© Pixabay

Essential Studio Recording Tips

Successful recording sessions are built on preparation, communication, and performance. Whether working in a professional studio or a smaller project environment, careful planning can save valuable time, reduce unnecessary stress, and significantly improve the final recording quality. Engineers and producers often emphasize that the efficiency of a session depends as much on preparation as it does on technical skill.

One of the most important steps before entering the studio is organization. Bringing typed lyric sheets for the recording engineer can greatly improve workflow during vocal sessions. Clear documentation allows the engineer to follow song structure, identify punch-in locations, and communicate more effectively throughout the recording process. In addition, providing detailed information about the session in advance helps the engineer prepare equipment, microphone setups, and routing that are specifically suited to the project rather than relying on a generic studio configuration.

Musicians should also confirm what equipment is available at the studio before the session begins. While many studios provide microphones, instruments, and monitoring systems, certain specialized gear may require separate rental arrangements. Understanding these details ahead of time prevents delays and ensures that artists have access to the tools necessary for their preferred sound and workflow.

Performance quality remains one of the most critical factors in any recording. High-quality instruments and experienced musicians consistently lead to better results. Technical processing and editing can improve a recording, but they cannot fully replace strong musical performances. Vocal recording, in particular, benefits from proper physical preparation. A well-rested singer is far more likely to deliver a consistent and emotionally engaging performance. During sessions, warm beverages such as tea with lemon or hot water are often preferred, while milk products and ice are generally avoided because they may negatively affect vocal clarity.

Instrument maintenance is equally important. If a piano will be featured prominently in a recording, requesting professional tuning beforehand is highly recommended. Likewise, all musicians should tune their instruments regularly throughout the session to maintain pitch accuracy and musical consistency.

Another valuable studio technique involves handling mistakes efficiently. If a performer makes a minor error during an otherwise excellent take, stopping immediately may not be the best solution. Engineers can often correct isolated mistakes later by rolling back and recording a punch-in section or by recording onto an adjacent track. Continuing the performance may preserve the energy and emotion of a take that would otherwise be difficult to recreate.

Equally important is recognizing when fatique begins to affect performance and decision-making. Long sessions can reduce concentration and negatively impact both musicians and engineers. Knowing when to stop for the day can prevent poor creative choices from appearing in the final product. Taking a short break between recording sessions can also be beneficial. Listening back to recordings at home allows artists to evaluate performances more objectively, identify areas for improvement, and prepare more effctively for the next session.

© Ear Candy Technologies

Ear Candy Technologies 'Phonograin': An Intuitive Granular Processing Plug-in for Experimental Sound Design and Immersive Audio Textures

Mexico City-based professional audio plug-in developer Ear Candy Technologies has announced the release of 'Phonograin', a new granular processing plug-in designed for musicians, producers, and sound designers seeking advanced audio transformation and creative experimentation in an intuitive workflow. Built around the principles of granular synthesis, Phonograin enables users to reconstruct and reshape audio into evolving textures, atmospheric soundscapes, and highly detailed sonic structures through precise grain manipulation and integrated modulation tools.

▲ Phonograin (Overview) © Ear Candy Technologies

Combining granular synthesis, ambient layering, modulation processing, and built-in effects, Phonograin offers a flexible platform for both controlled sound design and exploratory audio manipulation. The plug-in allows users to manipulate grain size, density, pitch, and playback behavior while integrating ambient sound sources, rhythmic sidechain-style modulation, filtering, and multiple audio effects. Designed for creative flexibility, Phonograin provides a comprehensive environment for producing experimental sounds, cinematic atmospheres, and complex audio textures.

▲ Granular Module © Ear Candy Technologies

At the center of Phonograin is its 'Granular module', which serves as the core engine of the plug-in. Granular synthesis works by dividing audio into extremely small fragments known as grains, typically ranging from 1 to 100 milliseconds in length. These grains can then be reordered, overlapped, looped, or selectively omitted to generate entirely new timbres and textures. Phonograin expands this concept through five proprietary Ear Candy Technologies granular modes—Glichy, Short, Dynamic, Robotic, and Brilliant—each designed to alter the behavior and character of the granular processing in different ways. (see A in the image above.)

The Granular module also includes four key parameters for deeper customization: Size, Rate, Offset, and Pitch. (see B and C in the image above.) These controls allow users to define the duration of individual grains, adjust how frequently grains are repeated during playback, set the starting point within the original audio from which grains are generated, and manipulate pitch independently via two XY pad controls. Together, these parameters provide extensive control over how the original audio is reconstructed, making it possible to create anything from subtle textural enhancements to highly fragmented and abstract sound manipulation.

▲ Ambient Module © Ear Candy Technologies

Phonograin further expands its sonic palette with an 'Ambient module' that introduces additional environmental and noise-based layers into the signal path. The plug-in includes six ambient sound sources, with three designed to emulate real-world environments (Wind, Sea, Rain) and three focused on generating various noise textures and tonal colors (Brown, Pink, White). These ambient layers can be blended directly into the granular processing to enhance depth, atmosphere, and spatial character.

▲ Sidechain Module © Ear Candy Technologies

The 'Sidechain module' introduces rhythmic amplitude modulation capabilities to the processing chain. When activated, the input signal's amplitude is modulated according to the waveform of the selected sidechain mode, allowing users to create pulsing textures, dynamic movement, and rhythmic gating effects. (see A in the image above.) The module also includes multiple timing divisions synchronized to the session BPM, including 1, 1/2, 1/4, 1/8, and 1/16 note options, enabling precise rhythmic integration within a musical arrangement. (see B in the image above.)

▲ Effects, Filter, and General Modules (from top to bottom) © Ear Candy Technologies

In addition to its granular and modulation capabilities, Phonograin includes a dedicated 'Effects module' featuring three integrated processors: Reverb, Phaser, and Flutter. Each effect can be independently activated and adjusted or combined together for more complex signal processing. These effects add additional spatial depth, movement, and tonal variation to the processed signal, further expanding the plug-in's sound design potential.

The 'Filter module' provides additional tonal shaping tools through selectable low-pass and high-pass filters, allowing users to isolate or remove targeted frequency ranges for cleaner and more controlled processing results. Finally, the 'General module' includes Dry/Wet and Volume controls, giving users precise management over the balance between the original and processed signals as well as overall output level adjustment.

With its modular design and extensive granular processing capabilities, Phonograin presents a versatile solution for producers and sound designers interested in exploring experimental audio manipulation, immersive ambient textures, and advanced granular synthesis workflows.

Features

• Granular synthesis engine for experimental textures and soundscapes
• Five granular modes: Glichy, Short, Dynamic, Robotic, and Brilliant
• Grain controls (XY Pad): Size, Rate, Offset, and Pitch
• Ambient layering with six built-in ambient sounds
• Sidechain-based rhythmic amplitude modulation
• Built-in effects: Reverb, Phaser, and Flutter
• Low-pass and high-pass filter section
• Dry/Wet and output volume controls
• Six-module workflow for flexible sound design and audio manipulation
• User-friendly interface and easy to use

System Requirements

Mac

• macOS 10.15 or later (Intel / Apple Silicon supported), 64-bit only
• AU / VST / VST3 / AAX
• 4 GB RAM required (8 GB recommended)
• 2.5 GHz CPU (Intel or Apple Silicon)
• 60 MB Free Disk Space

Windows

• Windows 8 or later (64-bit only)
• VST / VST3 / AAX
• 4 GB RAM required (8 GB recommended)
• 2.5 GHz CPU (Intel)
• 60 MB Free Disk Space

*Note 1: Phonograin is not supported on 32-bit platforms.

*Note 2: Phonograin is supported for all major DAWs in 64 bits.

Price

$75.00 USD

*The company also offers a free demo version of Phonograin — try it out here.

For more information on 'Phonograin'

Presets Demo 

About 'Ear Candy Technologies' (https://earcandytech.com/)

Our mission is to transform the audio industry by sweetening the experience for creators. We strive to push the boundaries of audio technology and design to bring the highest-quality audio tools and support to every corner of the world. Our vision is to become a leading player in the audio industry by revolutionizing the way audio is produced and heard. 

© Unsplash (photo by Krisztián Reischl)

"Taming the Low End": Bass Compression

In contemporary music production, the bass plays a critical role in shaping both the groove and the perceived power of a mix. However, low-frequency content presents a unique challenge: it consumes significantly more headroom than mid- or high-frequency elements. Without proper control, a bass signal can dominate the mix, reduce clarity, and limit overall loudness. This is why compression is one of the most essential tools engineers rely on when working with bass.

At its core, compression reduces the dynamic range of a signal—the difference between its quietest and loudest moments. Bass performances, especially those recorded live or played expressively, often exhibit wide dynamic fluctuations. Notes may vary in intensity due to playing technique, articulation, or instrument response. By applying compression, engineers can even out these inconsistencies, ensuring that each note sits more uniformly in the mix.

One of the primary reasons for compressing bass is headroom management. Low frequencies carry more energy, and excessive peaks in the bass can quickly eat into the available headroom of a mix bus. This not only risks distortion but also limits how loud the final track can be mastered. By controlling these peaks with compression, the bass becomes more predictable and easier to balance alongside kick drums, vocals, and other elements.

A common approach for achieving a natural and musical result is to apply gentle compression. Setting the threshold so that the compressor reduces gain by approximately 2 - 4 dB during louder passages is often sufficient. This subtle gain reduction smooths out inconsistencies without making the processing obvious. The goal here is transparency—the listener should feel the bass is controlled, not compressed.

Attack and release settings also play a crucial role in shaping the character of the bass. A slower attack time allows the initial transient of each note to pass through, preserving punch and articulation. Conversely, a faster attack clamps down on the transient, resulting in a softer, more rounded sound. Release time determines how quickly the compressor recovers after reducing gain; a well-tuned release can enhance the groove by allowing the bass to "breathe" in time with the track.

Beyond subtle control, compression can also be used creatively. For example, applying more aggressive settings, such as higher ratios and deeper gain reduction, can produce a "brick wall" effect, where the bass feels dense, solid, and forward in the mix. This approach is common in genres that demand a powerful and consistent low-end presence, such as electronic music, rock, and hip-hop.

Another useful technique is parallel compression, where a heavily compressed version of the bass is blended with the original signal. This preserves the natural dynamics while adding sustain and weight, resulting in a fuller and more controlled tone.

Ultimately, effective bass compression is about balance. Too little control can lead to a muddy, unstable mix, while too much can strip away the musicality and expression of the performance. By applying compression thoughtfully, whether for subtle smoothing or deliberate impact, engineers can ensure that the bass remains both powerful and well-integrated within the overall soundscape.

© Katz Praatz

Katz Praatz 'Jazz Sketch (ver. 1.7)': A Simple Harmonic Tool for Sketching Jazz Chord Ideas Quickly

Musician and hobbyist programmer Katz Praatz has announced the release of Jazz Sketch version 1.7. This update adds 240 new chord progressions to the previously available 984 in version 1.6, bringing the total to 1,224 jazz chord progressions.

Jazz Sketch (ver. 1.7) is a simple chord sequencer designed to help you create music by arranging 1,224 jazz chord progressions and 168 tension chords. You can export the chord sequence (the chord progressions and chords you've arranged) as a MIDI file to play it or edit it in your DAW. With Jazz Sketch, you can create sophisticated, jazz-infused songs with ease. Additionally, Jazz Sketch allows you to learn jazz harmony by playing it yourself. In fact, Jazz Sketch is a small but highly useful software tool.

© Katz Praatz

Essential Requirements for Running Jazz Sketch

Jazz Sketch is a software written in JAVA, and the file extension is .jar. By default, Jazz Sketch runs well on any computer that has JAVA or JRE (Java Runtime Environment) version 8 or later installed, regardless of the operating system—for example, Windows, MacOS, or Linux. If your computer does not have JAVA or JRE installed, or if JAVA is installed but the version is earlier than 8, please click the link below to download the JAVA 8 compatible with your computer's operating system:

https://www.java.com/en/download/manual.jsp 

* In the Windows download section, choose the Online download for the fastest install experience. Choose the Offline download if you will be installing on a machine without an internet connection, or you are having problems with the Online install.

