Moog’s Mariana software bass synth is “the next evolution of Moog bass”Moog has launched Mariana, a software bass synthesizer available as an app for iOS, or as a plugin for macOS and Windows for complex and “vibrant” bass sounds.

READ MORE: Get this free Synthesizer Expander Module plugin from Cherry Audio today

Using Mariana, you can dial in tones that suit a range of genres, combine synth sounds and create ear-catching, complex timbres that, the brand says, will “sit perfectly in any mix” with the help of built-in effects and compression. Check out more in this H. Jon Benjamin-narrated trailer, the voice behind the protagonists in US series Bob’s Burgers and Archer. 

Mariana lets you layer multiple bass sounds. Each layer offers three LFOs, three envelopes, and two random generators. There’s also a sub-oscillator so you can reinforce the presence of your low-end and two resonant Moog filters and a dedicated sub-oscillator filter. These “add warmth while rolling off high frequencies or pushing up the resonance for added bite”, Moog says.
There’s a robust modulation editor so you can intricately shape dynamic modulation paths, with virtually every parameter being made editable via MIDI, MPE, and virtual CV within the DAW for an integrated user experience.
Credit: Moog
Moog gives you a range of built-in effects and metering so you can add punch to your bass sounds or make them sit within your mixes better. There’s a warm tube, tape, an overdrive saturation, a tight compressor and real-time metering. The synth also offers built-in delay and chorus effects across separate layers, broadening stereo imaging while maintaining a robust mono signal via high-pass filters.
Mariana has 200 presets that suit loads of genres. These can act as inspiring starting points which you can of course transform into something completely unique. In terms of usability, Mariana apparently has a “beautiful” interface that’s resizable and easy to use.
If you’re looking to use Mariana in your DAW, the plugin will cost you $49 for a limited – but unspecified – time, returning to its usual price of $99 after this. The iOS app version will set you back $14.99, jumping back up to the regular price of $29.99.
Find out more at Moog Music.
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Bath’s iconic grassroots venue Moles to close after 45 yearsBath music venue Moles is sadly closing after 45 years. The 220-capacity grassroots club provided a stage to artists such as Oasis and Ed Sheeran during their early careers.
Moles opened in 1978 on New Year’s Eve, and went on to form a vital part of the blossoming careers of many musicians who went on to make it big. These include Manic Street Preachers, Blur, Pulp, The Cure, Wolf Alice and more.

READ MORE: A quarter of under-35s have early signs of hearing loss, study reveals

The venue announced the news in a post on social media shared earlier today (5 December). Its statement reads: “Today, we are heartbroken to announce that Moles, in its current form, is closing, effective immediately. It’s an incredibly difficult decision for our team, the staff, the local community, and the artists who, over the years, have created such an incredible history of music.
“We’ve weathered many things over the years, including a fire and a pandemic in the last 10 years alone, but this cost of living crisis has crippled the grassroots music sector. Although that is not the only problem, it has accentuated it. Huge rent rates, along with massively increased costs on everything from utilities to stock, are all factors.”
It continues, “This has been compounded by our customers also feeling the impact of the crisis. We are not the only grassroots music venue to close in the past year. Over 120 other venues have closed as well, which is over 15 percent of the sector. Places that mean as much to others as Moles means to us.”

The venue also reinstates that the live sector at arena level is having a “bumper year” with record profits. “There needs to be a major shake-up of the live sector, with the big players supporting the grassroots where it all begins to secure that pipeline of talent,” it argues. “This is something that Music Venue Trust has been saying for years; maybe now the industry will listen.
Moles was one of the last venues remaining from the first Oasis tour. It also formed part of the estimated 366 grassroots venues played by Sheeran before he made it big. 150 of those have now closed. “This decimation of the sector has to stop now. Unless bands have these stages to play, where will they hone their talents and become these huge artists that fill these arenas and stadiums around the world?”
It later adds, “Thank you to everyone who has ever worked here; we achieved a lot, and it couldn’t have been done without them. And all the bands and DJs that have played, and all of you who came down, bought a ticket, and danced and sang, we thank you from the bottom of our hearts. Today, we are heartbroken, but the good memories will last forever, and for that, we will always be grateful.”
Read the full statement below:

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A post shared by Moles (@molesbath)

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D16 Group’s Nepheton 2 Drum Machine is a “supercharged 808” pluginD16 Group has released the Nepheton 2, the second generation of its acclaimed drum machine plugin. Nepheton 2 “captures the essence” of the iconic TR-808 created by Roland, with upgrades to both the sound emulation and the user interface for its second run.

