Carl Cox to make metaverse debut with free-to-watch show premiering this OctoberDJ and producer Carl Cox is set to make his metaverse debut with a virtual performance in the Sensorium Galaxy. The show promises to be “another step into the territory of digital performances.”
The exclusive 30-minute showcase, named Intermundium (which refers to the space between worlds and dimensions), will feature tracks written, produced and performed by Cox himself. Fans across the globe will be able to access the experience at no cost.

READ MORE: Michael Bibi surprises Ibiza partygoers with DJ set amid cancer treatment

The Sensorium Galaxy is an evolving metaverse of diverse virtual worlds. Cox’s show will take place at PRISM, which is Sensorium Galaxy’s hub dedicated to electronic music. Here, avatars of both real-life and virtual DJs provide continuous musical engagements.
The performance will utilise visual sensations that aren’t achievable in the real world. Cox will control the environment with his music, such as erupting volcanic streams or futuristic structures, and will engage with virtual inhabitants and show guests in an “endless dance.”
Cox says in a statement, “I’ve always been about pushing boundaries, sharing the love of music, and enhancing electronic music culture. I truly understood what was possible when I first saw my avatar and literally did a double-take! I thought, ‘This is now a reality – or should I say virtual reality?’ It has been really interesting to see things develop to the point where I can share my experiences with like-minded individuals anywhere on Earth – or beyond!”

The show is set to premiere on Friday 27 October, at 7pm GMT. Access is free and will be available across multiple platforms: Sensorium Galaxy Website (2D Stream), YouTube (2D Stream), App Store and Google Play apps (2D Stream), and Steam (Full-fledged VR).
The immersive VR-360 version of Intermundium will be available on the PICO Store for an entire month. Additionally, it will also be broadcasted on Sensorium’s TikTok Live (2D Stream) as the premiere begins.
Find out more via Sensorium.
The post Carl Cox to make metaverse debut with free-to-watch show premiering this October appeared first on MusicTech.

The best audio interfaces to buy in 2023: 14 best audio interfaces under $300If you’re picking out your first proper audio interface, but don’t necessarily want to break the bank, it’s a great time to be in the market. The boom of affordable home recording gear has led to fierce competition between brands, which, much to the benefit of music-makers, has led to more affordable devices and some impressive bundled third-party software.
From home recording stalwarts to great throw-in-your-bag options, here are our top picks for the best audio interfaces you can buy this year for under $300.
The best audio interfaces under $300 at a glance

Focusrite Scarlett 4i4 (4th Gen)
Audient EVO 4
Universal Audio Volt 276
Solid State Logic SSL2+
Arturia MiniFuse 4
Apogee BOOM
PreSonus Studio 68c USB-C Audio Interface
TASCAM Series 102i
MOTU M4 4×4
Audient iD4
Steinberg UR22mkII
Native Instruments Komplete Audio 6
M-Audio 192
Novation Audiohub 2×4

Focusrite Scarlett 4i4 (4th Gen)

The Focusrite Scarlett 4i4 4th Generation audio interface is a versatile studio hub suitable for musicians who play multiple instruments and collaborate with others. It offers various inputs and outputs, including two clear and quiet microphone preamps, connections for different instruments, and separate controls for headphones, monitors, and line outputs.
It stands out with its Air mode, which adds a rich sound quality, automatic level adjustment with Auto Gain and Clip Safe, and the Hitmaker Expansion software bundle for recording and producing music. With its impressive microphone gain and dynamic range, the Scarlett 4i4 is an excellent choice for high-quality audio recording and production.
Check out our full review of the Focusrite Scarlett 4i4.
Key features:

High-quality audio with 24-bit/192 kHz and 120 dB dynamic range
2 Scarlett microphone preamps offering 69 dB gain and +48 V phantom power
Switchable Air function for enhanced sound
Auto Gain and Clip Safe features for automatic level control
Price: $298

Find deals at thomann.de.
Audient EVO 4

Seasoned engineers working on more complex setups might have forgotten how daunting even the most basic recording tasks can be to a beginner. Even setting levels for the newbie can seem like a step you can get wrong. The Audient EVO 4 is a compact, no-nonsense interface ideal for those wanting to get into recording quickly without worrying about the more technical aspects, at least yet.
It’s a two-input/two-output interface, which means you get two dual-function sockets for your XLR and quarter-inch inputs, and a pair of quarter-inch outputs for your speakers. The way that this interface combines its intuitive layout with auto gain setting makes it especially straightforward. Also, for its very affordable price tag, this interface boasts some serious audio quality, coming from console and interface makers, Audient.
Read our full review here.
Price: £99 / $129 / €119
Inputs: 2x combo inputs (XLR / 1/4″),
Outputs: 2x TRS outputs (1/4″)
Preamps: 2x Mic, 1x Instrument
Mic Pre Gain Range: 58dB (-10db Pad for Line)
Connection Protocol: USB Type-C (USB 3.0 / 3.1 Gen 1)
Headphone Outputs: 1x 1/4”
Universal Audio Volt 276

UA’s Volt 276 boasts studio-grade sound quality, with features such as the Vintage Mic Preamp mode that replicates the iconic Universal Audio 610 tube preamp sound. Its onboard 76 Compressor, inspired by UA’s renowned 1176 Limiting Amplifier, ensures your recordings have “album-ready punch and presence”, the brand says.
With straightforward 2-in/2-out connections and a curated suite of audio software included, Volt 276 simplifies the creative process. Whether you’re recording vocals, instruments, or podcasts, this interface is your ticket to legendary sound quality and inspiration. Plus, its rugged build ensures it will serve you for years to come.
Read our full review of the Universal Audio Volt 276.
Features:

High-quality 24-bit/192 kHz AD/DA converter
Built-in microphone preamps featuring a vintage mic preamp mode
Incorporates a 76 compressor inspired by the UA 1176
Switchable +48 V phantom power
Price: $254

