tips on levelling up your drum sound.

READ MORE: Thomann just launched its Synth Days sale – and you can get up to 80% off synths, drum machines, and plugins

One of the tricks in Oliver’s basket? Ableton’s Multiband Dynamics – a stock plugin many producers overlook beyond its famous OTT preset.
“Reduce Ambience. This is a big hack,” says the producer. “If you guys don’t know about this, this might be one of the best gate plugins, the Multiband Dynamics from Ableton.”
“And everyone knows it for OTT, right? People just go for the OTT preset, but I highly recommend going through some of the other stock presets because they do some insane stuff.”
“Basically, this is like a gate,” Oliver explains, as he illustrates using the tool to “tighten” his loop and “get rid of some of that high-end stuff”.
“You can really, really dial it in. Sometimes like say you have a loop that has a bunch of noise in the background or maybe there’s too much reverb – try Reduce Ambience and really play around with it.”
“And it’s multiband, so if you only want to affect the low end in it… say you have a snare where the low-end decay is too long, you can dial it back with that while keeping the high-end intact.”
As Oliver puts it, “People sleep on this because it’s like OTT. Everyone just always uses OTT and it’s like a really powerful multiband dynamics plugin and processor. So yeah, experiment with some of the other presets.”
Before reaching for the latest third-party plugin, Oliver’s advice is simple: master your DAW and mess around with what you already have.
“You might already have something that’s good or better than that in here that you don’t have to pay for,” says the producer.
Check out the full video below.

Take a look at the Oliver: Power Tools Sample Pack over at Splice.
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