READ MORE: Rhodes’ new V-Rack plugin captures the “sonic essence” of the MK8’s effects section

The 808 has been used across countless discographies in myriad genres by a vast number of artists. You’ve almost certainly come across its sound. In 1983, Roland discontinued the product after just 12,000 units were made. Today, original 808s can be hard to come by, often selling for over four-figure sums, so producers often flock to emulations or sample packs for the trusted sound.
D16’s Nepheton 2 plugin offers modern additions to the classic 808. It hosts a fully-fledged effects section, including a wide range of algorithms from bitcrushers to reverbs, and offers an extensive factory content library with scenes, drum kits, and patterns, plus a sequencer with a Tap function, Randomiser, and MIDI export via drag-and-drop.
You’re also able to integrate Nepheton 2 into your hardware setup thanks to MIDI mapping capabilities and trigger outs.
Each drum sound has an independent channel strip with EQ and compression, to allow for sound shaping. There are also hundreds of presets from the off, which D16 says “sound great straight-out-of-the-box,” with features such as Flam and Substep allowing for more variety in your percussion composition.
The master section is equipped with multi-band compression and a limiter featuring a soft-clip option.
Check out the demo below to hear it in use:

In its press release, D16 says: “Nepheton 2 stands as a testament to D16 Group’s commitment to excellence in audio software. By combining the legendary 808 sound with modern controls, D16’s Nepheton 2 offers producers a faster route to their creative goals.
“Its effect chains enable precise sound shaping, while the enhanced workflow allows for full control. The improved workflow and innovative features like sequencer presets and a randomizer ignite new creative possibilities. We’ve taken the 808 and supercharged it!”
The Nepheton 2 is available now for €69 (down from €119). Find out more at D16 Group.
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A quarter of under-35s have early signs of hearing loss, study revealsAn analysis carried out by auditory training app Eargym has revealed that a quarter of people under the age of 35 have early signs of hearing loss.
Eargym was founded by former NHS CEO Amanda Philpott and DJ Andy Shanks in 2020, who were both diagnosed with hearing loss. It uses games to simulate realistic and challenging listening scenarios to improve users’ ability to derive meaning from the sounds they hear.

READ MORE: Listening to “moving” music can help to reduce pain, study finds

The new findings have been gathered from over 1,000 people over a four-month period. Researchers analysed the results of a scientifically-validated “speech-in-noise” activity delivered via the Eargym app to acquire the data.
Of the 16-35 year olds who completed the “speech-in-noise” check, a quarter (24 percent) were categorised as having hearing loss, with a further 19 percent of users aged 16-35 having possible hearing loss.
Overall, hearing loss or possible hearing loss was detected in just under half (43 percent) of 16-35 year olds. The study also revealed that nearly half (47 percent) of 16-35 year olds have a hearing age that is older than their biological age, with an average difference of 13 years. A further half said their hearing ability is impacting their quality of life.

The data uncovered corroborates ongoing concerns from the World Health Organisation that billions of young people are at increased risk of hearing loss due to prolonged use of earbuds and headphones, as well as regular exposure to loud music at gigs.
Amanda Philpott, CEO and co-founder at Eargym, says of the findings: “Hearing loss is an emerging crisis for young people. The majority of us will experience some form of hearing loss in our lifetimes, but it’s particularly concerning to see an unexpected number of young people worried about their hearing and showing signs of hearing difficulties.
“The good news is: hearing loss is preventable, and we can take proactive steps to look after and improve our hearing at any age. Research shows that whilst the ear itself cannot be directly improved without hardware, the brain can learn and respond to specific auditory stimuli through regular training.”
She later adds, “The only way to understand what’s going on with our hearing is to test it regularly, so we notice when it changes. Safe listening practices, such as the use of ear defenders, gigplugs and noise-cancelling headphones, can make the world of difference when it comes to protecting our hearing health long into our futures.”
Find out more at Eargym.
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XLN Audio release Life plug-in XLN Audio's latest plug-in has been designed to allow users to take a step away from sample libraries and quickly capture sounds from their own setups or surroundings.

Get this free Synthesizer Expander Module plugin from Cherry Audio todayCherry Audio has ushered in the holiday season with a free download of the Synthesizer Expander Module, a virtual instrument plugin based on a classic 1974 analogue synthesizer.