Find deals at thomann.de.
Solid State Logic SSL2+

Built upon SSL’s 40 years of crafting exceptional audio for professional producers, SSL+2 combines advanced technology with features tailored to a collaborative producer or musician. With 2 SSL-designed microphone preamps, 2-In/4-Out USB-C connectivity, and Legacy 4K analogue color enhancement inspired by classic SSL consoles, it empowers musicians and content creators to produce outstanding soundscapes.
The interface includes high-quality 24-bit/192 kHz AD/DA converters, two high-current headphone outputs for independent monitoring, balanced monitor outputs, MIDI I/O, and USB 2.0 bus-powered operation for Mac and PC. Additionally, it offers a Loopback feature via firmware update. Bundled with the SSL Production Pack, it delivers a comprehensive suite of virtual instruments, plug-ins, samples, and DAW software for a creatively inspiring experience.
Read our full review for the Solid State Logic SSL2+.
Features:

2-In/4-Out
24-bit/192 kHz AKM converters
Microphone preamps with 62 dB gain range
Neutrik connectors
4K switch
+48 V phantom power
Price: $270

Find deals at thomann.de.
Arturia MiniFuse 4

The MiniFuse 4 audio interface by Arturia is an adaptable 4-in/4-out interface with best-in-class audio quality with a 110dB dynamic range and industry-leading -129dB equivalent input noise. It offers loads of connectivity, allowing up to four inputs, MIDI connection, and a USB hub, with dual headphone outputs for customisation.
The stereo virtual Loopback channel enables seamless content creation by recording computer audio alongside external inputs. Also, you can pick it up as part of bundle which includes Ableton Live Lite, Analog Lab Intro, and Native Instruments’ Guitar Rig 6 LE, making it a complete solution for modern music production.
Read our full review of the Arturia MiniFuse 4.
Features:

24-bit / 192 kHz audio quality
Switchable +48V phantom power
Illuminated controls and LED meter
Control for adjusting monitor levels
2 XLR/TRS combo inputs
Price: $235

Find deals at thomann.de.
Apogee BOOM

The Apogee BOOM is a 2×2 USB-C audio interface featuring high quality Apogee conversion and mic preamp technology, offering up to 24-bit/192kHz recording quality. It includes a quarter-inch instrument input, a combination mic/line/instrument input, and two quarter-inch balanced outputs. The interface also provides a quarter-inch headphone output and features an aluminum low-profile design. It is bus-powered and equipped with on-board hardware DSP for low-latency recording with Apogee FX.
Additionally, it comes with the Symphony ECS Channel Strip hardware DSP FX, with the native plugin available separately. The BOOM is compatible with macOS, iOS/iPad OS and Windows.
Read our full review.
Features:

2 Line outputs: 6.3 mm jack, balanced
24-bit / 192 kHz recording
Onboard hardware DSP with Symphony ECS channel strip
Microphone signal gain: +62dB
+48V Phantom power
Pad and phase rotation
Price: $192

Find deals at thomann.de.
PreSonus Studio 68c

The PreSonus 68c audio interface caters to small productions and electronic artists, delivering brilliant sound quality with four renowned XMAX analogue mic preamps. It features two stereo outputs, a potent headphone amp with A/B switching, and professional metering capabilities. High-quality converters and PreSonus’ XMAX mic preamps ensure distortion-free recording with ample headroom and balanced audio.
The interface provides simultaneous I/O of up to 6 inputs/6 outputs, including 2 mic/instrument/line inputs, 2 mic/line inputs, and 2 balanced quarter-inch TRS main outputs. Supporting various sampling rates, it includes Studio One Artist, Studio Magic Software Suite, and Ableton Live Lite, making it an excellent choice for live performances and studio setups.
Features:

24-bit/192kHz audio quality
4 XMAX L mic preamps with +48V phantom power
2 ins / 2 outs
Price: $270

Find deals at thomann.de.
TASCAM Series 102i

The TASCAM 102i is a versatile audio/MIDI interface designed for guitarists, songwriters, and small studio owners. It offers up to ten audio inputs, two audio outputs, and supports recording and playback at up to 192 kHz / 24-bit resolution. The interface features Tascam’s Ultra-HDDA mic preamps, individually switchable phantom power, and instrument-level inputs for direct recording of guitars and basses. It includes dual headphone outputs, MIDI I/O, and a DSP mixer with built-in reverb, compressor, phase invert, and a four-band EQ for each channel.
The interface comes with Tascam control software, Steinberg Cubase LE, IK Multimedia AmpliTube, T-RackS, and iZotope Neutron Elements for high-quality recording, mixing, and mastering. It’s compatible with Windows, macOS, and iOS devices.
Features:

24-bit/192kHz audio quality
USB 10×2 audio interface
2 combo inputs on the front panel (XLR/jack) for mic/line/instrument
+48V phantom power
2 balanced TRS main outputs with front panel level control
2 stereo headphone outputs
Price: $275

Find deals at thomann.de.
MOTU M4 4×4

The MOTU M4 4×4 audio interface is a compact yet versatile device. It boasts four XLR-TRS combo inputs, allowing for simultaneous recording of microphones, instruments, or line-level sources at a pristine 24-bit/192kHz resolution. It stands out with its integrated loopback function, seamlessly incorporating computer audio, making it ideal for podcasting and live streaming.
The interface provides two sets of balanced quarter-inch outputs with individual volume controls for studio monitors and headphones. Built with robust USB-C connectivity, it suits both studio and mobile setups. Additionally, MOTU often comes with software bundles including the MOTU Performer Lite and Ableton Live Lite, making the M4 4×4 an excellent choice for a feature-rich audio interface for various recording needs.
Features:

Four XLR-1/4″ combo inputs at 24-bit/192kHz
Built-in loopback for seamless computer audio integration
Dual 1/4″ outputs with individual volume controls
USB-C connectivity for studio or mobile use
Includes MOTU Performer Lite and Ableton Live Lite
Price: $311