** If your macOS version is 10.7.3 or later but earlier than 12, click on macOS x64 to download. If your macOS version is 12 or later, click on macOS ARM64 to download.

Features

• A chord sequencer designed to help you create sophisticated, jazz-infused music by arranging 1,224 jazz chord progressions and 168 tension chords
• Can also be used for practicing jazz harmony
• The provided chord progressions incorporate standard 2-5-1 progressions, tritone substitutions, secondary dominants, secondary subdominants, deceptive resolutions, modal interchanges, pivot chords, altered dominants, and turnarounds
• Can export the chord sequence that you arranged as a MIDI file to play it or edit it in your DAW
• Written in Java, and requires JAVA or JRE version 8 or higher installed to run

** Jazz Sketch is a standalone software, not a plug-in. Therefore, it operates independently of the user's DAW (Digital Audio Workstation).

System Requirements

• A laptop or desktop computer with a monitor of 13 inches or larger  
• Supported OS: Any version of Windows, Mac OS X, and Linux  
• Tablet PCs that do not use Windows or Mac OS X as their operating system are not supported (e.g., iPad, Galaxy Tab)

Price

$6.99 USD

For more information on 'Jazz Sketch (ver. 1.7)'

Demo Video (YouTube): "Creating Music with Jazz Sketch" 

© Genki Instruments

Genki Instruments 'Katla': A Voice-Rotating Polyphonic Synth Inspired by Iceland's Volcanic Power

Reykjavík-based developer Genki Instruments has officially announced the availability of 'Katla', a voice-rotating polyphonic synthesizer inspired by Iceland's largest subglacial volcano. After generating strong buzz at events such as SUPERBOOTH25 in Berlin, Machina Bristronica 2025 in Bristol, and Buchla & Friends 2026 in Los Angeles, Katla marks the company's first entry into analog synthesis—one that blends traditional architecture with bold, experimental design.

Katla's design draws directly from its natural namesake. Each unit features side panels and knobs crafted from authentic Icelandic lava, giving the instrument a tangible connection to volcanic forces. This aesthetic is matched by its sonic identity, which emphasizes dynamic, evolving textures where each note develops with its own character.

To reinforce its aggressive and organic sound, Katla includes four independent distortion stages. Among them is a stereo CMOS drive circuit, capable of delivering everything from warm saturation to harsh, fragmented tones.

© Genki Instruments

At the core of Katla is its voice-rotating engine, which distributes notes across five independent analog voices. Each voice has its own adjustable parameters, enabling complex, layered sound design.

The instrument offers six voice allocation modes:

• Round Robin Modes: Forward, backward, and random cycling through voices for constantly shifting tonal variation
• Unison Modes:

1. Staccato — envelopes retrigger with each note
2. Legato — envelopes retrigger only after all keys are released
3. Mono — all voices stack onto a single note

This system allows Katla to produce rich, evolving textures with a high degree of variation and movement.

One of Katla's most distinctive features is its set of "KATLA" wildcard parameters, designed to introduce controlled unpredictability:

• Móða: Simulates analog tuning drift for vintage character
• Kvika: Slow pitch modulation inspired by tape "wow"
• Skjálfti: Faster pitch fluctuations resembling tape "flutter"
• Glóð: Short bursts of pitch modulation per voice
• ASKA: Random modulation of volume and filter cutoff with added noise
• Skriða: Randomizes envelope parameters (ADSR)
• Rökkur: Spreads voices across the stereo field for spatial depth
• Rústir: A wavefolder that adds harmonic complexity, inspired by West Coast synthesis

Together, these controls create sounds that feel alive, unstable, and highly expressive.

© Genki Instruments

Katla's five voices each include a dedicated sub-oscillator, filter, amplifier, and LFO. A global sub control allows adjustment of waveform and octave. The synth also features stereo effects, including a lush digital reverb inspired by 1980s hardware.

Loopable envelopes blur the line between traditional envelopes and LFOs, enabling rhythmic modulation and evolving patterns. The instrument can sync to a DAW or external clock, with timing quantized to musical divisions such as quarter notes, eighth notes, and triplets.

Katla enhances performance through advanced control features:

• Keyboard Tracking: Adjusts envelopes, LFO timing, and filters based on pitch
• MPE Compatibility: Supports per-note expression including pressure, pitch, timbre, and aftertouch
• Unison Behavior: Allows natural note decay or staggered release through a "grace period" function

© Genki Instruments

The synth includes five external inputs, each routed to a corresponding voice. This allows users to process external audio through Katla's analog signal path, adding warmth, distortion, and character. Each unit is meticulously hand-assembled, emphasizing both sonic quality and craftsmanship.

CEO Ólafur Bjarki Bogason commented:

"Beyond the volcanic concept, we wanted to create an instrument with real character and presence. From the physical design to the tactile feel and sound, every detail was carefully considered. We hope Katla inspires a new generation of musicians."

With Katla, Genki Instruments delivers a bold and distinctive entry into the world of analog synthesis. By combining voice rotation, experimental modulation, and expressive performance features, the instrument stands out as a powerful tool for creating evolving, organic soundscapes.

Price

€4,990.00 EUR (including VAT and free delivery)

For more information on 'Katla'

Demo Video 

About 'Genki Instruments' (https://genki.is/)

Genki Instruments is a Reykjavik-based instrument developer founded in 2015. It is dedicated to exploring new ways of making music feel immediate and expressive. Entering its second decade, the company has earned recognition for designing tools that invite curiosity and creativity. As a Voice Rotating Polyphonic Synthesizer inspired by its natural namesake — namely, Iceland's largest subglacial volcano, Katla readily represents the company's first foray into analogue synthesis; a natural next step after creating Cosmos, a softsynth known for its playful interface, and Wave, the trailblazing motion controller that introduced a new form of gestural performance. Together, these projects reflect an ongoing mission to create instruments that feel alive, intuitive, and inspiring.

© Kenton Electronics

Kenton 'USB Solo mk2': A Modern Bridge for Vintage Analog Synths 

Kenton, a leader in MIDI-to-CV technology, has announced the availability of the 'USB Solo mk2', the highly anticipated successor to its original USB Solo. Designed as a high-spec, multi-functional MIDI-to-CV converter and USB MIDI interface, the USB Solo mk2 brings classic monophonic analog synthesizers into the modern production workflow with 16-bit precision, ultra-fast response, and exceptional flexibility for both studio and live use.

An Essential Tool for Modern Musicians 

Modern musicians are increasingly integrating vintage hardware with DAWs (Digital Audio Workstations), so the need for stable, high-resolution control has never been greater than it is today. The USB Solo mk2 from Kenton addresses this by acting as both a MIDI-to-CV converter and a dedicated USB MIDI interface, with MIDI over USB and 5-pin DIN. Indeed, it converts MIDI data from USB or 5-pin DIN into CV/Gate signals in 'Standard Mode', and also allows for simultaneous data transmission between a computer and other MIDI hardware, while still converting MIDI to CV, in 'Interface Mode'.

Precision and Compatibility

Being built to support almost any monophonic analog synthesizer ever made, USB Solo mk2 features adjustable scaling from 0.92V/Oct to 1.62V/Oct — above and beyond standard 1V/Oct and Hz/Volt systems, ensuring perfect tuning for rare instruments such as those from Buchla or EML. USB Solo mk2's primary CV output is driven by a high-specification DAC, providing rock-solid pitch tracking and eliminating the 'stepping' often found in lower-quality converters.

© Kenton Electronics

Advanced Modulation and Control

More than a simple converter, the USB Solo mk2 doubles as a powerful modulation source, offering expanded creative control:

• Three AUX Outputs: Fully variable 3.5 mm outputs that can be assigned to MIDI CCs, pitch bend, velocity, or aftertouch—ideal for controlling filter cutoff, VCA levels, clock signals, and more.
• Built-in LFO and ADSR: An internal, MIDI-syncable LFO and ADSR envelope generator can be routed to CV or auxiliary outputs, adding modulation capabilities to synths that may lack them.
• Sync24 Support: The MIDI THRU port can be configured to output Sync24 (DIN Sync), enabling tight synchronization with vintage Roland drum machines and sequencers.

Updated Hardware and Design

Housed in a rugged brushed aluminum enclosure, the USB Solo mk2 is built for durability while fitting seamlessly into modern setups. It features USB-C connectivity for both power and data, and can be configured via a clear three-character LED display or the dedicated USB Solo mk2 Configuration Manager software. Users can store and recall up to 32 program presets, making it easy to switch between different synthesizer configurations.

© Kenton Electronics

Kenton founder John Price commented:

"This new mk2 version of our USB Solo brings together the features of the Pro Solo mk3—including Volt/Octave and Hz/V modes, Gate and S-Trig, built-in LFO and ADSR, plus three continuously variable auxiliary outputs—and makes them available over USB, while retaining 5-pin DIN MIDI ports. This allows users to convert between USB and DIN MIDI at the same time as generating control voltages."

With the USB Solo mk2, Kenton continues to bridge the gap between classic analog gear and modern digital production. By combining precision control, broad compatibility, and expanded modulation capabilities, it stands out as a powerful and flexible solution for musicians seeking to integrate the best of both worlds.

Price

£199.80 GBP (£166.50 GBP, excluding VAT)

* USB Solo mk2 is available now through the Kenton website (https://kentonuk.com/) and its growing global network of authorized dealers (https://kentonuk.com/dealers/).

For more information on 'USB Solo mk2'

About 'Kenton Electronics Ltd.' (https://kentonuk.com/)

Kenton was founded in 1986 by UK musician John Price, who began by building a MIDI interface for his beloved Oberheim OBX; word soon got around, and today the company continues to design and build ingenious, easy-to-use MIDI interfaces that enable keyboard players and electronic musicians to keep their synths, sequencers, and controllers communicating with each other, regardless of their type or vintage. Widely renowned as MIDI experts, the company has a device for almost any application — often considered the 'glue' that holds customers' electronic music systems together. Theatres and broadcasters also rely on its products in mission-critical applications where MIDI is used as a switching and control protocol. "People often ask where the name Kenton came from; my father, Wylie Price, was a bandleader in the Forties and Fifties, and was a big fan of the Stan Kenton Orchestra, so, when I was born, I was given Kenton as my middle name." (John K. Price)

© Unsplash (photo by Mert Kahveci)

Room Acoustics Calibration: Creating an Accurate Listening Environment

Room acoustics calibration is one of the most critical yet often overlooked aspects of music production, mixing, and sound design. Even the most advanced monitors and audio interfaces cannot deliver accurate results if the listening environment is not properly calibrated. By controlling how sound behaves within a room, engineers can make more reliable decisions and achieve mixes that translate well across different playback systems.

Every room affects sound. Reflections from walls, ceilings, and floors interact with direct sound from speakers, creating peaks, nulls, and time delays. These issues can lead to:

• Inaccurate frequency balance
• Poor stereo imaging
• Misleading low-end response

Without calibration, what sounds "correct" in one room may sound unbalanced elsewhere.

Key Acoustic Problems:

1. Standing Waves

Low-frequency buildup occurs when sound waves reflect between parallel surfaces. This creates exaggerated bass in some spots and weak bass in others.

2. Early Reflections

Reflections arriving shortly after the direct sound can blur clarity and stereo imaging, especially in the mid and high frequencies.

3. Flutter Echo

Rapid reflections between parallel surfaces produce a metallic ringing effect, often noticeable when clapping in an untreated room.

Acoustic Treatment vs. Calibration:

It is important to distinguish between two complementary processes:

• Acoustic Treatment: Physical modifications such as bass traps, absorbers, and diffusers that improve the room's sound behavior
• Calibration: Measurement and correction using tools and software to fine-tune the listening environment

Both are necessary for optimal results.