READ MORE: Kaytranada is trying to keep sampling alive: “It’s like a collage; Not everyone is going to get it”

Designed in collaboration with DSP legend Mark Barton, the Synthesizer Expander Module is a software replica of the iconic Oberheim SEM, a synth used by artists the likes of Joe Zawinul and Toto’s Steve Porcaro.
Though it was a simple, barebones monosynth, the original SEM possessed a unique tone quality courtesy of its 12 dB/oct state-variable filter.
Similar to the original, this filter – with its high-pass, low-pass, and bandpass configurations – is the star of the show in the Cherry Audio version. The synth features a pair of accurate oscillators with saw and pulse waveforms, coupled with fun controls like modulation on the pulse width and tuning. Users also get a unison mode and a unique “Phasor” effect section emulating the vintage Oberheim stomp box. There are also 100 presets for Basses, Leads, and Percussion.
Synthesizer Expander Module joins other free offerings from Cherry Audio, including the Surrealistic MG-1 Plus and the acclaimed Voltage Modular Nucleus virtual modular platform. This holiday gift arrives as the brand celebrates its fifth anniversary in the desktop music production space.
It’s offered in AU, VST, VST3, AAX, and standalone formats for Windows (7 and above) and macOS (10.13 and above), including native support for Apple Silicon.
Download the plugin at Cherry Audio now.

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XLN Audio Life plugin lets users capture everyday sounds and memories for musicXLN Audio has launched a new plugin today (5 December) called Life, which allows users to capture sounds heard in their everyday life – from a dripping tap to an amp crackle – to use as beats.
By using the compatible app from XLN Audio, Life users can capture sounds and have them automatically appear in the plugin ready to implement into music.

READ MORE: Cherry Audio emulates ARP’s preset synth with programmable and fully polyphonic Pro Soloist

The Life Field Recorder is an iOS and Android compatible app that enables users to record anything using their phones. You can also import audio or video directly from your phone or your computer, creating beats from your favourite moments and memories that have already been captured.
There’s also a Life DAW Recorder, so you can record in high fidelity directly from your DAW, utilising any instrument, microphone or outboard gear you have connected. Once sounds have been imported, users can select a recording from within the plugin and it will automatically generate beats.
You can also audition different beat variations, tweak your beats using features like Sound Variation and Pattern Variation, or go even explore the finer details editing Slice Points, FX or sequencers.
Life’s workflow has been crafted using Machine Learning models, which the brand says powers features such as Beat and Sound Variations as well as Density, Syncopation and Symmetry controls.
“In a world where ready made presets and loops have made music making a lot easier, it has also made music less personal,” says the brand. “Life by XLN Audio enables you to easily capture your life moments and instantly create beats – adding life to your music.”
Life by XLN Audio is available now for an introductory price of $109 (standard price $149). Find out more at XLN Audio.
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Steinberg’s Cubase Pro 13: The old master shows how it’s done£497 (upgrades from £85)
Also available in Artist edition (£282 / upgrades from £68) and Elements edition (£85 / upgrades from £25)
steinberg.net

Alright, let’s get this out of the way: the number 13 has a lot of folklore attached to it, and you may expect us to joke about this when discussing the 13th edition of a product – riffs on “unlucky for some”, and any other number 13 references we can think of. But here, that ain’t gonna work.
There’s nothing woeful or portentous in Steinberg’s Cubase 13; it’s just another stellar update to one of the longest-serving software titles in existence.