Find deals at thomann.de.
Audient iD4

Audient equips their entire product line – from its consoles to its iD interfaces – with the same class A mic preamp design, meaning you’re free to consider your other needs in an interface such as form factor and I/O. While the EVO4 is ideal for throwing in a bag and taking around, the iD4, which similarly has two-inputs and two-outputs could be better suited for the home studio because of its multi-function volume knob.
By using the virtual scroll wheel mode, dubbed Scroll Control, you can use the iD4’s volume encoder to make adjustments in your DAW and plug-ins by merely hovering over a parameter, and rotating the knob to tweak it. You can also assign a function to the iD button on the front panel, so you have quick access to mute, dim or talkback.
Read our full review here. 
Price: $199
Inputs: 1x XLR, 1x TRS (DI)
Outputs: 2x 1/4″
Preamps: 1x Mic, 1x Instrument
Mic Pre Gain Range: 58dB
Connection Protocol: USB 2.0
Headphone Outputs: 1x 1/4”, 1x 1/8”
Steinberg UR22MKII

The UR22MKII is as straightforward as audio interfaces get, and that isn’t a bad thing. This is a two-in, two-out interface with a Hi-Z function on the second input. Housed in a rugged chassis, and powered via USB, it’s an ideal portable interface. Its preamps are Yamaha’s D-PRE design, and are capable of supplying up to 60dB of gain, too. So, if you’re recording a podcast and you’re working with the notoriously gain-hungry Shure SM7B, this is a great pick.
Features

2x combo (XLR/1/4”) inputs
2x 1/4” outputs
2x Mic preamps
54dB mic pre gain range
USB 2.0 connection protocol
1x 1/4” headphone output
Price: $219.99

Native Instruments Komplete Audio 6

Not only does this interface come with some solid sounding preamps, but it packs great software to kickstart your plug-in collection as well. Native Instrument’s Komplete Kontrol keyboards demonstrate that the company is on a mission to bring great hardware and software bundles to music production newcomers, and the Komplete Audio 6 follows strongly in this vein.
On the interface itself, you’ll find two mic/line combo inputs in the front, two 1/4” inch inputs in the back, a pair of jack outs, headphone out, as well as level and input selector controls. On the software side, you get Cubase LE 5 and Traktor LE 2 and Komplete Elements. For under $300, that’s a lot to get you started.
Features:

2x combo inputs (XLR/1/4”), 2x 1/4” inputs, 2x digital inputs
4x TRS outputs (1/4”)
2 mic preamps
USB-B connection protocol
2x 1/4” headphone outputs
Price: $249

M-Audio 192 | 4

The compact two-in/two-out interface category is a highly competitive one – and many manufacturers, like M-Audio have chosen to add value by bundling impressive third-party software with their hardware.
To be completely clear, the M-Audio 192 | 4 is a perfectly reliable audio interface on its own, and its ability to record at sampling rate up to 192kHz is impressive for the price. But it’s a big plus that it comes bundled with both Ableton Live Lite and Pro Tools First; Eleven Lite, Xpand2!, Vacuum, Boom and 2GB of Touch Loop content.
Features:

Inputs: 1x combo inputs (XLR/1/4″), 1 x 1/4″ (Hi-Z)
Outputs: 2x 1/4″ (L/R)
Preamps: 1x Mic, 1x Instrument
Mic Pre Gain Range: 55dB
Connection Protocol: USB Type-C (USB 2.0)
Headphone Outputs: 1x 1/4″
Price: $199

Novation Audiohub 2×4

Novation is best known for its MIDI controllers, keyboards and synths, so it’s only natural that their standalone audio interface plays well with others in the product line. The Audiohub 2×4 is an audio interface designed exclusively with electronic musicians in mind, combining a powered USB hub for your devices with an intuitive way to control output and monitoring levels.
We’ll admit, it would have been nice to have at least one XLR input, or even MIDI I/O, but the Audiohub 2×4 picks its battles, and if you have a range of USB devices in your setup, this could be right for you.
Read our full review here.
Features

3x Powered USB, 2x RCA line inputs
4x Line outputs
USB 2.0
1x 1/4” headphone output

For more Buyer’s Guides, click here. 
The post The best audio interfaces to buy in 2023: 14 best audio interfaces under $300 appeared first on MusicTech.

As layoffs begin, Bandcamp union launches petition demanding Songtradr recognitionUPDATE: Workers at Bandcamp are in limbo after Epic Games sold the indie music marketplace to Songtradr, and their recently recognized Bandcamp United Union is looking for answers. Workers voted. Continue reading
The post As layoffs begin, Bandcamp union launches petition demanding Songtradr recognition appeared first on Hypebot.

Imagine Dragons, Bandsintown partner for free livestream concert to support fight against pediatric cancerImagine Dragon’s Tyler Robinson Foundation has partnered with Bandsintown for the third year in a row for a free livestream concert this Friday to raise awareness and support for families. Continue reading
The post Imagine Dragons, Bandsintown partner for free livestream concert to support fight against pediatric cancer appeared first on Hypebot.

Amazon shuts down live radio app Amp just 18 months after launchAmazon has turned off its live radio app, Amp, after just a year and a half of operation.
The app allowed users to create their own live radio show, where they could also provide commentary between songs in the manner of a real-life radio DJ.
Now, Bloomberg reports that the company’s lead for digital music, Steve Boom, sent a memo internally saying the decision to shut down the platform “only became clear after months of careful consideration determining the investments Amazon wants to make for the future”.