The Calibration Process:

1. Measurement

Calibration begins with measuring the room using a measurement microphone and analysis software. A common tool is Room EQ Wizard, which generates frequency response graphs and identifies problem areas.

2. Speaker Placement

Proper monitor placement is essential. Speakers should form an equilateral triangle with the listener, and be positioned symmetrically within the room to ensure balanced stereo imaging.

3. Acoustic Treatment

Based on measurements, treatment is applied:

• Bass traps for low-frequency control
• Absorption panels for early reflections
• Diffusers for maintaining natural ambience

4. Digital Correction

Software solutions like Sonarworks' SoundID Reference or IK Multimedia's ARC System can apply EQ compensation to flatten the frequency response. While not a substitute for treatment, they provide additional precision.

Best Practices:

• Always treat the room before relying on digital correction
• Re-measure after any significant change
• Avoid over-correction, especially in low frequencies
• Test mixes on multiple playback systems

© Days Of Yore

'Days Of Yore' Launches Boutique Audio Brand with Bold Line of Handcrafted Hardware

Days Of Yore has officially announced its arrival as a boutique audio company, debuting a striking collection of handcrafted hardware tools designed to inspire creativity and push sonic boundaries. The launch lineup includes Echoic Drift, Lost Contact, Passive Matrix Mixer, Pulse Mirage, and The Tower Spring Reverb—a series of expressive effects rooted in nostalgia yet driven by forward-thinking design.

Founded by Kassia Lemieux and Daniel Rouleau, Days Of Yore was created with a clear mission: to challenge convention and move beyond predictable trends. Instead of following the mainstream, the company embraces avant-garde aesthetics, experimental sound design, and unconventional circuitry.

"We created Days Of Yore for artists who want something different," the co-founders explain. "Whether you're an artist, engineer, musician, producer, or even a collector, we're here to fuel creativity."

Each unit is meticulously handcrafted, combining premium components with bold industrial design. The result is hardware that not only delivers exceptional sound quality but also stands out visually in both studio and live environments.

Built with longevity in mind, all products are backed by a five-year limited warranty—underscoring the company's commitment to durability, craftsmanship, and uncompromising build quality.

Launch Lineup Overview

▲ Echoic Drift © Days Of Yore

1. Echoic Drift ($1,199 USD)

A compact spring reverb housed in a black walnut enclosure, Echoic Drift delivers lush, warm soundscapes. With top-mounted controls, it offers intuitive operation while emphasizing character and depth.

▲ Lost Contact © Days Of Yore

2. Lost Contact ($199 USD)

An extreme-gain distortion pedal designed for boundary-pushing artists. It ranges from tight, focused distortion to complete signal destruction, making it ideal for experimental and aggressive tones.

▲ Passive Matrix Mixer © Days Of Yore

3. Passive Matrix Mixer ($999 USD)

Designed for adventurous sound designers, this five-in/five-out matrix mixer functions as a creative routing hub. It enables feedback loops, signal splitting, and summing for complex and evolving soundscapes.

▲ Pulse Mirage © Days Of Yore

4. Pulse Mirage ($399 USD)

A versatile fuzz pedal capable of everything from subtle coloration to chaotic textures. Its dual adjustable oscillator section allows for highly expressive and unpredictable tonal shaping.

▲ The Tower Spring Reverb © Days Of Yore

5. The Tower Spring Reverb ($3,599 USD)

A towering 41-inch (104 cm) spring reverb unit that merges vintage technology with dramatic visual design. Features include audio insert capability, remote footswitch control, and top-mounted controls—delivering an immersive and visually striking reverb experience.

With its debut collection, Days Of Yore invites creators to rediscover experimentation, play, and the art of shaping sound without limits. By blending nostalgic inspiration with modern innovation, the company positions itself as a bold new voice in the world of boutique audio hardware.

* Echoic Drift, Lost Contact, Passive Matrix Mixer, Pulse Mirage, and The Tower Spring Reverb are all available to buy via Days Of Yore's growing network of dealers (https://www.daysofyoreaudio.com/dealers), with Burbank, CA, USA-based independent shop Perfect Circuit (https://www.perfectcircuit.com) acting as its distribution partner, shipping across the globe.

For more information on Days Of Yore's Products

**YouTube short video demo links:

1. Echoic Drift: https://www.youtube.com/shorts/L_s8dzm9Au8

2. Lost Contact: https://www.youtube.com/shorts/nh7bV-DyD10

3. Passive Matrix Mixer: https://www.youtube.com/shorts/Kjc72E2Twuk

4. Pulse Mirage: https://www.youtube.com/shorts/DYHePiDIJm8

5. The Tower Spring Reverb: https://www.youtube.com/shorts/OD4wIfSZO4U

About 'Days Of Yore' (https://www.daysofyoreaudio.com)

Always abiding by its Unique Sounds For Unique Artists axiom, Days Of Yore is a Montreal-based boutique audio company crafting handmade, retro-inspired music gear — guitar pedals, noise generators, spring reverbs, and more. By blending nostalgia with innovation, its products readily represent unique tools to create inspiring sounds, fuelling creativity for engineers, musicians, producers, sound designers, and even collectors. Crafted tones and distinctive enclosures are not just tools, but rather ways of helping users to bring out their best, making them stand out and create something truly unique. Ultimately, the company does not chase after today's trends or worry about what is in style; instead, it is all about being avant-garde, bold, and different. Days Of Yore extends an invitation to break the mould and be unapologetically original. On the face of it, then, Days Of Yore is where unique journeys begin.

© Pixabay

From Airplay to Income: Understanding U.S. TV Music Royalties

Television remains one of the most significant sources of income for composers and music publishers in the United States. Music used on major broadcast networks such as ABC, CBS, and NBC generates performance royalties through organizations like ASCAP and BMI. However, unlike simple rate cards, television royalties are calculated through complex formulas rather than fixed fees.

In the U.S., broadcasters pay blanket license fees to Performing Rights Organizations (PROs). These organizations track music usage through cue sheets and distribute royalties based on multiple variables, including:

• Duration of the music
• Type of usage (feature, background, etc.)
• Time of broadcast
• Program reach and audience size

As a result, two similar pieces of music can generate different payments depending on when and how they are used.

Music used in television is categorized into performance types, each reflecting how prominently the music is featured:

1. Full Feature (45 seconds or more)

• Music that is clearly foregrounded and central to a scene
• Often includes vocals or dominant instrumental parts
• Typically earns the highest royalties

*Example: A song performed on-screen or highlighted in a major scene

2. Theme (per show)

• Opening or closing music associated with a program
• Usually paid per broadcast rather than by duration

*Example: A show's intro or end credits theme

3. Background (per minute)

• Underscore music that supports dialogue or atmosphere
• Paid based on duration of use

*Example: Ambient scoring under a dramatic scene

4. Logo (per show)

• Very short musical identifiers tied to a brand or network
• Lowest-paying category due to minimal duration

*Example: A network sonic logo or brief stinger

Television royalties are heavily influenced by when a program airs. Time-of-day serves as a proxy for audience size:

• Primetime (6:00 PM - 10:59 PM) --> Highest value
• Late Night (11:00 PM - 1:59 AM) --> Reduced value
• Overnight (2:00 AM - 5:59 AM) --> Lowest value
• Daytime (6:00 AM - 5:59 PM) --> Moderate value

A feature performance in primetime can generate several times more revenue than the same performance aired overnight.

While simplified rate tables are often used for educational purposes, it is important to understand that these figures are not fixed or officially publihed rates. Instead, they represent typical relative differences between performance types and time slots.

These categoris illustrate relative weighting, not guranteed payment.

Actual royalty payments fluctuate because they depend on dynamic factors such as:

• Total licensing revenue collected by PROs
• Number of performances in a given period
• Popularity and distribution of the program
• Competing claims from other rights holders

For example, a background cue in a popular primetime show may earn significantly more than a feature in a low-viewership program.

U.S. television royalties are best understood as a weighted distribution system, not a fixed pricing model. While performance types—feature, theme, background, and logo—define the importance of music usage, factors such as broadcast time and audience reach ultimately determine payment value. For composers, the key to maximizing income lies not just in placement, but in securing high-visibility usage in widely viewed programs, particularly during primetime.

© Unsplash (photo by Panagiotis Falcos)

Building from the Bottom Up: The Foundation of Modern Music Production 

In most forms of popular music, the production process often begins from the bottom of the frequency spectrum and gradually builds upward. This approach, commonly described as "building from the bottom up", reflects the central role of rhythm and low-frequency elements in shaping the structure and energy of a track. By establishing a solid rhythmic and harmonic foundation first, producers create a framework that supports all the other musical elements added later in the arrangement.

At the core of this process are the drums. In many genres of popular music, including pop, hip-hop, electronic music, and rock, the drums serve as the primary driving force of the song. The rhythmic patterns established by the drum kit determine the groove, tempo, and feel of the track. Because rhythm strongly influences how listeners perceive movement and energy in music, starting with the drums allows producers to define the fundamental pulse of the composition before introducing other instruments.

However, not all musical traditions rely on drums as the main driving element. In certain styles, such as Broadway orchestration and many forms of jazz, the drums often play a more supportive role. Instead of controlling the rhythmic flow, the drummer may accent the musical phrases created by other instruments. In these contexts, the rhythm section interacts more fluidly with melodic and harmonic elements, and the structure of the arrangement may emerge from chords, melodies, or ensemble interplay rather than from a dominant beat.

Once the drum groove has been established, producers typically move to the next layer of the frequency spectrum: the bass. The bass instrument forms the bridge between rhythm and harmony. It reinforces the groove established by the drums while simultaneously outlining the harmonic structure of the music. By locking in with the kick drum and other rhythmic elements, the bass strengthens the track's rhythmic stability and adds depth to the low-frequency range. A well-crafted bass line can significantly influence the emotional character and momentum of a piece.

After the bass comes the harmonic layer, often provided by chords played on instruments such as keyboards, guitars, or synthesizers. These chordal elements fill the mid-frequency range and define the harmonic progression of the song. At this stage, producers establish the tonal color and emotional atmosphere of the track. The interaction between bass and chords provides the harmonic framework upon which melodies and additional musical details can be built.

With the rhythmic and harmonic foundation in place, producers then add other tracks to complete the arrangement. These elements might include melodies, counter-melodies, sound effects, percussion layers, pads, or vocal lines. Their purpose is often to fill in the remaining frequency and rhythmic "holes" within the mix. For example, higher-frequency instruments can add brightness and clarity, while additional rhythmic textures can enhance groove and complexity.

This layered production approach helps maintain clarity and balance within a mix. By building from low frequencies to high frequencies, producers can ensure that each element occupies its own sonic space without overwhelming the others. The result is a more cohesive and powerful arrangement in which every part contributes to the overall musical structure.

© Frap Tools

Frap Tools 'Magnolia': An 8-Voice Analog Thru-Zero FM Synthesizer

After turning heads with pre-production units that stole the show at SUPERBOOTH25 (May 8–10, FEZ-Berlin, Germany) and later showcasing the 8-Voice Analog Thru-Zero FM Synthesizer in its final form at Buchla & Friends 2026 (January 24–25, C&I Studios, Los Angeles, CA), Frap Tools—previously known for Eurorack modules, accessories, and professional 500-series audio compressors—is proud to announce that its first standalone instrument is now shipping.

Magnolia delivers a polyphonic, bi-timbral analog synthesizer experience. Beyond classic analog polysynth sounds, it allows for programming less conventional timbres closer to modular synthesis, especially the so-called "complex oscillators."

© Frap Tools

Musically, Magnolia brings modular synthesis techniques to the analog polysynth world—offering all the advantages of polyphonic analog instruments: immediate playability, rich sound, and the subtle unpredictabilities affectionately known as "analog warmth." Its 61-key FATAR keybed (from Italy) supports velocity and polyphonic aftertouch, making it highly expressive and playable from the first note. Dynamic interaction is a core focus, with multiple physical access points built into its design: Pitch and Modulation wheels, a Macro knob (assignable to any parameter), a Morph knob (to gradually transform between two settings), and two expression pedal inputs.

