Forget Taylor Swift; these stats will shape 2024 for 99% of musiciansA new Luminate Year End Music Report is rightfully making headlines with its findings. Eye-catching stats like “Taylor Swift Made Up 1.7% of Total U.S. Music Market in 2023” make. Continue reading
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Mackie launch DLZ Creator XS, ProFXv3+ & MobileMix Mackies latest releases include a compact podcasting workstation, live streaming mixers, a portable PA solution and an all-in-one unit aimed at game streamers. 

This music venue in Rotterdam is “first club worldwide” to have moving DJ boothA music venue in Rotterdam is believed to be the first club worldwide to host a moving DJ booth.
The booth has been in operation at Toffler since its opening weekend in November 2011, but has recently garnered new attention due to a popular video shared on Instagram.

READ MORE: CES 2024: This device teaches your dog to play the piano

The moving booth allows for more space to be created as the club fills up throughout the night. It also means that even if it is not full to capacity, it will still feel just as busy as the space can be kept on a smaller scale.
After the Reel of Toffler’s moving booth caught our eye on Instagram (thanks to @techno.germany), MusicTech reached out to Toffler to find out more. A spokesperson for the club revealed that the booth has been operating “seamlessly” since its opening, and that it works via a hydraulic system.
“The DJ booth and the light and sound system at Club Toffler in Rotterdam (NL) have the unique ability to move back and forth during the night. In the early evening, the club has an intimate atmosphere, but as the dance floor fills up, the club physically extends, creating more space and intensifying the lighting,” they say.
“The hydraulic system, designed specifically for the venue, is a global premiere. It allows the club, located in an old underpass in Rotterdam’s central business district (Weena), to adjust its size by moving the back wall and the DJ booth based on the number of visitors.”
The movement of the booth “is nearly imperceptible” according to the Toffler spokesperson, due to its low speed throughout the night. The DJ booth also accommodates a variety of DJ equipment, from CDJs to Technics.
“The DJ booth is practically at the same height as the dance floor, ensuring that attendees at the front always have a direct view of the DJ,” they later add. “This feature helps the club remain lively throughout the night, maintaining a ‘living room’ ambiance.”
Check it out in the video below:

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A post shared by 𝙏𝙚𝙘𝙝𝙣𝙤 𝙂𝙚𝙧𝙢𝙖𝙣𝙮 ® (@techno.germany)

Find out more about Toffler.
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NAMM 2024: The hottest rumours and latest announcements from this year’s showNow that Christmas and New Year are out of the way, a far more important date in the calendar – NAMM 2024 – is right around the corner. Yep, one of the world’s biggest musical instrument and technology trade shows is returning to the Anaheim Convention Center between 25-28 January, and we’re buzzed, if you can’t already tell.
‘But MusicTech, it doesn’t start for another week, why should we care?’ we hear you say. Well, while the show officially kicks off on Thursday 25 January, the biggest brands in music have already begun announcing new products in a bid to get some of your valuable attention ahead of the big weekend.
As such, you – the musicians and producers these products are targeted at – may very well be prone to information fatigue in the wake of the sheer volume of product announcements that’ll arrive in the coming days. But that’s why we’re here.
We’re here to filter out the info you don’t need, and bring you the biggest and most noteworthy product launches – and hottest rumours – from this year’s NAMM show. Let’s dive in.
Yamaha SEQTRACK
Credit: Yamaha
Yamaha has unveiled the SEQTRACK, an all-in-one device for all your production needs, with a staggering selection of tools in a portable format. Features include a step sequencer, drum machine, sampler, two AWM2 synthesizers, a reface DX-style FM synthesizer, plus a microphone, speaker, rechargeable battery and even an accompanying app.
Producers have already noted visual similarities between the SEQTRACK and Teenage Engineering’s OP-1 and OP-Z, but at only £447.60/€478.80/$599, it’s markedly more wallet-friendly.
Read more about the Yamaha SEQTRACK
NAMM 2024: MOTU’s 828 audio interface receives “complete redesign”
Credit: MOTU
The 828 has been a favourite in professional studios since the first model was launched in 2001, thanks to its connectivity options, reliable performance, and industry-standard compatibility. Since then, we’ve witnessed MK2 and MK3 versions launched, followed by the Thunderbolt-compatible 828x and the 828es, which draws on MOTU’s own AVB (audio video bridging) technology.
Now, just in time for NAMM 2024, MOTU has gifted us with a “complete redesign” of the 828. It looks to be a complete refresh, hence the simple ‘828’ name, as opposed to being the 828 MK4 or another version.
Read more about the MOTU 828
Dtronics DT-303 is an FX box built to beef up 303 basslines
Credit: Dtronics
Dtronics has launched the DT-303, a compact little device that has one goal: to beef up 303 basslines. That’s the Roland TB-303 and Dinsync RE 303.
Tiny but deadly, the small pedal consists of three knobs that will hyper-charge and distort the 303’s sound, allowing you to fine-tune the level of distortion, filter and volume.
Read more about the Dtronics DT-303
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NAMM 2024: Yamaha unveils SEQTRACK, an all-in-one music creation station for composing and performing anywhereNAMM 2024: Yamaha has unveiled the SEQTRACK, a compact one-stop shop for all your production needs, with a staggering selection of tools in a portable format.
Equipped with a step sequencer, drum machine, sampler, two AWM2 synthesizers, a reface DX-style FM synthesizer, plus a microphone, speaker, rechargeable battery and even an accompanying app, the SEQTRACK positions itself as an all-in-one solution for producers on the go.