READ MORE: This dazzling bright pink DJ controller has star-shaped jog wheels

The app failed to secure any significant growth since launching in March 2022, despite its big-name launch announcing shows from the likes of Nicki Minaj, Pusha T, Travis Barker and Lil Yachty. Amazon even introduced a creator fund in September 2022 to ure more users to the platform,  allocating “millions of dollars” to pay show makers through monthly rewards.
Amp had nearly 700,000 monthly active users in July, according to sources speaking to TechCrunch.
However, Amazon disputed the accuracy of these figures and analytics company data.ai noted that Amp had 1.3 million lifetime downloads.
Despite this, the Jeff Bezos-founded company cut almost half of Amp’s staff last year during a round of mass layoffs and the app only persuaded a few thousand people to sign up for Amazon, as per documents seen by TechCrunch in July.
Post-pandemic, many live audio apps across the board have struggled to retain user interest, with both Meta and Spotify deciding to shelve real-time audio platforms and divert resources elsewhere last year. Meanwhile, Reddit shut down its live audio product, Reddit Talk, in March.
Even Clubhouse, the ultra-exclusive app pioneering real-time conversations, has resorted to introducing chatrooms with asynchronous voice messages. in an effort to ramp up flagging engagement.
Bloomberg also reported that some features from Amp might be incorporated into Amazon Music, the company will try and take learnings of the live-music community interaction to build fan experiences.
The post Amazon shuts down live radio app Amp just 18 months after launch appeared first on MusicTech.

Aodyo Instruments expand Sylphyo’s soundset The latest Sylphyo firmware update kits the instrument out with new trumpet and balalaika physical models.

Spin Carousel Music Boxes Is A FREE Kontakt Instrument By Wrongtools
Wrongtools releases Spin Carousel Music Boxes, a FREE instrument for the full version of Native Instruments Kontakt. Spin delivers and expands the sound of two antique instruments: a Cylinder Music Box and a Carousel Music Box. Wrongtools combined both instruments and created something more emotive and cinematic than I first expected. While Spin is free [...]
View post: Spin Carousel Music Boxes Is A FREE Kontakt Instrument By Wrongtools

Djammin Is A New FREE Music Collaboration App For iOS And Android
Djammin is a free music collaboration app created by keyboardist Marc Kubbinga. The app is a free download for iOS and Android. According to its creator, Djammin is an app that does a few vital things: it helps musicians connect with other musicians, provides creative freedom, and encourages interaction, unlike traditional platforms. The basic concept [...]
View post: Djammin Is A New FREE Music Collaboration App For iOS And Android

This dazzling bright pink DJ controller has star-shaped jog wheelsTigris Li, a London-based, Canadian creative technologist, artist and designer, has shared an intriguing new DJ controller design and the process that went into building it.

READ MORE: Love Hultén’s custom device translates biodata from a cactus into MIDI

The DJ controller is small with a bright pink transparent plastic casing. All the key features are there – jog wheels, EQ knobs, browsing knobs and load buttons, volume faders, BPM control, a filter, cue and play buttons – however, not as we know them.

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The stars of the show are the jog wheels. Rather than adopting the standard circle shape as with most DJ gear, they’re shaped like twinkling stars with a silver finish. The groovy – in more ways than one – shape allows you to smoothly adjust the position of a track or backspin in a dramatic fashion.
In the centre of the unit, there’s a basic LED screen that displays retro bitmap symbols such as hearts and aliens akin to early gaming devices. The visuals are activated each time you touch a knob, spin a jog wheel or adjust the faders.
The funky DJ controller is also apt for portability. It comes with a harness, custom-designed by Isabella Smith. This straps around your body, leaving the controller to sit at the front, so you can make the most spectacular entrance of all to your DJ set in the club.
The controller was made using Arduino’s UNO R4 Minima, “the first UNO board featuring a 32-bit microcontroller, the RA4M1 from Renesas”, says the brand. In an explainer video posted to Instagram, Li also shouts out North London laser cutting for turning her designs into [hyscial components.
In the video, Li takes viewers through the build process. She began by gathering measurements for the buttons and switches to create laser-cut design files. She incorporated drum pad buttons, soldered wires for EQ faders’ potentiometers and rotary encoders for jogwheels. Li also handled slider soldering for volume faders and BPM control, adding an LED matrix for visual effects during mixing.
Assembling the frame, Li went on to design unique cue and play buttons, she says, and 3D printed them with a resin filter. With their partner’s assistance, she airbrushed these to achieve a metallic finish. Lastly, Li coded all functions, mapping MIDI data from their Pioneer DJ controller onto their customised setup and creating bitmap designs for the LED matrix.

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A post shared by TIGRIS® (@tigrisli)

Tigris, originally from Montréal, Canada, educates millions on Instagram and TikTok, inspiring future electronic engineers and experienced designers. Recently, Tigris published a limited edition book for her Data Romantics exhibition, delving into modern dating’s digital impact. Co-founding Lychee, Inc. in 2022, she pioneers social technology hardware to capture memories, emotions, and cultural moments.
See more of Tigris Li’s work via tigris.li.
The post This dazzling bright pink DJ controller has star-shaped jog wheels appeared first on MusicTech.

Solid State Logic to debut new hardware, software, consoles, controllers and plugins at AES NY 2023Solid State Logic is set to launch an array of new products at this year’s AES New York event. The brand will share booth space with audio company Harrison, which it recently acquired in April of 2023.

READ MORE: SSL’s G-Series Bus Compressor gets a multiband upgrade, the G3 MultiBusComp

SSL will be situated at Booth 824 at the event, which is scheduled to take place between Wednesday 25 and Friday 27 October at the Javitz Center in New York City. The brand will be showcasing new hardware and software, developed from the company’s “rich heritage” in analogue console design.
Also at the booth, attendees can catch the latest hybrid production tools from SSL such as its UF1 and UC1 controllers, as well as its Fusion processor and THE BUS+ compressor.
ORIGIN 16, which launched at AES last year, will also be available for demonstration. The mixing console and the UF8 controller delivers analogue sound combined with DAW control, and SSL says it will be highlighting how this combination presents “the best of both worlds” for producers and engineers.
Also set to be showcased is ​System T, which combines 9.1.6 monitoring, “cutting-edge” digital audio handling and advanced production workflows including Dolby Atmos, with SSL ​ production tools optimised for immersive music. The large-format, modular S500 console will be available for demos, too.
“We look forward to welcoming our customers, partners and friends to AES NY,” says Nigel Beaumont, Managing Director at Solid State Logic. “As usual, we have many exciting product announcements planned, and this year we are particularly excited to be sharing the exhibition floor with our Nashville-based neighbours, Harrison.”
As well as a range of exhibitors, AES will host a run of talks, panels and presentations. The full schedule is online now. View the current SSL product line up via the official Solid State Logic website. You can also register and find out more about AES NY 2023 here.
The post Solid State Logic to debut new hardware, software, consoles, controllers and plugins at AES NY 2023 appeared first on MusicTech.