Magnolia also offers an extensive modulation setup: 16 modulation sources, 38 modulation destinations (each with an LED to indicate activity), three LFOs, three envelopes, and the standout PolyMove feature. PolyMove acts as a refined random generator, creating independent random control signals for every voice and destination—ideal for animating sounds from subtle variations to complete chaos.

© Frap Tools

The instrument's name and front panel proudly highlight its FM (Frequency Modulation) capabilities. While FM is often associated with carriers, operators, and complex formulas—popularized by '80s digital synths like the Yamaha DX7, which commercialized the algorithm developed by John Chowning at Stanford University in 1967—Magnolia approaches FM more directly: its two oscillators per voice combine an "East Coast" oscillator with PWM and a "West Coast" oscillator featuring linear Thru-Zero FM (TZFM), wavefolder, and flip sync, complemented by an orange TZFM knob for hands-on tweaking. The result is a raw, in-your-face FM sound that is incredibly fun to play.

For those wondering, "thru-zero" refers specifically to analog oscillators, signifying true analog FM capabilities.

© Frap Tools

"We created Magnolia to bring our iconic modular analog sound into a straightforward instrument that could play chords and 12-note music immediately," says Frap Tools Product Designer and Founder Simone Fabbri. He continues: "Inside, you'll find all our signature tools—analog triangle-core oscillators, thru-zero FM, wavefolders, analog distortion, and a wild, resonant filter. It's a powerful instrument capable of everything from soft, glass-like pads to earth-shattering distorted leads. The hands-on modulation matrix lets you connect 16 modulation sources to 32 destinations with a simple push and twist. Every circuit is designed from scratch—Magnolia is essentially a condensed version of our Eurorack modules, with no stock ICs. We're thrilled—and admittedly a bit jittery—to release it. It's been a long journey with many challenges, but seeing it in stores is incredibly rewarding. We thank all our supporters and hope Magnolia will be loved by many musicians!"

Price

€4,199 EUR (VAT included)

* Available through Frap Tools' global resellers (https://frap.tools/resellers/), with worldwide distribution by Alex4 Distribution (https://www.alex4.de/).

For more informtion on 'Magnolia'

Frap Tools 'Magnolia' Introductory Video 

About 'Frap Tools' (https://frap.tools/)

Frap Tools is an Italian company that has been manufacturing Eurorack modules and accessories alongside professional audio compressors in the 500-Series format for 10 years. Individuality is central to the company's ethos, evidenced by the refined analogue circuitry and bold graphic design deployed in its products. Pushing onwards and upwards, it is now venturing into the world of high-end keyboard synthesizers, starting with Magnolia.

© Unsplash (photo by Amonwat Dumkrut)

Behind the Sound: The Critical Roles of Monitor and FOH Engineers in Live Performance

Live music may appear effortless from the audience's perspective, but behind every successful performance stands a team of highly skilled audio professionals. Among the most crucial are the Monitor Engineer and the FOH (Front of House) Engineer. While both shape the sound of a live show, their responsibilities, perspectives, and priorities differ significantly. 

The Monitor Engineer is responsible for what the musicians hear during a performance. Positioned typically at the side of the stage, this engineer creates and manages the monitor mixes that are delivered through stage wedges (floor monitors) or in-ear monitoring systems (IEMs).

Each performer often requires a unique mix. A vocalist may need more of their own voice and a touch of keyboard, while a drummer might prioritize bass and rhythm guitar. The Monitor Engineer must respond quickly to performer's requests, sometimes communicated mid-song through gestures, while maintaining clarity and balance across multiple mixes.

This role demands exceptional communication skills, technical precision, and a deep understanding of musical dynamics. A poorly balanced monitor mix can negatively affect timing, pitch accuracy, and overall performance confidence. In contrast, a well-crafted monitor mix enables musicians to perform at their highest level.

The FOH Engineer shapes the sound experience for the audience. Positioned at a mixing console in the main listening area, usually centered within the venue, this engineer controls the main PA (public address) system.

The FOH Engineer balances vocals, instruments, and effects to ensure clarity, impact, and emotional engagement. They must adapt to venue acoustics, crowd absorption, and the musical style of the performance. Whether mixing a jazz trio in an intimate club or a full band in a large concert hall, the FOH Engineer's goal is to deliver a cohesive and immersive sonic experience.

This role combines technical expertise with artistic sensibility. Equalization, compression, spatial effects, and dynamic control are carefully applied to enhance the music without overwhelming it. The FOH Engineer essentially acts as the final interpreter of the band's sound for the audience.

Although their responsibilities differ, Monitor and FOH Engineers work closely together. Effective communication ensures that stage volume, microphone choices, and technical adjustments serve both the performers and the audience. In larger productions, they may coordinate with system engineers and stage technicians to maintain optimal performance throughout the event. 

© Pixabay (photo by GDJ)

Inside the Psychedelic Mix: Creating Motion, Depth, and Sonic Warmth

A psychedelic mix is less about technical perfection and more about trasporting the listener into an altered sonic space. It blurs edges, bends perception, and transforms a song into an immersive experience. While production tools have evolved dramatically since the era of The Beatles and their landmark album Sgt. Pepper's Lonely Hearts Club Band, the core principles of psychedelic mixing remain rooted in movement, atmosphere, and warmth.

At the heart of a psychedelic mix is motion. Static elements flatten the listening experience, while movement draws the ear deeper into the soundscape. Use panning automation, modulated delays, phasers, flangers, and subtle pitch modulation to make instruments feel alive. Instead of locking guitars, synths, or effects into a fixed position, let them drift across the stereo field.

Depth is equally important. Layer reverbs of different sizes, such that short ambiences for intimacy and longer, diffused tails for expansiveness. Automating reverb sends and delay feedback over time enhances the sense that the mix is breathing. The goal is not chaos, but organic evolution: sounds should feel as though they are swirling around the listener.

Vocals in a psychedelic mix often feel fluid and dreamlike rather than sharply defined. Achieve this "syrupy" texture through generous use of plate or tape-style reverb, tempo-synced delays, and subtle modulation effects. Doubling or tripling vocal tracks—slightly detuned or time-shifted—adds thickness and a hazy shimmer.

Compression plays a key role here. Smooth, controlled dynamics allow the vocal to melt into the instrumental bed rather than sit rigidly on top. The result should feel immersive, as if the voice is emerging from within the sound rather than standing apart from it.

A powerful psychedelic mix relies on a dense, enveloping low end. This doesn't simply mean turning up the bass; it means constructing a foundation that feels expansive and unified. Layer bass guitar or synth bass with subtle harmonic saturation to increase perceived thickness. Blend kick drums with low-frequency textures or sub drones to create a continuous undercurrent.

The idea of a "wall of sound", originally associated with producer Phil Spector, translates here into a cohesive low-frequency mass that supports the swirling midrange and atmospheric highs. Careful EQ management ensures that this density remain controlled rather than muddy.

Brightness can break the illusion. Psychedelic mixes thrive on warmth and air rather than sharp, piercing highs. Use gentle high-frequency roll-offs, analog-style saturation, and tape emulation to soften transients and smooth the top end. Instead of boosting treble aggressively, aim for a silky sheen that feels open but never harsh.

Warmth in the low mids and a subtle lift in the upper "air" band (without exaggeration) create a comforting yet spacious tone. The mix should glow rather than glare.

A psychedelic mix is an exercise in controlled immersion. By emphasizing motion, fluid vocals, a dense low-end foundation, and warm tonal balance, you create a sonic environment that feels expansive and hypnotic. It is not merely about effects. It is about shaping perception itself, inviting the listener to step inside the sound and drift.

© Pixabay (photo by Ralf1403)

How We Hear Harmony: Frequency Relationships and the Science of Critical Bands

Harmony may feel emotional or even mystical, but our perception of chords is deeply rooted in acoustics and human biology. At its core, a chord is defined by frequency relationships, and our ears interpret these relationships according to specific perceptual limits known as critical bands. Understanding both concepts helps explain why major and minor chords sound distinct and why some combinations feel consonant while others feel tense.

Every musical note corresponds to a vibration frequency. When we play a chord, we are sounding multiple frequencies simultaneously. The character of that chord depends on the mathematical relationships between those frequencies.

Take the major triad, built from scale degrees 1, 3, and 5. In acoustic terms, the interval between the root (1) and the major third (3) forms a specific frequency ratio (approximately 5:4 in just intonation), while the perfect fifth (5) forms 3:2 ratio above the root. These relatively simple ratios create stable interference patterns in the air, which our auditory system interprets as consonant and bright.

In contrast, the minor triad substitutes a lowered third (b3) for the major third. This slightly altered frequency relationship changes the internal spacing between partials (overtones). Even though the fifth remains the same, the difference between 3 and b3 significantly affects the waveform interaction. The result is a perceptual shift: minor chords often sound darker or more introspective. This emotional distinction is not inherent in the frequencies themselves. It arises from how our auditory system processes their differences.

The human ear does not perceive all frequency combinations equally. Our inner ear contains a structure called the basilar membrane, which responds to different frequency ranges along its length. These ranges are grouped into what researchers call "critical bands"—frequency regions within which sounds interact strongly.

A critical band is roughly about one-third of an octave wide, though its exact width varies depending on frequency. When two tones fall within the same critical band, their waveforms interact more directly, often producing beating, roughness, or sensory dissonance. When tones fall outside the same critical band, they are processed more independently and tend to sound clearer and more consonant.

This explains why closely spaced notes (such as minor seconds) can sound tense or dissonant: their frequencies lie within the same critical band and create noticeable interference. By contrast, intervals like perfect fifths span multiple critical bands, reducing perceptual roughness and enhancing clarity.

The perception of a chord, then, is not just a matter of musical theory—it is a biological event. The emotional quality of a major (1-3-5) or minor (1-b3-5) triad emerges from frequency ratios interacting within the constraints of critical bands in the human ear.

This scientific framework does not diminish the artistry of harmony. Instead, it deepens our appreciation. Composers and improvisers, whether consciously or intuitively, work with these acoustic principles every time they voice a chord. By spacing notes to avoid excessive overlap within critical bands, they can create transparency and warmth. By intentionally clustering tones within a band, they can produce tension and expressive intensity.

© Unsplash (photo by David Rangel)

Crafting an Alternative Mix: Depth, Power, and Vocal Presence

An effective alternative mix balances raw energy with clarity and emotional depth. Unlike conventional pop or electronic mixes that often prioritize polish and uniformity, alternative music thrives on character, contrast, and atmosphere. To achieve a compelling alternative mix, engineers and producers must focus on four core elements: a warm low end, a clear rhythm foundation, a powerful snare, and a spacious yet vocal-forward soundstage.

First, the foundation of an alternative mix lies in a fat, warm bottom end. This does not simply mean adding more bass, but sculpting low frequencies so they feel rich and musical rather than muddy or overpowering. Subtle saturation, analog-style processing, and careful EQ can help create a low end that feels alive and supportive. The goal is to give the track weight and emotional gravity without sacrificing clarity.

Equally important is the relationship between the bass and kick drum. In alternative music, the groove often defines the song's identity, so the bass and kick must work together rather than compete. This requires precise frequency separation, thoughtful arrangement, and dynamic control. Techniques such as sidechain compression, complementary EQ curves, and transient shaping can ensure that both elements remain distinct while reinforcing each other's impact.

A "big" snare sound is another hallmark of a strong alternative mix. The snare should feel bold, expressive, and slightly larger than life, cutting through dense arrangements without sounding harsh. Layering samples, using parallel compression, and applying tasteful reverb or room ambience can enhance the snare's presence. The key is to make it powerful enough to drive the track while still blending naturally with the overall sonic texture.