READ MORE: NAMM 2024: Dtronics DT-303 is an FX box built to beef up 303 basslines

The SEQTRACK is essentially split into three sections: the drum machine sits on the left, the synth and sample is in the middle, and the section on the right is in charge of sound design and effects, with pitch, volume, pan, attack, decay and filter knobs.
The drum section consists of seven tracks – kick, snare, clap, two hi-hats and two percussion sounds – which can be programmed from the devices 2,000-sound sample library, or with custom samples, which the user can record using the built-in microphone.
Additionally, users can switch all three sections between mono, poly and chord modes, while the seven keys can be played in a standard keyboard mode or with the addition of an arpeggiator.

While the SEQTRACK sound library already consists of over 2,000 sounds and virtual instruments, that’s set to expand with each new sound pack released in the future.
As mentioned previously, the SEQTRACK comes with an accompanying app, which will allow even further, more intricate adjustments to take place. This free app will also include an intuitive visualiser, allowing users to create stunning visuals to compliment their tracks.
With its lack of screen display, some have already noted visual similarities between the SEQTRACK and the Teenage Engineering’s existing OP-Z and OP-1 boxes. The SEQTRACK is markedly more affordable, though, something Yamaha was no doubt aware of when designing a new product for this niche.
In terms of availability, the SEQTRACK comes in either bright orange and grey, or a cool grey and black.
Yamaha will be showing off the SEQTRAK at this year’s NAMM Show in Anaheim, California from 25th-28th January at booth 300DE. The SEQTRACK is set to cost £447.60/€478.80/$599.
For more info, head to Yamaha.
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5 Music Marketing Mistakes (most) Musicians make & How to avoid themThere are a few common marketing mistakes that might be keeping musicians from reaching success. Here are a few examples of how to improve any current strategies. by Chris Robley. Continue reading
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Indie Spotlight: Music and audio platform Music.AIMusic.AI is an AI-powered music and audio platform used by labels, tech companies, and developers. Forty million users leverage our tools to process over one million minutes of audio daily. . Continue reading
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Yamaha SEQTRAK: all-in-one production system SEQTRAK is a lightweight, portable production system that packs in a range of drum programming, synthesis, sampling and sound design capabilities. 

Techno DJ Reinier Zonneveld has developed an AI clone of his brainTechno wizard Reinier Zonneveld is constantly hunting for new ways to twist and transform electronic music. From cutting-edge tech to innovative live performances, the Dutch DJ is boldly pushing the limits of what electro has the potential to be.
And his latest idea is quite extraordinary. In a recent announcement, the DJ revealed that he has been working on R², an AI clone of his own brain.