How the Korg MS-20 and the MS-20 Mini became a parent-child powerhouseIt’s been a mere decade since Korg announced its MS-20 reissue, the MS-20 Mini. Not rebooting it with any screen, software integration or preset storage – simply downsizing it a little. The MS-20’s quarter-inch patch bay sockets became minijack sockets; its keyboard shrank from full-size to a larger-than-miniature format uniquely sized for its 14 per cent smaller offspring.

READ MORE: iZotope Ozone 11 is an unparalleled audio processing suite with future-proof features

This semi-modular synth entered a market palpably unsure of its feelings toward analogue instruments. Meticulous software emulations loomed large and modern digital-meets-analogue architecture often mitigating idiosyncrasies like oscillator drift, which would infuriate synthesists of the past. Was there really a place for a synth like the MS-20, a famously gritty, all-analogue instrument, in the modern synthscape?
The answer from creatives was a resounding ‘yes’. “I’ve got three,” Richard D. James, aka Aphex Twin, told Future Music in 1993. “It’s a mad keyboard, it’s got a great range of sounds.”
Korg MS-20 Mini (front with patch)
Korg’s MS-20 Mini has, in its relatively short tenure, already become something of an icon, finding a comfortable home in bedrooms and iconic studios. A reissue in all but the purest sense of the term, it is demonstratively set apart from a majority of its peers by the fact that many modern artists and producers who now venerate the MS-20 do so on account of discovering it as an instrument in its own right.
Mini or full size, the MS-20 now belongs in a strange realm, where it essentially manages to be both a vintage and a modern classic. The fact that the MS-20 has played a key role in the history of electronic music since it first saw the light of day in 1978 is, in many ways, a footnote to the influence that the instrument has for artists now.
Making History
If the MS-20 posits itself as a raw and unabridged, even impulsively designed synth, it’s because that’s exactly what it is. Far from being whittled down by team after team, the MS-20 was primarily the brainchild of just two young designers: Fumio Mieda and Hiroaki Nishijima.
“If you only have two people working, it’s easier to harmonise options,” Mieda said in a 2013 interview for Korg. Mieda was already an established name at the company when the MS-20 first entered production, thanks to his key role in the design of the preceding PS-3000 series of polyphonic synths. Nishijima, meanwhile, joined Korg as a university graduate while the MS-20 was being developed, immediately finding himself in the Technical Department and in charge of the project.