Finally, an alternative mix should offer a sense of depth and space, with vocals clearly positioned at the front. This requires a careful balance between ambience and intimacy. Reverbs and delays can create a three-dimensional soundscape, but they must be controlled so they do not obscure the vocal. Strategic use of automation, stereo imaging, and frequency carving allows the mix to feel expansive while keeping the vocal emotionally direct and intelligible.

A Successful alternative mix is not about technical perfection alone, but about creating a sound that feels both immersive and human. By shaping a warm low end, clarifying the rhythmic core, enlarging the snare, and designing depth around a forward vocal, producers can craft mixes that are powerful, expressive, and unmistakably alternative.  

© Katz Praatz

Katz Praatz 'Jazz Sketch (ver. 1.6)': A Simple Harmonic Tool for Making and Learning Jazz Music

Musician and hobbyist programmer Katz Praatz has announced the release of Jazz Sketch version 1.6. This update adds 96 new chord progressions to the previously available 888 in version 1.5, bringing the total to 984 jazz chord progressions, and introduces new chord progression and chord annotation features, along with an updated MIDI file export function.

Jazz Sketch (ver. 1.6) is a simple chord sequencer designed to help you create music by arranging 984 jazz chord progressions and 168 tension chords. You can export the chord sequence (the chord progressions and chords you've arranged) as a MIDI file to play it or edit it in your DAW. With Jazz Sketch, you can create sophisticated, jazz-infused songs with ease. Additionally, Jazz Sketch allows you to learn jazz harmony by playing it yourself. In fact, Jazz Sketch is a small but highly useful software tool.

© Katz Praatz

Essential Requirements for Running Jazz Sketch

Jazz Sketch is a software written in JAVA, and the file extension is .jar. By default, Jazz Sketch runs well on any computer that has JAVA or JRE (Java Runtime Environment) version 8 or later installed, regardless of the operating system—for example, Windows, MacOS, or Linux. If your computer does not have JAVA or JRE installed, or if JAVA is installed but the version is earlier than 8, please click the link below to download the JAVA 8 compatible with your computer's operating system:

https://www.java.com/en/download/manual.jsp

* In the Windows download section, choose the Online download for the fastest install experience. Choose the Offline download if you will be installing on a machine without an internet connection, or you are having problems with the Online install.

** If your macOS version is 10.7.3 or later but earlier than 12, click on macOS x64 to download. If your macOS version is 12 or later, click on macOS ARM64 to download.

Features

• A chord sequencer designed to help you create sophisticated, jazz-infused music by arranging 984 jazz chord progressions and 168 tension chords
• Can also be used for practicing jazz harmony
• The provided chord progressions incorporate standard 2-5-1 progressions, tritone substitutions, secondary dominants, secondary subdominants, and deceptive resolutions
• Can export the chord sequence that you arranged as a MIDI file to play it or edit it in your DAW
• Written in Java, and requires JAVA or JRE version 8 or higher installed to run

** Jazz Sketch is a standalone software, not a plug-in. Therefore, it operates independently of the user's DAW (Digital Audio Workstation).

System Requirements

• A laptop or desktop computer with a monitor of 13 inches or larger  
• Supported OS: Any version of Windows, Mac OS X, and Linux  
• Tablet PCs that do not use Windows or Mac OS X as their operating system are not supported (e.g., iPad, Galaxy Tab)

Price

$6.99 USD

For more information on 'Jazz Sketch (ver. 1.6)'

Creating Music with Jazz Sketch 

© Melbourne Instruments

Melbourne Instruments Announces Advanced Logic Pro Integration for ROTO-CONTROL Motorized MIDI Controller 

Melbourne Instruments is pleased to announce the availability of advanced Logic Pro integration for its ROTO-CONTROL motorized software and hardware MIDI controller. Building on the success of its existing integrations with Ableton Live and Bitwig Studio, this new support answers strong demand from Logic Pro users since ROTO-CONTROL launched to widespread critical acclaim one year ago.

© Melbourne Instruments

ROTO-CONTROL features eight touch-sensitive motorized knobs driven by brushless drone motors and Melbourne Instruments' patented ultra-high-resolution, contactless optical sensors. Rated for more than 50 million cycles—approximately 500 times the lifespan of conventional potentiometers—these controls deliver precise, reliable performance and detailed haptic feedback. The controller also includes nine high-resolution IPS LCD displays and 16 backlit RGB buttons, all housed in a sleek, compact enclosure measuring 341 mm / 13.4" (W) × 112 mm / 4.4" (D) × 44 mm / 1.7" (H).

Communication is handled via MIDI over USB as well as traditional 5-pin MIDI DIN IN/OUT/THRU connections. Constructed from ABS and metal, ROTO-CONTROL weighs just 715 g / 1.58 lb, making it a robust yet highly portable production companion. Designed to encourage new and expressive ways of working with sound, ROTO-CONTROL now brings its fully tactile, motorized workflow to Logic Pro through a new firmware update—offering fast, hands-on control of tracks, plug-ins, Smart Controls, and automation.

© Melbourne Instruments

In MIX mode, ROTO-CONTROL automatically mirrors Logic Pro track names, colors, and order. Users gain high-resolution control over volume, pan, sends, and automation, along with instant access to track selection, paging, mute/solo/record arm switching, and dedicated Track Focus.

PLUGIN mode delivers fast and powerful plug-in control, allowing users to browse and select Logic Pro instrument and effect plug-ins directly from ROTO-CONTROL. Touch-and-learn mapping makes it easy to assign any parameter, with up to eight pages of controls per plug-in stored directly on the device. Bypass and plug-in selection controls are also included, and all mappings are saved on ROTO-CONTROL itself, making them instantly available across all Logic Pro projects on any computer.

Logic Pro's Smart Controls are automatically mapped as well, providing immediate access to up to 16 Smart Control parameters. This makes ROTO-CONTROL ideal for working with instruments, macros, and MIDI effects, whether in PLUGIN mode or the dedicated SMART mode.

© Melbourne Instruments

Beyond core control, ROTO-CONTROL allows extensive customization of labels, colors, haptics, and step behavior for each control. Integrated transport controls—including play, stop, record, cycle, auto punch, and playhead navigation—are accessible from any mode, ensuring a seamless workflow at all times.

For Logic Pro users seeking deeper interaction with their music, ROTO-CONTROL represents a compelling addition to both their creative and physical workspace. Motorized, morphing controls, instant recall, and intuitive hardware are not the end goal—but rather the starting point for a more expressive and immersive production journey.

Price

$399 USD (excluding tax; in the USA and Canada)

* Pricing in other regions: $619 AUD (incl. GST) in Australia, €372.35 EUR (excl. VAT) in the EU, $469 USD in Japan/Asia, and £389 GBP in the UK, through Melbourne Instruments' global dealer network: https://www.melbourneinstruments.com/dealers

** The new (3.0.1) firmware update for ROTO-CONTROL with Logic Pro integration is downloadable for free from here: https://www.melbourneinstruments.com/roto

For more information on 'ROTO-CONTROL'

Roto-Control: Advanced Logic Pro Integration 

About 'Melbourne Instruments' (https://www.melbourneinstruments.com/)

Melbourne Instruments designs and manufactures innovative music technology built around a proprietary motorised knob system that redefines hands-on tactile control. Thanks to contactless motors and high-resolution optical sensing, the knobs deliver dynamic haptic feedback — shifting between stepped, smooth, and switch-like responses — to create a uniquely tactile interaction with sound. Such technology powers the company's instruments, including the world's first motorised polysynth, NINA; the expressive, bi-timbral hybrid polysynth, DELIA; and the ROTO-CONTROL motorised MIDI controller… total control with fluid, creative interaction — designed to make music faster, sharper, and more fun. Feel your sound! Duly designed and engineered in Melbourne, Australia. 

© Unsplash (photo by Aleksandr Popov)

Designing an Effective Club Mix

A successful club mix is not just a louder or logner version of a track. It is a carefully designed experience built to move bodies, hold attention, and peak at exactly the right moment. While genres and trends shift, the core principles of an effective club mix remain remarkably consistent. At its heart, a club mix must deliver drama, rhythmic authority, stylistic edge, and above all, physical movement.

Drama is essential in a club environment. A flat arrangement, no matter how well-produced, will struggle to sustain insterest on the dancefloor. A strong club mix is structured around tension and release: gradual builds, strategic breakdowns, and a clearly defined climax. This does not necessarily mean constant intensity. In fact, constrast is what creates impact. Stripping elements away before reintroducing them with force heightens anticipation and makes the peak feel earned. DJs rely on this sense of progression to keep dancers emotionally engaged as well as physically active.

The rhythm section is the backbone of any club mix. A powerful kick, solid bass, and tight percussion ensure that dancers never lose the beat, even in dense or dramatic sections. Low-end clarity is critical: the kick and bass must work together, not compete. A "hard, fat" rhythm section does not imply distortion or excess volume, but rather weight, consistency, and punch. In a club system, this foundation translates directly into physical impact, allowing the music to be felt as much as heard.

While house music provides groove and warmth, techno-inspired elements can add edge and modernity. Subtle use of synthetic textures, repetitive motifs, and mechanical timbres introduces a hypnotic quiality without sacrificing accessibility. The key is balance: techno overtones should enhance momentum, not overwhelm the groove. When combined effectively, the result is a sound that feels both driving and inviting—functional for DJs and engaging for dancers.

Ultimately, the purpose of a club mix is physical response. Every production and arrangement decision should serve this goal. If the track does not inspire movement, it has failed its primary function. Groove, energy flow, and rhythmic clarity matter more than complexity or novelty. A great club mix communicates directly with the body, creating a shared kinetic experience on the dancefloor. 

In essence, an effective club mix is a study in controlled intensity: dramatic yet disciplined, powerful yet groove-focused, and always designed with movement in mind. 

© Unsplash (photo by Logan Voss)

'Phase Invert' in Audio Engineering

Phse invert, often labeled polarity invert or simply ∅ on audio equipment, is a fundamental yet frequently misunderstood function in audio engineering. At its core, phase invert reverses the polarity of an audio signal, flipping it 180 degrees so that positive waveform values become negative, and vice versa. While this operation does not alter the timing of the signal, it can dramatically affect how sounds interact when combined.

When you invert the phase of a signal, you are not changing its pitch, loudness, or frequency content in isolation. Instead, you are changing how that signal aligns with other signals. This becomes critically important in situations involving multiple microphones capturing the same sound source, or when signals are combined through mixers, processors, or summing buses.

In multi-mic setups, such as drum kits, guitar cabinets, or orchestral recordings, each microphone captures the sound at slightly different times and distances. These small differences can cause certain frequencies to reinforce each other (constructive interference) or cancel out (destructive interference). By engaging phase invert on one microphone channel, you can sometimes restore lost low-end, clarify the midrange, or tighten the overall sound. In this context, phase invert becomes a powerful tool for shaping frequency response characteristics without using EQ.

Another essential use of phase invert is correcting mis-wired cables or equipment. If a cable or device is wired with reversed polarity, the resulting signal may partially cancel out when combined with poperly wired sources. This can lead to thin, hollow, or weak-sounding audio, especially noticeable in bass frequencies. Activating phase invert instantly compensates for such errors, saving time and preventing unnecessary troubleshooting. 

Although the term "phase invert" is commonly used, it is technically more accurate to call this function polarity inversion. True phase-shifts are frequency- and time-dependent, whereas polarity inversion is a simple mathematical flip of the waveform. In practice, however, the audible consequences, especially when multiple signals interact, are significant enough that the distinction is often overlooked in everyday studio language. 

Phase invert should always be used in context. A signal may sound worse on its own when inverted, yet work perfectly within a mix. The best approach is to listen critically while toggling the switch, especially in mono, and choose the setting that delivers the strongest, clearest result.