READ MORE: Dutch DJ breaks Guinness World Record with 11-hour set

“Four years ago I started exploring the use of AI in my music,” he explains. “Fast forward [to] 2024, I developed an AI clone of my own musical brain with the help of a dear friend.”
Trained on 2000+ hours of Zonneveld’s own music and live performances, the AI clone is apparently able to intuitively conjure up its own electro beats in the blink of an eye. The model is unique since I trained it on my own original compositions,” he says. “It is able to play together with me and create music on the spot, suddenly opening up a whole new world of possibilities in my performance.”

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A post shared by Reinier Zonneveld (@reinierzonneveld)

While the notion of R² sounds wildly futuristic, it’s a sign of how intelligent artificial intelligence has truly become – and a sign of how it may play a key role in electronic music’s future.
The grand live debut of R² is set to be later this year, at Zonneveld’s Spaarnwoude performance on 17 August.
This comes just a year after the Dutch DJ pulled off a staggering 11 hours and 11 minute set,  earning a Guinness World Record for world’s longest live electronic music performance. He broke the previous record by 11 minutes.

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A post shared by Reinier Zonneveld (@reinierzonneveld)

The post Techno DJ Reinier Zonneveld has developed an AI clone of his brain appeared first on MusicTech.

Techno DJ Reinier Zonneveld has developed an AI clone of his brainTechno wizard Reinier Zonneveld is constantly hunting for new ways to twist and transform electronic music. From cutting-edge tech to innovative live performances, the Dutch DJ is boldly pushing the limits of what electro has the potential to be.
And his latest idea is quite extraordinary. In a recent announcement, the DJ revealed that he has been working on R², an AI clone of his own brain.

READ MORE: Dutch DJ breaks Guinness World Record with 11-hour set

“Four years ago I started exploring the use of AI in my music,” he explains. “Fast forward [to] 2024, I developed an AI clone of my own musical brain with the help of a dear friend.”
Trained on 2000+ hours of Zonneveld’s own music and live performances, the AI clone is apparently able to intuitively conjure up its own electro beats in the blink of an eye. The model is unique since I trained it on my own original compositions,” he says. “It is able to play together with me and create music on the spot, suddenly opening up a whole new world of possibilities in my performance.”

View this post on Instagram

A post shared by Reinier Zonneveld (@reinierzonneveld)

While the notion of R² sounds wildly futuristic, it’s a sign of how intelligent artificial intelligence has truly become – and a sign of how it may play a key role in electronic music’s future.
The grand live debut of R² is set to be later this year, at Zonneveld’s Spaarnwoude performance on 17 August.
This comes just a year after the Dutch DJ pulled off a staggering 11 hours and 11 minute set,  earning a Guinness World Record for world’s longest live electronic music performance. He broke the previous record by 11 minutes.

View this post on Instagram

A post shared by Reinier Zonneveld (@reinierzonneveld)

The post Techno DJ Reinier Zonneveld has developed an AI clone of his brain appeared first on MusicTech.

Jyoty and Manuka Honey withdraw from Berlin’s CTM Festival amid alleged “crackdown” on pro-Palestine artistsDJs Jyoty and Manuka Honey have pulled out of this year’s CTM Festival in Berlin in solidarity with Palestinians in Gaza.
The withdrawal serves as an act of protest in support of Strike Germany, which boycott’s German state-funded institutions after the country recently banned pro-Palestinian marches over fears of violence and anti-Semitism.
The announcement was shared through the Ravers For Palestine‘s Instagram account. The post explains how the pair will join more than 850 other cultural workers in the Strike Germany boycott, with many more apparently artists set to follow suit.
Other artists already involved include East African DJ Kampire, who expressed she “no longer feels comfortable” performing at CTM, as well as Dominican dancehall DJ Kelman Duran, underground EDM artist Van Boom, and more.
“In recent months, the German state and its cultural institutions have led an intensifying crackdown on artists – primarily Black, Brown and Jewish – expressing solidarity with Palestinians facing genocide in Gaza,” Ravers For Palestine go on to explain in their Instagram post.
“This month, the Berlin senate announced that artists and cultural workers will now have to agree to the controversial IHRA definition of anti-Semitism in order to receive state funding,” they continue, “a move which will further chill and restrict dwindling rights to political expression in Germany.”