“We already had circuits we could work on— the PS-3000 series’ circuits were all designed by Mr Mieda and are therefore used in the MS-20 with very few changes,” remembered Nishijima in the same interview. “A few adjustments were made so they are not exactly the same. But the basic circuits were already there from the beginning.”
Mieda’s designs had left very little to be desired, a foundation allowing for more creative functions in other areas to take precedence when it came to developing the MS-20. Aside from deciding the MS-20 should have a vertical panel, even the synth’s body shape and size were ultimately left to the sheet metal worker to decide on. “The MS-20 was designed partly based on the PS-3000 series,” said Mieda. “But we added some new features. Some of them were added without even being tested first!”
It’s apparent that this maverick process has characterised the final product in almost every way; the MS-20 is a synth that very much rewards risk-taking and rule-breaking. One such feature was the MS-20’s ring modulator. “A standalone ring modulator module would cost about 1 million yen,” explained Mieda. “But when creating new sounds, ring modulators were of great value to us.
“It’s true that ring modulators screw up scales and that they’re hard to use. But they were important – in terms of fun!” So too with the MS-20’s external signal processor; a circuit that occasionally took on a mind of its own, featuring a frequency-to-voltage converter to allow sounds to be played into the synth from anywhere and be frequency-matched by its oscillators.
Korg MS-20 Mini (front)
One producer whose arsenal would be incomplete without the MS-20 is Scott Hansen, aka Tycho. For him, the MS-20 represents not just an essential tool, but his original conduit to the world of analogue synthesis itself.
“I first came into contact with the MS-20 without knowing it, through Daft Punk’s track Da Funk,” he remembers. “That sound resonated with me. I’d never even touched a musical instrument when I heard that song. I’m sure I’ve heard it in a bunch of other places as well, but hearing that, I was like, ‘Man. That’s a really cool sound’.
“When I started making music, everything was digital, everything was ‘virtual analogue’. I had Access Virus, the Novation Nova series, and all that stuff. I just thought that’s what a synthesizer was: massive polyphony, reverb built in… all that. So I just didn’t understand what the point of a monophonic synth was.
“But one day, a buddy of mine, who had all these synths he wasn’t really using, gave me an MS-20. I really didn’t connect with it at first. I thought it was so raw; I didn’t even know where to start with it. But over the years, I just kept messing with it and started really finding all its cool quirks, particularly the filters, and the resonance.”
Korg MS-20 Mini (slant)
Filters of legend
For many, the talismanic design feature of the MS-20 is its dual low-pass and high-pass resonant filters. Fumio Mieda was intent that his instrument be able to synthesize a range of speech-emulating formant sounds; a sonic palette that he deemed would complete the synth’s already formidable functionality.
“A vowel sound can be synthesized with two voices,” he explained in 2013. “So if you move [the cutoff and resonances on both filters] you can easily produce “‘A’, ‘E’, ‘I’, ‘O’, ‘U’. I wanted to make sure this could be done.”
“I think that was the biggest thing,” Tycho remembers. “The second I figured out that whole hyper-resonance trick on both ends, on both the high-pass and low-pass filter to get that crazy, growly sound. It was like, ‘Wow.’ Of course, it doesn’t necessarily fit into my music in all contexts. But it was a really interesting place to start. And then you back it off and you get into that warmer space, it still has this texture to it that’s really unique. Even when you just have a simple thing going on, you can still sense it.”
Over a short initial production run of five years, the MS-20’s filter underwent some changes. But when the decision was made to develop an MS-20 Mini, it was the earlier MS-20 filter model— dubbed the ‘Mieda VCF’ – that proved the natural choice.
Danny Herbert, producer-member of trailblazing electro quintet Redolent and longtime MS-20 Mini user, bases himself at Edinburgh’s venerable Post Electric Studios; a facility favoured by the likes of Steve Albini and a staple studio in the Scottish music scene. “I’m quite ADHD,” he says. “I just need to be able to plug things in. And have it up and running really quickly. In my studio, it’s always plugged in, always ready to go.
Korg MS-20 Mini (rear)
“The coolest bit is the filter,” Herbert says. “Having those two filters, being able to chain them into each other, and just crank the hell out of the resonance…that’s the most amazing thing. I use it for what we in the band just call ‘dins’: weird noises. Squealing, organic noises. For me, you can’t get that out of a digital emulation, because it just distorts badly and sounds kind of… shit [laughs].”
Tycho remembers that resonance giving him a similar creative rush. “That super-resonance is generative,” he says. “It’s actually creating tones and frequencies – I guess harmonics would be the word, but it’s the way it adds these secondary elements to the notes that you’re playing. And it can be really interesting, the way that it opens up something and changes things. It can behave as another oscillator, especially if you tune it correctly and have the envelope set correctly. Yeah, it’s just a beautiful thing.”
Bristol-based artist Finlay Shakespeare treads the line between artist and synth designer, performing under his own name while also heading up the wildly creative developer Future Sound Systems. Shakespeare is a true synthesist, but for him, the MS-20’s functionality goes far beyond its capacity as a standalone synthesizer.
“Having those two filters, being able to chain them into each other, and just crank the hell out of the resonance…that’s the most amazing thing.” – Danny Herbert
“I treat it as much as a piece of outboard gear as I do a synth,” Shakespeare explains. “It’s so versatile. It ends up pretty much on everything I do. Even recording acoustic guitar and vocals, something usually ends up going through the MS-20. Just to give it that bit of…something, you know? I’ll run audio through its filters, or I’ll get the audio to FM the filters slightly and dub that on top, really low… then just adjust the level, according to how much of that weird distortion I might want.”
In Shakespeare’s experience, however, the MS-20’s uncompromising reputation verges on disservice. “So many people regard the MS-20 as being really aggressive and noisy,” he reflects. “But it isn’t necessarily like that at all. It can make smooth pads, for example. If you multitrack it, it sounds really lovely. And people just forget that you can turn the oscillators down on the mixer. [laughs] Like, you can do that! As soon as you stop driving those filters so hard, they suddenly become a different thing.”
Suited and rebooted
You may have noticed the terms ‘MS-20’ and ‘MS-20 Mini’ being used interchangeably. This is because they are, in essence, interchangeable instruments.
“My main goal making the MS-20 Mini was to recreate the sounds the MS-20 had,” said Hiroaki Nishijima in 2013, “to the point where you can’t tell the difference between them, even if you play [the Mini] next to the original MS-20.”
The Mini is certainly the most successful MS-20 reissue, but it’s by no means the only one to have hit shelves since 1978.
In 2004, the Korg Legacy Collection offered the MS-20lc, visually almost indistinguishable from the Mini but no more than a MIDI controller for Korg’s software emulation. Further software iterations followed, including 2008’s curious DS-10 for the Nintendo DS, a game cartridge that used the handheld console’s interface and stylus to play, tweak and sequence synth and even drum sounds.

Emboldened by the subsequent Mini’s success, Korg went on to release a white version of the MS-20 Mini, an MS-20 DIY kit in 2014 and, in 2021, a line of full-size, MS-20FS reissues in an array of different colours.
Recently, French software developer Arturia has thrown its hat into the ring, adding a polyphonic MS-20 emulation, the MS-20 V, to its V Collection, and releasing a filter emulation plugin in the Filter MS-20.
The ubiquity of the Mini, however, remains uncontested. Is it possible that some instruments simply won’t comply when it comes to software?
“I’d always been digital synth-focussed, working in the DAW, playing around with Ableton Live synths,” says Danny Herbert. “You’d get all these emulations, but you never really knew what exactly they were emulations of. The MS-20 does sound different [to software versions], I don’t know why. Even when companies emulate it really well, those emulations still sound different.”
Tycho has a slightly different take on the software-hardware relationship. “Software has just come so far,” he says. “Both the beauty and the problem with [recording] hardware instruments is that you’re locking in a performance, locking in those settings. I’ve been trying to make the album I’ve been working on lately a lot more dynamic in terms of automation: filters opening up or certain sounds changing over time. So whenever possible, I’ve been using software.
“UA makes this amazing Minimoog emulation, Arturia makes one of the MS-20. So there are these counterparts that I feel are just as good as the hardware, and I feel the same when I play them. And that’s really all that matters. The MS-20 is a pretty complex instrument, so it’s amazing to be able to go back and be like: ‘Oh, what if I’d done this? Or what if I’d patched this differently? What if the filter opened a little bit more here? So in that sense, it’s been amazing to be able to work with those software counterparts.
Korg MS-20 Mini (slant with patch)
Crossing Borders
Perhaps software has found its footing next to celebrated hardware. Or is it vice versa? Either way, the introduction of the Mini is considered by many to have been the harbinger of the analogue synth boom of the past decade. It has impacted the workflow of a new generation of musicians– electronic or otherwise– looking for a raw and characterful, yet accessible and affordable electronic instrument.
One such artist is Matt Baty, bellowing frontman of Newcastle-based neo-metal powerhouse Pigs Pigs Pigs Pigs Pigs Pigs Pigs.
“Before using the MS-20 Mini, I started out using a 1979 Yamaha CS-15, which is gorgeous but its frequency output didn’t have the fortitude to cut through the might of the Pigs x7 backline,” Baty explains.
“When we started to play live, I noticed that the Korg MS-20 Mini seemed to be a staple amongst the psych and noise bands we shared a stage with. I was impressed by the shimmering glacial heights it could hit, the way it would sit high above gnarly guitars and rumbling basses. Those massive filter sweeps…”
Baty can commonly be seen onstage hunched over his battered white-finish MS-20 Mini, wringing the filter cutoff for all its worth as his bandmates deal in walls of guitar hook-led distortion. The synth is every bit at home in this setting.