© THE/AUDIO/FIRM

THE/AUDIO/FIRM 'FURNACE': A Red-Hot Three-Way Saturation Plug-In with Mid-Side Processing

Founded as a creative collaboration between veteran mix and mastering engineer Sean J. Vincent and Vic Lewis of Fazertone—whose world-leading DSP (Digital Signal Processing) work helped pioneer neural-network-based analog emulation—plug-in developer THE/AUDIO/FIRM is proud to announce the release of 'FURNACE', its inaugural plug-in: a powerful three-way saturation processor featuring mid-side processing.

The debut plug-in has been a long time in the making, as THE/AUDIO/FIRM co-owner Sean J. Vincent explains:

"It's been coming for ages. About two years ago, I approached a number of plug-in companies with some ideas. I had extended conversations with a few of them and even started working with one, but we couldn't align on how I wanted this to be. It just wasn't going in the right direction, so I stopped. I kept listening, though—I was looking for someone I could work with in a smaller, more focused way to build exactly what I had in mind. Earlier this year, I met Vic Lewis from Fazertone, who makes fantastic guitar pedal emulations. We talked and realized we were both aiming for the same thing. He was open to my ideas, I was open to his workflow, and we clicked immediately. We've been working on a range of plug-ins all year, and the first one is ready right now."

FURNACE makes extensive use of Fazertone's renowned DSP technology, delivering authentic tape, transformer, and tube saturation captured directly from iconic hardware and modeled using custom real-time neural networks—all forged into a single, red-hot plug-in. Its photorealistic GUI is as elegant as it is intuitive. Engaging the 456 button recreates analog tape saturation, captured from a real half-inch tape machine running Ampex 456 tape. TFM models transformer saturation, sampled from a pair of 1084 input stages plus an additional "mystery" transformer on the output. AX7 delivers tube saturation, captured using a pair of 12AX7 long-plate tubes feeding a Lundahl transformer stage.

Each mode sounds exactly as it should. "We designed the 456 tape emulator so that no matter what you do with the DRIVE, it never completely blows up," Vincent explains. "This is tape—not tape being destroyed. If you set DRIVE around nine o'clock and turn MIX all the way up, you'll get a very subtle tape character." Coming from someone with 35 years of professional engineering experience, the claim carries considerable weight.

© Fazertone

FURNACE also offers a selection of additional controls for fine-tuning. The X button introduces a touch of transformer warmth along with a gentle EQ curve and a slight high-frequency side emphasis; it can even be used on its own, making it ideal for individual instruments rather than buses. The Mid-Sides control allows users to focus saturation anywhere within the stereo field, while the Hi Boost switch adds a subtle high-frequency lift when needed.

Designed to respond exactly like hardware, FURNACE delivers gentle warmth and thickness at conservative INPUT levels—perfect for adding analog character to channels and buses without drawing attention to itself. Push the INPUT into the red, however, and things get decidedly more aggressive, making it easy to add thick distortion to guitars, basses, drums, or virtually any source. As always, the MIX control remains key for blending the effect to taste.

Developing FURNACE required close collaboration and deep technical expertise. Giving credit where it's due, Vincent notes:

"I designed how it looks and what it does, but I don't code—so that's where Vic comes in. He's using a neural-network inference engine combined with detailed circuit analysis and modeling. It all runs in real time and does some incredible things—unlike anything I've ever heard. It just sounds completely analog. The technology is pretty amazing."

And the results speak for themselves. "The tape emulator sounds cohesive—it sounds like tape," Vincent says. "The transformer circuit might be my favorite; it has that unmistakable transformer warmth—it sounds like hardware. The tube adds depth and dimension. To my ears, using this feels very much like operating real hardware, and that's the key."

FURNACE also ships with a collection of professionally designed presets, giving users an immediate path to a wide range of musically useful saturation flavors—right out of the box.

Price

$59.99 USD / €50.00 EUR / £45.00 GBP

* Available in AAX, AU, and VST3 formats for Mac (OS X 11 or later, Native M1 or Intel from 2014 or later) and PC (Windows 7, 8, 10 or 11, 64-bit, from 2013 or later) with no iLok required.

** THE/AUDIO/FIRM's FURNACE plug-in can be bought directly from Fazertone (https://www.fazertone.com/plugin/furnace).

*** A 14-day trial version without any limitation is also available to download.

For more information on 'FURNACE'

Walkthrough 

About 'THE/AUDIO/FIRM'

Founded in 2025, THE/AUDIO/FIRM is a collaboration between veteran mix/mastering engineer Sean J Vincent — originally a studio-based mix and mastering engineer who later became a live engineer, touring all over the world with acts like Tom Bailey, Andy Bell, Howard Jones, OMD, The Royal Philharmonic Orchestra, and many others (including Kim Wilde, for whom he has also acted as a studio mixing and mastering engineer for over 20 years) — and Vic Lewis of Fazertone, famed for being one of the first companies to emulate analogue gear using neural networks. Needless to say, with 35 years of sound engineering experience to Sean's notable name creatively combined with Vic's groundbreaking DSP (Digital Signal Processing) developments, they are poised to take big strides into the plug-in industry. 

© Unsplash (photo by Kirk Cameron)

Exploring the Seven Forms of Creative Authorship 

Authorship is a broad concept that extends beyond writing, encompassing a wide range of creative works. Recognizing the different types of authorship is essential for both creators and users, as it defines legal rights, intellectual property, and the protection of creative contributions.

1. Sound Recording

This category includes recordings of music albums, CDs, speeches, and sound effects. The author in this context is typically the performer, producer, or sound engineer who contributes to the creation and arrangement of recorded audio.

2. Literary Works

Literary authorship covers books, scripts, poems, and other forms of literature. Authors express ideas, narratives, or emotions through written language, and their work may include both fictional and non-fictional content.

3. Choreographic Works

Choreography refers to the art of designing dance sequences. The choreographer is the author who creates movement patterns, formations, and rhythms, transforming abstract ideas into expressive physical performance.

4. Dramatic Works

Dramatic works include plays, musicals, and theatrical performances. Authors in this category craft the narrative, dialogue, and stage directions, combining literary skill with performative insight to create engaging experiences for audiences.

5. Musical Works

This type encompasses both the composition of music and the writing of lyrics. Composers and lyricists are credited as authors, producing original melodies, harmonies, and textual content that can be performed or recorded.

6. Pictorial, Graphic, or Sculptural Works

Visual arts fall under this category, including paintings, sculptures, photographs, designs, and blueprints. Artists and designers create works that communicate ideas, aesthetics, or functional solutions through visual media. 

7. Audiovisual Works

Audiovisual authorship covers videos, films, TV broadcasts, and digital content on websites. Authors may include directors, screenwriters, cinematographers, and editors who collaboratively produce a cohesive visual and auditory narrative. 

Understanding these seven types of authorship helps clarify creative ownership and intellectual property rights. From the written word to visual art, sound recordings, and digital media, each category represents a unique form of human expression, highlighting the diversity and richness of creative work in contemporary culture.

© Pixabay (photo by tdjgordon)

Approaching a Pop (Radio) Style Mix

A pop or radio-style mix is designed to translate well across a wide range of playback systems, from car stereo and earbuds to smartphones and broadcast radio. The goal is immediacy, clarity, and impact, while maintaining a polished and professional sound.

One of the most important characteristics of a pop mix is "strong sonic contrast and separation". Each element should occupy its own space in the frequency spectrum and stereo field. Careful EQ, panning, and arrangement choices help ensure that instruments do not mask one another. Transients should be clear, and the listener should be able to easily identify the role of each sound within the mix.

A pop mix is typically "bright, but still warm". High frequencies are often emphasized to enhance clarity, air, and excitement, especially in vocals, drums, and synths. However, this brightness must be balanced with controlled low-mid content and harmonic richness to avoid harshness or fatigue. Subtle saturation and gentle compression can help maintain warmth while preserving clarity.

"Vocals are the focal point" in most pop productions and should feel immediate and present. Keeping vocals relatively "dry" helps them stay upfront and intelligible, especially on small speakers. Short delays, subtle reverbs, or slapback effects can be used to add depth without pushing the vocal back in the mix. Consistent level control through compression and automation is critical to keeping the voal "in your face" at all times.

Finally, it is essential to account for "the narrow dynamic range of broadcast radio". Excessive dynamics may be lost or distorted once radio processing is applied. Controlled compression and limiting help ensure that the mix remains punchy and consistent, even after broadcast-level processing. A well-balanced pop mix should feel loud, energetic, and stable without sounding over-compressed.

A successful pop (radio) mix emphasizes clarity, brightness with warmth, vocal dominance, and controlled dynamics, all tailored to perform reliably across modern listening environments.

© Wikimedia Commons

The Role of Bias Frequency in Analog Tape Machines 

In analog tape recording, bias frequency is a high-frequency signal added to the audio during the recording process to ensure accurate, low-distortion sound reproduction. Although listeners never hear it directly, bias is one of the most essential elements of how professional tape machines achieve their warm, smooth, and musical sound.

Magnetic tape responds non-linearly when low-level audio is recorded without assistance. If raw audio were applied to the tape's magnetic particles, the result would be high distortion, limited frequency response, and audible noise. Tape formulation also creates "magnetic hysteresis", meaning the tape does not respond consistently to small signal changes. To solve this, engineers discovered that adding a steady ultrasonic AC signal (far above the audio band) linearizes the tape's magnetic behavior. This signal is the bias frequency.

Most professional analog tape machines use bias frequencies between 80 kHz and 200 kHz, depending on the machine design, tape speed, and head configuration.

• Lower speeds (e.g., 7.5 ips) often require a slightly lower bias frequency.
• Higher speeds (15 or 30 ips) typically use higher frequencies for optimal performance.

In every case, the bias must remain well above the audible range to prevent interference with recorded audio.

The bias oscillator generates a high-frequency sine wave that is mixed with the incoming audio. When this combined signal reaches the record head:

1. The bias drives the tape particles into a more linear region of their magnetic curve.

2. The audio modulates this ultrasonic signal.

3. The tape captures a clean, low-distortion version of the audio once the bias is filtered out during playback.

Properly set bias dramatically reduces harmonic distortion and improves clarity, especially in the high-frequency region.

Engineers must adjust bias for each tape formulation:

Underbias

• Increased distortion
• Brighter but harsh high end

Overbias

• Smoother sound
• Slight loss of high-frequency response
• Lower distortion and better noise performance

Most studios aim for a slight degree of overbias, typically measured by the drop in high-frequency output at a specific test tone (usually 10 kHz).

Bias settings are part of what gives tape its musical character. Slightly different bias adjustments can produce:

• Warmer, smoother trasients
• More or less high-frequency saturation
• Changes in headroom and dynamic contrast

Some engineers intentionally underbias for a brighter, more aggressive sound, while others prefer heavy overbias for warmth.

Bias frequency is a foundational element of analog tape technology. By applying an ultrasonic signal to the recording process, tape machines overcome magnetic non-linearity and deliver the rich, musical character associated with analog recording. Whether dialing in subtle warmth or maximizing accuracy, understanding bias frequency remains essential for anyone working with tape-based audio systems. 

▲ SCS120 Pro © ATC

British specialist manufacturer of loudspeaker drive units and complete sound reproduction systems ATC (Acoustic Transducer Company) has officially released the SCS120 Pro and SCS120iW Pro, its new flagship 15"/375 mm active subwoofers designed to elevate professional monitoring to the next level. Engineered to complement ATC's larger mid-field and main monitors, these models deliver exceptional low-frequency extension, wider dynamic range, and seamless integration for stereo, surround, and immersive environments, including Dolby Atmos.

▲ SCS120 Pro (rear) © ATC

Building on the success of the SCS70 Pro and SCS70iW Pro 12"/300 mm models, the new units feature a newly developed, hand-built 15"/375 mm sub-bass driver manufactured at ATC's facility in Stroud, Gloucestershire, UK. Every component—from motor structure to suspension—has been optimized using the latest analysis tools at both small- and large-signal levels. The advanced transducer design combines a high-power short-coil motor system with enhanced airflow and cooling, paired with a carbon-paper composite cone. The result is clean, controlled bass from 120 Hz down to below 20 Hz, with extremely low distortion and impactful response.