Mixer overhaul
The most obvious change in Cubase 13 is the Mixer window. This has had a complete graphical overhaul to give it a crisp, less cluttered appearance, and to bring improvements to the mixing workflow.
Cubase 13 mixer. Image: MusicTech
Channel strip sections – inserts, sends, EQs and the like – can be hidden or shown as before, but now their ordering can be adjusted too. This doesn’t impact the actual signal flow, which would have been a helpful feature, but it does let you customise things to best suit your way of working. Also, track name labels are now shown at the top of the strip as well as the bottom, and these new labels stay in place even when vertically scrolling the mixer view, making it much easier to navigate.
Cubase 13 mixer and strip processor popup. Image: MusicTech
More significantly, the EQ curve popup window, which opens when clicking on a channel’s curve preview, now shows the actual controls as well as a draggable curve, and includes the low-cut and high-cut pre-filter controls, making for a much more useful panel. Similarly, the Strip processors (the standard set of processors built into each channel) now open in pop-ups rather than expanding their section across the entire mixer, reducing clutter and distraction.
The refreshed mixer design has also found its way into the main Project window in the form of a new Channel sidebar that can be opened to the left of the Left Zone sidebar. This does duplicate functionality that has long been available as sections within the Left Zone’s Inspector panel, but the Inspector can only show one such section at a time – inserts OR sends OR fader etc.
In contrast, the new Channel sidebar can show all of its sections simultaneously within a single view, and is a huge time- and focus-saver that brings Cubase into line with DAWs that already offer a similar feature.
Cubase 13 mixer and EQ curve popup. Image: MusicTech
Edited editors
The procedure for selecting and moving notes and events within the Key and Drum Editors has always had quirks that Cubase users have learned to work around. For example, ensuring you have selected all of the notes and events you are interested in can often involve a lot of scrolling and zooming – and even then you can miss things that lie above or below the main cluster of notes. Then, if the first note in your selection does not fall on a grid line, it becomes tricky to accurately maintain the relationship to the beat of the notes you are moving/copying.
Steinberg addresses these issues in Cubase 13 with new functionality for the Range Selection tool. Now, having defined a timespan, you can simply drag/copy it to a new time position, taking all the notes and events it encompasses along for the ride.
Everything within the range will be timed accurately with regards to the selection bounds, and you can choose whether or not to include controller data (which, incidentally, can now be manipulated by the Range tool in much the same way as track-level automation).
Cubase 13 range tool in editor. Image: MusicTech
The workflow for dealing with multiple parts within an editor has been streamlined too. A new preview area sits atop the main editing grid showing the tracks and parts that are included in that editor’s view. Clicking a part in the preview activates that part in the editor itself – a far more elegant solution than the old method of clicking inactive notes in the hope they are within the part you want to edit.
Additionally, a new Visibility sidebar can be opened, allowing tracks – and the parts they contain – to be added and removed from the preview and thus the editor itself.
Cubase 13 multiple parts in editor. Image: MusicTech
Track changes
Chord tracks are a fabulous way to sketch and develop a song, and have received some attention in the Cubase 13 update. The overall method of assigning and configuring the chord pads, which was previously quite clumsy, has been streamlined into a single Lower Zone panel. Here, a new chord list has joined the Circle of Fifths and Chord Editor as a means of choosing and defining chords.
Like the pads themselves, the list colour-codes each chord to show the strength of its harmonic relationship to the currently active chord, making it simple to create and explore complex progressions.

Sampler tracks have also received updates, most notably with three new spectral time warp modes – one of which is dedicated to use on vocals – that deliver far cleaner time-stretching results than the existing Music and Solo modes. Additionally, pitch, filter and amplitude envelope generation have been given a creative boost with the ability to create complex shapes and patterns based on preset curves.
New processors and sounds
As you may expect, Cubase’s bundle of professional plugins has been expanded. The most elaborate plugin to be added is VocalChain – a collection of 16 individual processors grouped together to form a vocal processing powerhouse.
Cubase 13 VocalChain. Image: MusicTech
VocalChain organises its processors into three sections, each with an intended function. Clean includes gates, EQs, filters and the like for removing noise and crud from the signal. Character brings together processors that colour, enhance and control the sound – we’re talking compressors, saturators and so on. Meanwhile, Send is where the sonic embellishments of reverb and delay can be added, as well as a clever Imager processor to add stereo width to your mono vocal.
Another boon for vocalists – and indeed those of us who can’t sing – is the welcome return of Steinberg’s excellent Vocoder plugin. This was dropped from Cubase when it stopped supporting 32-bit plugins (around version 10 if we recall correctly), but now the plugin has been updated to 64-bit, it’s back. Nice.
Cubase has long had a strong choice of EQ options, with console-style parametric EQ on every channel, the super-detailed 8-band Frequency plugin, plus a couple of graphic EQ plugins. These have now been joined by EQ-P1A and EQ-M5, a pair of Pultec-style passive EQ plugins that bring analogue colour and character to Cubase’s EQ offering.
Cubase 13 EQ-M5. Image: MusicTech
Similarly, over in the dynamics department, the new Black Valve compressor provides an emulation of a classic valve compressor. It isn’t clear what the source of inspiration for this compressor is, but it looks and sounds to us most like a Universal Audio LA-610, which combines the progressive compression characteristics and simple controls of an optical compressor with the tonal and harmonic colouration of a tube.
Whatever it is based on, Black Valve delivers classy, smooth-sounding compression that is particularly impressive on vocals, basses and acoustic guitars.
Cubase 13 Black Valve. Image: MusicTech
There are no new instrument plugins in Cubase 13, but what you do get is the Iconica Sketch instrument for HALion and HALion Sonic (Cubase of course comes with the HALion Sonic plugin). This provides a full orchestra of 34 different instruments and sections, with multiple articulations for each, and is ideal for composing orchestral scores or adding orchestral elements to songs.
As always, there is a whole raft of smaller tweaks and additions, such as the five new sample packs, the ability to export audio directly into an existing MP4 video file, replacing its soundtrack and avoiding the need to re-render the entire video project, and the long-needed ability to easily switch a track between stereo and mono mode.
Lucky number 13
The stack of new features, workflow improvements and streamlining that Steinberg has delivered makes this a major update to its most venerable and long-lived product. The updates are very well conceived too, bringing the DAW up to date in areas it was starting to lag behind, tidying up areas that had become a bit clumsy or convoluted, and adding new tools and toys that make the creative process that bit easier and a lot more enjoyable.
It can’t be easy to keep finding ways to improve, hone and refresh a product that’s been around for as long as Cubase, yet Steinberg has done it again. So, while those young DAWs keep challenging, Cubase remains a top-tier choice.
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Spotify layoff details emerge as stock finishes up sharply Monday [NYSE: SPOT]Even while the overall stock markets declined on Monday, Spotify finished sharply up after news emerged that the streaming company was cutting 1,500 jobs or roughly 17% of its global. Continue reading
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Spotify CEO Daniel Ek’s Layoff Letter To Staff – Full TextSpotify CEO Daniel Ek sent a letter to staff Monday announcing layoffs of 17% or about 17% of global staff. Over the day, Wall Street sent Spotify stock higher, and. Continue reading
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Spotify has laid off 2,300 employees this year. That’s a shock – but also kind of inevitable.On: Promises made at Investor Days, Christmas Walks, and Daniel Ek's long-term aim for his shareholders
Source