“It reminded me of the soaring synth in Hawkwind’s [1972 rock track] Silver Machine,” Baty continues. “At the time that was the kind of sound I was looking to replicate. It’s been on stage with me ever since. Every night it plays its own part in fuelling the Pigs x7 cacophony of sound.”
Similarly, producer Marcus Hamblett has lent his talents to music by the likes of James Holden, Laura Marling, Broken Social Scene, Bear’s Den and many more. “It’s just much more evil than any of the other monosynths I have,” he says.
“I have all different synths in my studio, but this one is just an absolutely horrendous, evil, gnarly beast. Playing live, I mostly use it for massive bass. If I’m using Ableton for other parts of the set, everything is very much ‘on the rails’. But the MS-20 is very much off the rails! It’s very live.”
Naughty or nice, full-size or Mini, the MS-20 is a synth for all ages. A litany of artists incorporate it into their practice in all manner of different ways, and all will posit different views of what the MS-20 does best. But one thing remains incontrovertible: there’s simply nothing else quite like it.
“The MS-20 just has a Spartan-ness about it,” Tycho reflects. “It presents itself in a very minimal and efficient way, considering how much is possible with it. It’s a stroke of genius, the way it’s presented. It’s approachable, even though it is pretty complex. And you can get lost in it, and pretty quickly find yourself thinking, ‘I have no idea what made that sound or what’s going on there.’ But that’s the charm of it.”
The post How the Korg MS-20 and the MS-20 Mini became a parent-child powerhouse appeared first on MusicTech.

Mykki Blanco and Falty DL: “It’s hard to describe the most important collaborative relationship we’ve ever had”“I started off as a theatre kid with a love for art and performance,” says creative polymath Mykki Blanco. “I never expected to be a musician, or be in the limelight with my music.”

READ MORE: Murlo’s desert island music tool? “A field recorder and a bunch of batteries”

It must be a surprise for Mykki then that they have evolved into a musical artist known for pushing the envelope of queer experimentalism. The past decade has seen numerous solo releases – and collaborations with Kanye West, Charli XCX, Blood Orange and more – that have flirted with mainstream success from the fringes. Their tracks bring together disparate traces of punk, hip-hop and riot grrrl, driven by a magpie-like approach to sound with a casual disregard for genre conventions.
With producer Drew Lustman, better known as Falty DL, Mykki’s recent discography includes 2022’s acclaimed Stay Close to Music and 2021’s Broken Hearts and Beauty Sleep albums and has now evolved into a new EP, Postcards from Italia. Described as their ‘Italian cowboy era’, the six tracks veer between acid house and classic rock.
“There are just some creatives who understand each other,” says Mykki. “Drew pushes me to try ideas that I would never do on my own, to go further in the studio than anyone else.”
Mykki Blanco (right) and Drew aka Falty DL (left)
Uniting creative lives
Identifying as non-binary with a huge array of influences propelling them, it was back in 2012 when Mykki almost accidentally fell into music. Enjoying other creative lives in performance art and poetry, they were discovered by a manager attracted by the way they ricocheted between these different worlds.
“My first manager came to a few performances and asked for a meeting,” Mykki recalls. “He told me he felt like I was making amazing music and I didn’t really know it – [that] started the whole process.”
The eponymous Mykki album landed a few years later in 2016, winning a brace of glowing reviews including Pitchfork describing the release as “high-concept hip-hop, a swerve from the brusque heterosexualization of nearly all mainstream rap”. The release established them as an uncompromising music maker, yet it was through relentlessly touring that helped Mykki to survive.
Mykki Blanco. Image: Cecilia Chiaramonte
“I’ve never been with a major label so I’ve always had to hit the road to stay afloat,” says Mykki. “Now touring has changed so much; it’s so costly. But back then it was one the main reasons my career grew, perhaps at the expense of my own creativity.”
Mykki describes how the sudden halt to live music caused by COVID-19 led to a “sobering moment” where they were forced to invest more energy into their songwriting. Working with French producer Woodkid made them consider live instrumentation, while a stint with Kanye West in 2018 opened them up to the importance of editing.
“I would spend five hours in the studio making music, perhaps having a drink and smoking weed, then I’d see the song as done,” says Mykki.
“I wouldn’t go back to it but, with Kanye, I realised the importance of giving your music time to ferment; of making multiple versions and collaborating. It was pivotal for me.”
Mykki Blanco. Image: Cecilia Chiaramonte
Connecting with Falty DL
Following the release of their debut album, Mykki spent time trying to decipher what the next creative statement should sound like. It was in the year after that they met Drew via a chance email.
“We met because I decided to email a tune to Mykki back in 2017. The stars must have aligned because it was the jumping-off point to well over 30 songs written together at this point” — Drew aka Falty DL
“It’s hard to describe the most important collaborative relationship I’ve ever had,” says Drew on their partnership. “It’s been highly transformative both professionally and personally.
“We met because I decided to email a tune to Mykki in 2017. The stars must have aligned because it was the jumping-off point to over 30 songs [we’ve] now written together. I sometimes go a few months without talking to Mykki and I just really miss them. Our friendship scratches a certain itch.”