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A post shared by Ravers for Palestine (@raversforpalestine)

The mandatory signing of the IHRA’s so-called ‘antidiscrimination clause’ has been criticised by many, with over 4,000 German and interational artists alike having signed a petition against the requirement. Despite claiming the new clause is a bid to quash racism, anti-Semitism, homophobia and any other “discriminatory expressions,” many believe the move restricts “artistic freedom”.
The strike has three demands: a focus on protecting artistic freedom, fighting against claims of pro-Palestine supporters being anti-Semitic, and combating structural racism.
Speaking on her own Instagram story, Manuka Honey clarifies that the boycott is not a swipe at the festival, but rather in support of Strike Germany.
“We are adhering to the call to action created by Strike Germany and boycotting state-funded cultural institutions… CTM is state-funded,” Manuka Honey explains, before adding that “collective action =\= cancel culture.”
Berlin’s CTM Festival have also released a statement showing their respect for the artist’s decisions, claiming: “we remain steadfast in our support of artistic freedom and dialogue. We are actively engaging in many conversations at the moment, and are committed to continuing these exchanges.”
“As a music festival we believe that art and culture provide valuable spaces for encounters and reflection, and remain dedicated to keep such spaces open to discuss and negotiate our differences with mutual respect.”

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A post shared by CTM Festival (@ctmfestival)

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Sontronics acquired by 2B Heard Limited with “new ideas in the pipeline”British microphone brand Sontronics has been acquired by audio solutions company 2B Heard Limited, and is said to be heading into a “new era”.
The acquisition comes 20 years after Sontronics was launched back in 2004 by engineer and microphone designer Trevor Coley along with his wife and co-owner, Lisa. The brand is known to be used at Abbey Road Studios, and supporters include artists such as Ed Sheeran.

READ MORE: Universal Audio’s SC-1 and Hemisphere eight-mics-in-one are tempting additions to any studio’s mic collection

According to a press release, Sontronics will continue to operate from its HQ in Poole, UK, where the existing team “hand-build hundreds of microphones every month”. Its original founders will remain closely linked to the brand, representing it at events, having input to new product R&D, and nurturing key relationships with international distributors and VIP clients.
2B Heard is best known for its premium audio installations for corporate, hospitality, house of worship and high-end residential clients. It also assists in arranging tours and providing cabling solutions via its associated businesses, 2B Toured and 2B Wired.
“Following years of amazing growth and exciting achievements, Lisa and I felt the time was right for Sontronics to fulfil its potential through the fresh vision of new owners,” states Trevor Coley. “After 30 years in the music industry and 20 years building the brand and team to where they are today, I wanted to find the right people who would show Sontronics the same love that we have at the same time as pushing it forward and expanding its reach.
“The team at 2B Heard are hugely respectful of what we’ve achieved and also understand what the brand represents to its loyal users, and I’m confident that through their skills and knowledge they will reach new markets and carry the brand into the future.”
2B Heard Director, Sam Nankivell, adds, “We are delighted to take over the helm at Sontronics, and we’re looking forward to building upon the firm foundations that Trevor and Lisa have established.
“I have admired Sontronics from afar for many years and I’m very proud to be welcoming this incredibly well respected brand, its beautifully designed microphones and its skilful team into our fold. Thanks to its solid range of products and plenty of new ideas in the pipeline, the future is looking very bright for Sontronics!”
Find out more about Sontronics and 2B Heard.
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Dtronics DT-303 is an FX box built to beef up 303 basslinesBig, dirty, stinking bass – Dtronics have got the answer for all you bassline junkies out there.
Tailor made for the Roland TB-303 and Dinsync RE 303, the new Dtronics DT-303 is a distortion FX box designed with aggressive, dirty basslines in mind.