‘Animate Anyone’ heralds the approach of full-motion deepfakesAs if still-image deepfakes aren’t bad enough, we may soon have to contend with generated videos of anyone who dares to put a photo of themselves online: with Animate Anyone, bad actors can puppeteer people better than ever. The new generative video technique was developed by researchers at Alibaba Group’s Institute for Intelligent Computing. It’s […]
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RØDE acquires Mackie in “new chapter” of evolution: “They are true legends, with a pedigree of live sound expertise that is unmatched”RØDE has today announced the acquisition of audio brand, Mackie. The acquisition establishes The Freedman Group – the parent company of RØDE – as “one of the most well-rounded pro audio companies in the world”, according to a press release.

READ MORE: RØDECaster Duo is a compact and affordable box of tricks for all your broadcasting needs

RØDE, known best for its microphones, interfaces, mixers and headphones, now introduces Mackie products into its extensive catalogue. The Mackie brand launched in 1989, releasing mixers and loudspeakers for home, studio and stage use. Mackie today aims to uphold a “built-like-a-tank” standard, and its leading products include the ProFX series of compact mixers, the Thump series of powered loudspeakers, and the CR series of desktop production monitors.

“I am absolutely thrilled to welcome Mackie to The Freedman Group’s roster of iconic audio brands,” says founder and chairman, Peter Freedman AM. “They are true legends, with a pedigree of live sound expertise that is simply unmatched.
“Today, RØDE and Mackie are both leaders in audio, and we share the same passion for creating innovative, high-quality products with a strong customer focus. With this acquisition, The Freedman Group is now a premier audio technology company offering world-class products to an even wider range of customers, from up-and-coming content creators to professionals working in live production and everyone in between.”
Alex Nelson, CEO of Mackie says: “The entire Mackie team is excited to be joining forces with Peter, Damien and their incredible crew. Having worked in the audio industry for many years, I have always held RØDE in high esteem. Their manufacturing capability and technology leadership is second-to-none in pro audio and I think they are the perfect partner to help Mackie expand as we enter an exciting new chapter in our history.”
Nelson adds, “Also, the timing could not be better. We have an incredible product roadmap ahead of us, which we’ll be making some big announcements for leading up to NAMM 2024. This is an extremely exciting time for Mackie, and we couldn’t be happier doing all of this alongside the RØDE team.”
Find out more at RØDE.
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Core Scientific explains its latest bankruptcy plan ahead of court dateIf approved, this third version of the plan will go into effect on Jan. 5, 2024, and see the company add 372 MW in capacity by 2027.

How to mix your music with iZotope’s Neutron
From new views to unique modules and features, learn about some of the many powerful tools that iZotope's Neutron 4 has to offer to your mix.