Unlike many subwoofers that depend on heavy electronic EQ, the SCS120 Pro and SCS120iW Pro achieve extended low-frequency performance through precision transducer engineering and a slightly increased cabinet volume. This approach reduces phase shift and group delay, enabling smoother, more natural integration with full-range monitors and delivering deeper bass without compromising clarity in the upper bass region.

▲ SCS120iW Pro © ATC

Both models are powered by a hand-built 300 W Class A/B amplifier optimized for speed and dynamic accuracy. Connectivity includes balanced stereo inputs, balanced full-range outputs, and analog 4th-order Linkwitz-Riley filters with multiple crossover options, including the industry-standard 80 Hz point and bypass mode for external processing. A polarity switch, variable phase control, stepped attenuator, and footswitch-activated mute with daisy-chain capability allow precise system setup and multi-sub configurations.

The SCS120iW Pro provides identical performance in a flush-mount design with a shallower enclosure and recessed connector panel. Its companion R1-300 Pro remote 7U/19" amplifier enables flexible installation in-wall, in a control room rack, or a machine room, with NL4 and 5-pin XLR connections.

▲ SCS120iW Pro (rear) © ATC

Ideal system pairings include SCM100ASL Pro, SCM110ASL Pro, and SCM150ASL Pro monitors, while performance scales smoothly to SCM200ASL Pro and SCM300ASL Pro systems. Multiple units can be deployed to enhance response in large rooms and immersive setups.

Immersive formats such as Dolby Atmos place significant demands on bass systems, and the SCS120 series delivers substantial performance gains over the SCS70 Pro and the outgoing SCM0.1/15SL Pro, particularly in dynamic headroom and low-frequency extension. These improvements are especially beneficial for post-production and immersive environments where LFE (Low Frequency Effects) content requires high output, low distortion, and reliable control.

With advanced driver technology, improved amplification, and expanded dynamic capability, the SCS120 Pro and SCS120iW Pro establish a new reference point in ATC's Professional Product range for engineers working with mid- to large-format monitors and high-demand low-frequency applications.

Price

SCS120 Pro — £4,575 GBP (excluding VAT)

SCS120iW Pro — £5,408 GBP (excluding VAT)

* The price of SCS120iW Pro includes R1-300 remote amp (cables not included).

** Contact authorized ATC distributors and dealers for international availability and pricing here: https://atc.audio/where-to-buy/. 

For more information on 'SCS120 Pro' and 'SCS120iW Pro'

About 'ATC' (https://www.atc.audio/professional/)

Formed in 1974 by Billy Woodman to manufacture custom drive units for the professional sound industry, ATC (Acoustic Transducer Company) is a specialist British manufacturer of loudspeaker drive units and complete sound reproduction systems, including all associated electronic equipment. Such systems and components are designed and built in-house to achieve levels of performance far in excess of the industry norm by adopting a thoroughly professional engineering approach to the issues of basic design, materials science, and production technology. The company's groundbreaking soft-dome mid-range driver technology was originally developed in 1976, revolutionising studio monitoring in the process before becoming recognised as the ultimate mid-range transducer for both domestic and professional applications. After a contract with Danmarks Radio — translating to the Danish Broadcasting Corporation — for an active portable monitor provided the opportunity to integrate the company's then-new SCM50 and SCM100 speakers with a Tri - AmpPack and electronic crossover to create the industry-standard SCM50A and SCM100A as the first reliable and accurate active systems, that technology is still featured in eight of its monitor models today. The SL (Super Linear) technology found in its Professional Series Monitor bass drive units is arguably the most significant development in transducer design in the last 15 years, reducing 3rd harmonic distortion by 10-15dB between 100Hz and 3kHz, epitomising the company's commitment to sound quality. Indeed, its accuracy in reproducing piano and male vocals remains unique. Ultimately, the company's commitment to multi-channel mastering and its direct involvement with leading players in the professional audio industry — including Sony Music and Telarc — has readily resulted in its products being installed in some of the world's most prestigious multi-channel studios and auditoria.

© Unsplash (photo by tao he)

About 'Spectrum of Sound': Sub-Sonic, Sonic, and Ultra-Sonic

Sound extends far beyond what human consciously hear. The human ear detects only part of a much wider frequency spectrum that affects how we sense music, vibration, and the world around us.

Human Hearing: 20 Hz - 20 kHz

The typical human audible range spans 20 Hz to 20 kHz (often slightly lower—around 17 - 19 kHz for many adults due to natural age-related hearing decline). This is the 'sonic spectrum', where we perceive pitch, tone, brightness, and clarity.

Sub-Sonic Frequencies: Below 20 Hz

Frequencies under 20 Hz are 'felt' rather than heard.

They come from sources such as:

• Earthquakes and thunder 
• Massive machinery
• Pipe organs and sub-bass synthesizers

Sub-sonic energy adds physical impact to music and film sound design.

Ultra-Sonic Frequencies: Above 20 kHz

Above 20 kHz lies the 'ultrasonic' range.

Human cannot hear these frequencies, but they appear in:

• Medical ultrasonic devices
• Animal communication
• High-resolution recordings where harmonics may extend far beyond audibility

These ultrasonic overtones can subtly influence perceived "air" or realism in recordings.

Instrument Frequency Range: 5 HZ - 60,000 Hz

Musical instruments collectively cover roughly 5 Hz to 60 kHz:

• Pipe organs produce sub-bass
• Drums and bass instruments reach deep low frequencies
• Violins, flutes, and cymbals create harmonics above 20 kHz
• Digital synthesizers and modern samples may extend to 50 - 60 kHz

Even if we can't hear the extremes, these frequencies shape timbre and realism.

Understanding the full spectrum (felt, heard, and beyond hearing) helps us design better instruments, recordings, and listening environments. Sound is not only what we hear, but also what we sense physically and what exists beyond our perception.

© Pixabay (photo by WOKANDAPIX)

Building Your Own Record Label

Building a record label today is both more accessible and more complex than ever. The digital revolution lowered traditional barriers, such as pressing plants, physical distribution, and large marketing budgets, yet the industry has become noisier, meaning strategy matters more than sheer enthusiasm. Whether you're a musician seeking creative control or an entrepreneur inspired by music culture, the process follows several essential steps:

1. Define Your Label's Identity and Mission

A successful record label isn't just a business—it's a brand with a point of view. Clarify what musical genres you'll focus on, the type of artists you hope to sign, and the core values of your operation. Ask question like: "What gap in the music landscape am I filling?", "What sound or artistic philosophy distinguishes my label?". A clear mission becomes the foundation for marketing, A&R decisions, and public perception.

2. Handle the Legal Framework Early

Before releasing a single track, formalize the business structure. In the United States, this typically means forming an LLC to separate personal and business liabilities. Next, set up essential agreements: artist contracts, producer agreements, licensing documents, and split sheets. Protecting intellectual property and defining ownership rights upfront prevents disputes later. Consulting a music attorney is strongly recommended.

3. Build a Professional Distribution Pipeline

Digital distribution is the backbone of modern labels. Services like DistroKid, Symphonic, or CD Baby allow you to deliver music to global streaming platforms with minimal cost. For labels planning larger catalogs or global marketing rollouts, working with a more curated distributor such as The Orchard or Believe can offer expanded support. While physical products (vinyl, CDs) are optional, they remain valuable for certain genres and fanbases.

4. Develop Your A&R Strategy

Artist & Repertoire (A&R) is the heart of a record label. Scout artists who not only fit your vision but also show potential for growth. Consider vocal quality, songwriting ability, live performance capability, and work ethic. In today's landscape, social media presence, branding instincts, and fan engagement are also crucial indicators. A good label isn't just signing artists—it's nurturing them.

5. Establish Your Marketing Infrastructure

Promotion drives visibility, and visibility drives streams, sales, and career momentum. Effective marketing blends trational tools, such as press releases, music videos, PR, with modern techniques like social media campaigns, short-form video, targeted ads, playlist pitching, influencer collaborations, and community building. A label should operate like a small media company: consistent content, strong visuals, cohesive branding, and direct communication with fans.

6. Build a Team

A label can begin as a one-person operation, but growth requires delegation. Common early roles include a marketing coordinator, social media manager, audio engineer, graphic designer, and A&R assistant. These can be freelancers at first. What matter is forming a reliable network that supports artist with professional-quality output.

7. Create Sustainable Revenue Streams

Record labels generate income through multiple channels: streaming royalties, digital sales, physical releases, merchandise, sync licensing, live sessions, and brand partnerships. Relying solely on streaming is risky. Diversify early and explore opportunities in film, TV, games, and content licensing. These areas often pay higher and faster than streaming platforms.

8. Foster a Culture of Artist Development

A modern label's competitive advantage lies in artist support. Provide resources such as vocal coaching, songwriting sessions, studio time, branding guidance, and performance training. Artists who feel supported stay longer, create better work, and help the label's reputation grow.

9. Measure, Adapt, and Evolve

The music industry changes rapidly. Track analystics from Spotify for Artists, YouTube Studio, TikTok, and social media platforms. Learn what marketing approaches work, which audiences respond best, and where growth opportunities lie. A successful label constantly tweaks its strategy.

Starting a record label is a creative, entrepreneurial, and long-term endeavor. It demands vision, consistency, and a willingness to navigate both business and art. While the landscape is competitive, there has never been a better time to build a label with global reach using accessible tools and thoughtful strategy. With clear identity, strong artist support, and smart marketing, a small label can grow into a powerful creative force.

© MolecularBytes

MolecularBytes 'AtomicTransientMicro': A Compact, Polyphonic Transient Shaper for Precise Dynamic Control

MolecularBytes, a German professional audio software developer, has recently announced the release of 'AtomicTransientMicro' — a compact transient processor that delivers detailed control over attack and sustain across any type of audio material, from drums and percussion to guitars, pianos, and even full mixes.

At its core, AtomicTransientMicro uses a unique 'polyphonic processing engine' that treats overlapping notes and hits independently. This lets users sculpt complex, layered sources such as guitars, pianos, or dense percussion loops with a level of precision conventional transient shapers simply can't match. By detecting and separating multiple transient events in parallel, the plugin offers a new degree of musical detail and control—while maintaining the natural character of the original sound.

© MolecularBytes

A 'frequency-focused detection system' allows the processor to target specific parts of the spectrum, making it easy to tighten a kick, soften a snare, or add sustain to hi-hats and harmonic content. Attack and sustain envelopes can be tuned independently, with parameters for time, duration, and level, giving complete flexibility over the shape and energy of every transient.

AtomicTransientMicro also includes a 'real-time spectrum analyzer', providing clear visual feedback during dynamic shaping. The interface is fully resizable and available in three themes, allowing it to adapt to different screen sizes and working environments. Additional features include more than 180 factory presets, full MIDI control with MIDI Learn, A/B comparison, Undo/Redo, and a flexible dry/wet mix for blending processed and unprocessed signals.

© MolecularBytes

Alongside VST, AU, and AAX formats for Windows and macOS, AtomicTransientMicro also ships with a standalone Windows application, making it suitable for live performance or quick sound testing outside of a DAW.

With its polyphonic transient detection, musical workflow, and transparent processing, AtomicTransientMicro serves as both a creative and technical tool—ideal for producers, sound designers, and musicians who want refined control over the shape and impact of their sound.