READ MORE: Native Instruments’ FM8 and Massive 8 are available from £10 for a limited time

While the 303’s charged, chaotic sound is a favourite within the electronic music scene, the addition of a distortion or overdrive pedal is often the trick that kicks its up a notch. With a hint of distortion, the 303 is able to veer into even more wild realms – and the Dtronics DT-303 hopes to be the crème de la crème of 303 distortion, the pedal allowing users to capture the beefiest basslines possible.
Tiny but deadly, the small pedal consists of three knobs that will hyper-charge and distort the 303’s sound, allowing you to fine-tune the level of distortion, filter and volume.
Four separate buttons are also on the pedal, allowing users to easily switch back and forth between different types of distortion. It consists of three distinct distortion types: classic, turbo, and overdrive, as well as a bypass button allowing you to return to the original 303 sound at the flick of a switch.
The pedal has a 3.5mm input and output connection, as well as a 9V power supply input.
If you’re looking to beef out your basslines, then the Dtronics DT-303 may very well be answer. The project will launch on Kickstarter on 24 January, though the price is yet to be revealed.

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Moog Mariana isn’t your typical Moog synth plugin — but we love its modern soundWhen you purchase through links on our site, we may earn an affiliate commission. For more information on how this works, see our terms of use.
$99 (Mac/PC), $29.99 (iOS), available at pluginboutique.com
Although best known for its legacy of exceptional hardware synths, Moog has also released a string of stellar software instruments in recent years. Alongside recreating some classics in plugin form, it’s invented original apps such as the Animoog wavetable instrument.
The Asheville brands’ latest plugin is a bass-focused synth that takes cues from the company’s Minimoog, Minitaur and Sub 37 hardware but is completely new — something with a more modern and aggressive sound. Despite a few issues with editing and high CPU usage, it’s a decent-sounding synth with nods to both the past and the future.

What is Moog Mariana?
Mariana is essentially two identical synths in one plugin, which allows you to create rich-sounding, layered mono patches or play two notes in duophonic mode. You can download it on iOS or for desktop in a range of formats.

Each synth has two main oscillators that share a single waveshape selection dial, alongside controls to adjust the phase, pulse width, tuning, and glide, plus Key Reset and Hard Sync buttons.
Unlike the more familiar Minimoog controls, you’re limited with how you pitch each oscillator, as the second can only run in unison, or plus one or two octaves. As we’ll come to see though, this is part of several limitations that both help and hinder Mariana as a sound design tool.
The oscillators sound rich and bright but surprisingly lack some of the low weight that Moog synths are renowned for. Thankfully, this is made up for by a dedicated sub-oscillator with three waveshapes, which can be unlinked from the main oscillator’s pitch should you so desire.
There’s also a flexible noise oscillator that lets you blend between red, pink, white, blue and purple types, a mixer to control all the levels, and a Spread dial that pans each of the main oscillators left and right for a wider sound.
Moog Mariana Main GUI
Moog Mariana’s filter section has no Ladders
Next up is Mariana’s filter section, which is perhaps one of its most interesting features.
This isn’t a traditional Moog Ladder filter. It has similar characteristics, but the resonance is a little more aggressive and pronounced with no low-end reduction when it’s turned up. The routing takes a little getting used to, but is surprisingly flexible.
Oscillators 1, 2, and Noise get routed through low-pass and high-pass filters, which you can run in series or parallel. You also have the option to just use the low-pass for the oscillators, and the high-pass for the noise. We find this particularly useful when building a weighty subbass that makes use of high-passed noise to give the feeling of a distorted sizzle.
The sub-oscillator has a dedicated filter that can be switched between low-pass, band-pass and high-pass with an envelope amount dial. When combined with Sub’s 3 waveshapes, this lets you craft your low-end independently of the main oscillators, keeping it clean and strong.
Moog Mariana CV
There’s also a unique Osc Crossover dial, which works by simultaneously rolling off the high-end for the sub, and the low-end for the other oscillators. You just have to set the crossover with the dial, and the result is much cleaner. You may want to add a touch of saturation to bring the volume and beef back up, though.
Moog Mariana’s user interface
Mariana’s user interface has a satisfying hardware look that mirrors Moog’s Sub 37 synth, with dark panels, large dials and yellow buttons.
You can edit sounds by switching between a Synth page for the oscillators and filters, and a CNTRL page for the modulation, both of which are doubled-up for Synth 2. There’s also an Output page (more on that later) and modulation tabs on the sides that can be switched on and off.
Moog Mariana CNTRL Modulation Page
Everything is crisp, clear and easy to see, but it’s obvious that this synth has been made with a consideration of iPad usability. With that in mind, it can be a little cumbersome to jump back and forth between the synth and modulation pages when programming the desktop version.
Modulation in the Mariana
Speaking of modulation, Mariana includes three LFOs, filter and amplifier envelopes, an ADHSR mod envelope, and two random generators with sample and hold, noise and Perlin modes. This gives you plenty of flexibility — especially as you essentially have it twice, as you can use Synth 2’s mod page to control Synth 1.
You can add modulation by opening the mod tab. You then get a long list of sources alongside the ability to add a modifier or a function to further shape the results. The workflow isn’t smooth, but it’s incredibly versatile, and using one mod on another means you can build extremely complex, moving patches.
However, given that you have two synths here, it would’ve been useful to have a few macro controls to easily tweak both layers at once, or the ability to link specific controls between each synth.
The CV section further expands editing options. You can choose any mod source and send them out via one of eight possible, virtual CV slots. These signals can then be received by another instance of Mariana, or by any of Moog’s Moogerfooger effects plugins. This opens up vast realms of sound design — you could have several different synths moving to the same LFOs, or you could modulate an entire effects chain to move with your patch.