Drew’s email arrived when Mykki was striving to develop their sound, to blend hip-hop and vocal rhymes with the ethereal guitars of bands like My Bloody Valentine and Cocteau Twins.
“I was working my way through all these messages and came across this email,” remembers Mykki. “It featured one of Drew’s instrumentals and sounded exactly like what I was trying to find but just couldn’t articulate on my own.”
Live samples
The pair agreed to join forces with the ambition to create original samples as their music’s basis. Mykki began pursuing this approach when making their debut album but had never sat in on the sessions. This time, players and vocalists were invited to their studio, and then briefed by Mykki.
Mykki Blanco’s Postcards From Italia cover. Image: Cecilia Chiaramonte
“I’d say, take 10 seconds of Fly like an Eagle by the Steve Miller Band, 15 seconds of a Missy Elliott outro I love, 12 seconds of a transition from a Crosby Stills Nash and Young album,” says Mykki. “Don’t try to produce a carbon copy but this is the energy I’m trying to create,” he’d tell the musicians.
Once a session was completed, Drew and Mykki would move beyond their roles as musical directors to pore over the recordings as editors. They would carefully listen to the performances, and then select their favourite moments.
“We found the different sections we loved that sounded completely different from any kind of original reference,” says Mykki. “We’d pick them, then use these for our own compositions. It would create a totally new synergy.”
Collaborative processes
The collaborative relationship between Drew and Mykki has taken on myriad forms. Often, songs begin with Drew sharing instrumental ideas, then Mykki would respond before they’d head to the studio.
“Drew has a way of EQing my voice. It’s not layered in effects, but there is some filtering on my vocals that I love. I call it giving it the Britney Spears treatment” — Mykki
“When we’d meet, we’d completely collapse the instrumental,” says Mykki. “I’d write to a certain BPM and we’d always like to develop the track to avoid it sounding stale. So we’d strip it back, then start to build the lyrics and melodies.”
On other occasions, the pair will exchange roles with Mykki sending Drew voice notes. These will often be accompanied by a YouTube link or some musical references.
“I’ll take the audio and play around with it over an original composition inspired by the references,” states Drew. “Or other times, we will be chilling in my studio and I’ll start to explore things I’m really curious about.”
Falty DL’s studio
Mykki’s approach to crafting lyrics comes through what they describe as a “blah blah blah method”. Singing this refrain over the top of an instrumental will reveal inflections, tones, cadences and melodic hooks. Once established, Mykki will set about crafting lyrics to fit.
“For a song, like Tequila Casino Royale, there’s no way I would have written a cadence like that on my own,” they say. “Also, Drew has a way of EQing my voice too. It’s not layered in effects, but there is some filtering that I love. I call it the Britney Spears treatment and it makes me feel much more comfortable in the studio.”
A major move for Mykki has been in freeing their voice from years of rapping. Surprisingly, they credit artists Tom Petty and Lou Reed as inspiring them to progress.
“I feel like more of a songwriter than a rapper,” says Mykki. “Although I have a lot of rap songs I love, I wanted to take on a new form. I’m having so much more fun not feeling boxed in.”
Falty DL’s studio
Equipment
Drew employs a range of music gear in the studio to provide Mykki with a platform to stretch themselves into bold musical shapes.
“I use a Gibson GK55 guitar and Fender Jazz Bass,” says Drew of his preferences. “Most things are in the box; the computer reigns supreme. But we get freaky with guitars and piano. The Neumann mic is probably the most important piece of equipment for the Mykki material.”
There are also some surprising pieces in Drew’s studio. Based in Brooklyn, Mykki dubs it ‘Little Oslo’ as it “has the aesthetic of a Finnish sauna” with a swelling arsenal of gear.
“Children’s instruments, glockenspiels and small harps are all there,” says Drew. “Cheap under-$50 things I research online when stoned at night and, when they arrive, I forget I even ordered them!”
Unsurprisingly, Drew’s open-minded when it comes to finding gear and equipment. He sees any addition to his setup as a way to mine fresh inspiration.
“A new instrument can shake the cobwebs so I am always searching for exciting things to make noise,” he states. “I’m pondering pulling the trigger on a Yamaha DX7 and a drum kit right now. The kit will finally be the one-stop shop I need to create what’s in my head.”

Bold futures
With the Postcards from Italia EP out, Mykki is heading to Switzerland to study and contemplate new music – although how this may sound is to be confirmed.
“I’m going to really think about where I want to go next,” says Mykki. “I’m interested in field recordings of natural sounds. I’m so curious about how to take these tropes of new age music and turn this into upbeat dance music.”
With ideas bubbling, Mykki seems content to keep their music fluid. Rather than be informed by what is happening in the world around them, much of the music comes from within.
“My creative process explores the dimension of my interior world,” they say. “So I can be anywhere to make it … as long as I can get coffee.”
Visit mykkiblan.co for more information.
The post Mykki Blanco and Falty DL: “It’s hard to describe the most important collaborative relationship we’ve ever had” appeared first on MusicTech.

StaffPad’s new AI-powered Piano Capture Driven by AI technology, StaffPad's new Piano Capture tool is capable of ‘listening’ to real piano performances and converting them into readable sheet music.

Oana Ruxandra, Chief Digital Officer at Warner Music Group, to exit companyRuxandra confirmed her decision to leave in a note to WMG staff today
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Patreon launches new features, a redesigned app and a new lookPatreon is launching new features, a redesigned app and a new brand identity, the company announced on Wednesday. In a blog post, the company explained that the changes are about “giving creators even more,” noting that Patreon is “no longer just a paid membership company.” One of the most notable features updates is the full […]