Maximum output
Mariana sounds pretty huge anyway but the icing on the cake is the Output page. Here, you can control the volume and panning and add three flavours of saturation to each synth layer.
There’s also a compressor with optional FET mode to help round-off your sounds (there also seems to be a built-in limiter that stops overload, which is a nice touch). Another useful feature is a correlation meter to help maintain mono compatibility while building patches.
Moog Mariana Modulation Editing
A design choice we dislike is the optional delay effect on Synth 1 and a chorus effect on Synth 2. Though these are both great at adding additional character, having them hardwired to only Synth 1 or 2 can make it tricky to get cohesion with certain sounds. Sure, it’s a limitation that gives the synth a certain uniqueness, but it would be far better to offer some more flexible routing.
There are over 200 presets that show off the synth’s versatility at cinematic drones, glistening arps, retro sound effects and drums, alongside more traditional basses. Happily, the preset page is intuitive, with useful search and tagging features.
Moog Mariana’s CPU usage
We wanted to check Mariana’s CPU usage on an old 2017 MacBook Pro, but it wouldn’t even load into Logic Pro as it was running OSX 10.10 and it requires 10.11 (Big Sur) or newer.
On our M1 Mac Studio, a single instance uses around 40-50% of one core, which is fairly substantial when you consider u-he’s Diva on Devine mode is closer to 25-30%. However, patches in Mariana often have quite a big sound that can easily fill a mix, so you may not want to run lots of instances.
The CPU load doesn’t change when you add Synth 2 into the mix or switch on the saturation and effects, so it’s running at full capacity the whole time. Moog should have considered a lower-quality mode that switches to high-quality when rendering; perhaps one for a future update?
Moog Mariana Output Page
Should you buy Moog Mariana?
Mariana might not be exactly what you expect from Moog. It leans towards a slightly brighter and more aggressive sound than the more familiar Moog warmth. That’s not necessarily a bad thing though, as there are plenty of authentic sounding Minimoog emulations already out there, so it’s nice that Moog has built a synth with that desirable Moog flavour with a slightly different, contemporary sound.
The high CPU usage may be a deal breaker for some, as will certain limitations in the design. However, you could argue that this makes it more like a hardware synth, where those kinds of limitations can actually help with faster sound design and focused creativity.
Key features

Monophonic/duophonic bass synthesiser
VST3, AU, AAX plug-ins, plus iPad and standalone versions
2 synth layers with 2 oscillators, 1 sub-oscillator and noise
Flexible low pass and high pass filters
Dedicated filter for the sub-oscillator
Deep modulation system plus MIDI and MPE
3 LFOs, amplifier, filter and modulation envelopes, plus 2 random generators
Virtual CV to send signals to other instances of Mariana or Moogerfooger plugins
Output section with tube, tape and overdrive saturation
Compressor with FET mode
Real time output and correlation metering
Analogue delay and chorus effects
Resizable user interface

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Neural DSP release Archetype: Gojira X The latest version of Archetype: Gojira introduces some useful functionality updates, and paves the way for compatibility with Neural DSP's Quad Cortex hardware system.