Features

- Polyphonic transient-based source separation with individual envelope control per event

- Frequency-dependent detection to focus on specific instruments or frequency ranges

- Independent shaping of attack and sustain with adjustable time, duration, and level

- Real-time spectral analyzer for precise visual feedback

- Over 180 factory presets for drums, instruments, loops, and mixes

- Full MIDI control and MIDI Learn support

- A/B comparison, Undo/Redo, and dry/wet balance control

- Resizable user interface with three selectable themes

- Standalone version for Windows (VST, AU, and AAX support on Windows and macOS)

System Requirements 

Windows

• Windows 10 or higher
• Intel Nehalem x64 compatible 64bit CPU or higher
• 1 GB RAM
• 50 MB free hard disk space
• VST or AAX hosting software or compatible DAW
• Standalone-Application: Audio hardware supporting audio output

Mac

• Mac OS-X 10.14 (Mojave) or higher
• Apple-Silicon (Mx) or Intel Nehalem x64 compatible 64bit CPU or higher
• 1 GB RAM
• 50 MB free hard disk space
• AU, VST or AAX hosting software or compatible DAW

Price

€49 EUR

(This is an introductory price. The regular price is €59 euro.)

* A free trial version is available for download on the website.

For more information on 'AtomicTransientMicro'

About 'MolecularBytes' (https://www.molecularbytes.com/)

MolecularBytes GbR is a German software company specializing in innovative audio processing and DSP technologies for music production. Known for products such as AtomicReverb and AtomicTransient, the company focuses on creating tools that combine technical depth with musical usability.

© Unsplash (photo from Yle Archives)

Recording and Editing Human Voice (3): Panel Discussion Audio

When producing a panel discussion or interview-style program, such as a radio talk show, podcast, or televised discussion, what the audience hears is rarely the unaltered recording. Instead, the final product is the result of careful plannning, recording, and post-production editing designed to ensure clarity, flow, and professional polish. For audio engineers, understanding this process is essential for achieving broadcast-quality results.

1. Capturing the Raw Recording

A successful edit begins with a well-recorded source. Panel discussions often involve multiple speakers, so engineers must manage several microphones and channels simultaneously. Each participant should be recorded on a separate track whenever possible, using directional microphones to minimize bleed and room noise.

Key recording practices include:

• Mic placement: Position microphones close to each speaker's mouth to ensure consistent tone and intelligibility
• Room acoustics: Reduce reflections and ambient noise using acoustic panels or portable isolation barriers
• Monitoring: Continuously check headphone mixes for distortion, hum, or phase issues
• Backup recording: Always capture a redundant recording on a separate device or interface

2. Preparing for the Edit

Once recording is complete, the next step is session organization. Before any cutting begins, label tracks clearly (e.g., "Host", "Guest 1", "Guest 2") and make a reference script or Edit Decision List (EDL).

An EDL is essentially a roadmap that indicates:

• Which sections should be kept, rearranged, or removed
• Points where mistakes, coughs, filler words, or background noises occur
• The desired order and pacing of the final discussion

In professional environments, the producer or editor might collaborate closely with the show's director or host to finalize the EDL before making detailed edits.

3. Editing for Clarity and Flow

Editing a panel discussion is more than cutting mistakes. It's about enhancing narrative and rhythm. Engineers often employ nonlinear digital audio workstations (DAWs) such as Pro Tools, Reaper, or Logic Pro to visually edit waveforms and manage multitrack sessions. 

Typical editing steps include:

• Removing unwanted material: Delete coughs, long pauses, false starts, or overlapping chatter
• Tightening pacing: Reduce gaps between responses to maintain listener engagement
• Level balancing: Match loudness across all participants using volume automation or compression
• Noise reduction: Apply tools to eliminate background hum, clicks, or handling noise

Always listen for natural transitions—cuts should never sound abrupt or draw attention to the edit. Crossfades and ambient "room tone" can help smooth these transitions.

4. Building the Final Mix

After stractual editing is complete, the session moves into mixing and mastering. Here, the engineer focuses on sonic polish:

• EQ: Shape each voice to emphasize intelligibility and reduce muddiness
• Compression: Control dynamic range for a consistent, professional sound
• Stereo image: Subtly pan voices to create a realistic sense of space in multi-speaker setups
• Background music or IDs: Integrate intro/outro themes or station identifiers where needed

The goal is a coherent, natural-sounding conversation where every voice is clear and balanced.

5. Final Review and Quality Control

Before releasing the final audio, conduct a thorough quality check:

• Confirm that all edits align with the script or EDL
• Verify that timing matches broadcast or podcast length requirements
• Listen on multiple playback systems, such as studio monitors, headphones, and small speakers, to ensure clarity everywhere

Editing a panel discussion is a blend of technical precision and creative judgment. The engineer must act as both an audio surgeon—removing flaws with accuracy—and a storyteller—crafting a seamless, engaging dialogue.

© Katz Praatz

Katz Praatz 'Jazz Sketch (ver. 1.5)': Sketch Your Music in Jazz

Musician and hobbyist programmer Katz Praatz has announced the release of Jazz Sketch version 1.5. This update adds 144 new chord progressions to the previously available 744 in version 1.4, bringing the total to 888 jazz chord progressions.

Jazz Sketch (ver. 1.5) is a simple chord sequencer designed to help you create music by arranging 888 jazz chord progressions and 168 tension chords. You can export the chord sequence (the chord progressions and chords you've arranged) as a MIDI file to play it or edit it in your DAW. With Jazz Sketch, you can create sophisticated, jazz-infused song with ease. Additionally, Jazz Sketch allows you to learn jazz harmony by playing it yourself. In fact, Jazz Sketch is a small but highly useful software tool.

© Katz Praatz

Essential Requirements for Running Jazz Sketch 

Jazz Sketch is a software written in JAVA, and the file extension is .jar. By default, Jazz Sketch runs well on any computer that has JAVA or JRE (Java Runtime Environment) version 8 or later installed, regardless of the operating system—for example, Windows, MacOS, or Linux. If your computer does not have JAVA or JRE installed, or if JAVA is installed but the version is earlier than 8, please click the link below to download the JAVA 8 compatible with your computer's operating system:

https://www.java.com/en/download/manual.jsp

* In the Windows download section, choose the Online download for the fastest install experience. Choose the Offline download if you will be installing on a machine without an internet connection, or you are having problems with the Online install.

** If your macOS version is 10.7.3 or later but earlier than 12, click on macOS x64 to download. If your macOS version is 12 or later, click on macOS ARM64 to download.

Features

• A chord sequencer designed to help you create sophisticated, jazz-infused music by arranging 888 jazz chord progressions and 168 tension chords
• Can also be used for practicing jazz harmony
• The provided chord progressions incorporate standard 2-5-1 progressions, tritone substitutions, secondary dominants, secondary subdominants, and deceptive resolutions
• Can export the chord sequence that you arranged as a MIDI file to play it or edit it in your DAW
• Written in Java, and requires JAVA or JRE version 8 or higher installed to run

** Jazz Sketch is a standalone software, not a plug-in. Therefore, it operates independently of the user’s DAW (Digital Audio Workstation).

System Requirements

• A laptop or desktop computer with a monitor of 13 inches or larger  
• Supported OS: Any version of Windows, Mac OS X, and Linux  
• Tablet PCs that do not use Windows or Mac OS X as their operating system are not supported (e.g., iPad, Galaxy Tab)

Price

$5.99 USD

For more information on 'Jazz Sketch (ver. 1.5)'

Creating Music with Jazz Sketch 

© Wikimedia Commons

Understanding Sound Fields: Near, Close, Critical, and Reverberant Space in Acoustics

In acoustics, the way sound behaves depends heavily on distance from the source and the behavior of reflections in the environment. Engineers divide the acoustic space around a sound source into several "sound fileds", each defined by the relationship between direct sound (from the source itself) and reflected sound (from surfaces in the environment). Understanding these fields is essential in microphone placement, room design, and audio evaluation.

1. Near Field

The region extremely closd to the sound source, typically within a few inches from the speaker, instrument, or vibrating surface.

Characteristics:

Practical Use:

• Used in close-miking (vocals, guitar amps, drums)
• Reduces environmental coloration
• Preferred in noisy or reverberant rooms

2. Close Field

A little farther than the near field. Direct sound still dominates, but now the listener or microphone begins to receive some early reflections.

Characteristics:

• Direct sound is still stronger than reflected sound
• Listener can still clearly identify source localization
• Early reflections begin to color the tone depending on room shape and surface material

Practical Use:

• Standard for studio control room listening (nearfield monitors placed 3 - 5 feet away)
• Helps minimize room influence without requiring a fully treated space

3. Critical Distance

The point in space where direct and reflected sound energy are equal (50/50). It forms the transition line between clarity-dominant and reverberation-dominant listening.

Factors affecting critical distance:

• Room size
• Absorption / diffusion of surfaces
• Frequency (higher frequencies decay faster in reflections)

Typical Distances:

• Small, treated studio: ~1 meter or less
• Concert hall: several meters
• Cathedral: tens of meters

Practical Significance:

• Beyond this distance, speech intelligibility falls rapidly
• Instrument tone loses articulation and becomes "room-heavy"
• A major reference point for mic placement in orchestral recording

4. Reverberant Field

The region beyond the critical distance, where reflected sound dominates and direct sound becomes secondary.

Characteristics:

• Spacious, diffuse sound
• Localization of the source becomes less precise
• Room tone and reverb envelope take over

Use Cases:

• Capturing natural ambience
• Choral / orchestral hall miking
• Reverb profiling in impulse response measurements

* Far Field = 3 Combined Zones

The term "far field" in acoustics refers not to a single space, but to the region after the near field where the sound wave becomes stable and predictable. It is divided into three practical subzones:

5. Free Field vs. Open Field

In real-world environments, a perfect free field almost never exists, except in special testing environments like anechoic chambers. The open field is more realistic in natural acoustic measurements.

Why These Distinctions Matter

For musicians and engineers, working deliberately within these fields is the difference between an accurate, controlled recording and a muddy or overly reflective capture.

© Unsplash (photo by Mana Akbarzadegan)

Inside the Recording Artist Agreement: A Guide for Musicians

In today's music industry, a recording artist agreement, often called a "recording contract", defines the relationship between an artist and a record label. It determines how music is created, distributed, and monetized, making it one of the most critical documents a musician will ever sign. A recording artist agreement is a legally binding contract outlining the rights, duties, and financial terms between the artist and the label. It specifies who owns the recordings, how profits are shared, and what each party must deliver.

Key Terms

• Term & Territory: Defines how long the contract lasts and where the label can release the music (often worldwide)
• Recording Commitment: Specifies the number of songs or albums and who has creative control over the final product
• Master Ownership: Traditionally, the label owns the masters, though modern deals may let artist keep or reclaim them
• Advances & Royalties: The artist receives an advance against future royalties—typically 10~20% of sales or streaming income after recoupment
• Recoupment: The label recovers expenses (recording, videos, marketing) before paying royalties
• Marketing & Promotion: Outlines the label's promotional duties and the artist's participation
• 360 Clauses: Some contracts include publishing, touring, or merchandising income splits
• Exclusivity & Termination: The artist usually records only for that label; terms for ending or reclaiming rights are defined

Independent and partnership-based deals are becoming more common. These may feature shorter terms, shared master ownership, or profit-split models (e.g., 50/50). Artists today seek more control and transparency than traditional contracts offer. A recording artist agreement can launch a career, but it can also restrict one if poorly negotiated. Before signing, musicians should consult an entertainment lawyer and fully understand terms like master ownership, recoupment, and royalties. In an era where self-releasing music is easier than ever, the best deal is one that balances artistic freedom with professional support.

© Wikimedia Commons

Understanding Parallel Signal Patching

Parallel signal patching, also known as 'parallel routing', is a fundamental audio engineering technique that allows an engineer or producer to process an audio signal while keeping the original, unaltered version available. This approach provides flexibility, precision, and creative control in mixing and sound design.

In simple terms, parallel routing involves splitting a signal into two or more paths such that one path carries the dry (unprocessed) signal and the other path(s) carry wet (processed) versions of the signal. These paths are later blended back together at the mixer or summing point. The key advantage is that you can adjust the amount of processed sound without permanently affecting the original source.

One of the most common uses of parallel signal routing is 'reverb'. By sending a copy of a track, such as a vocal or snare drum, to a reverb unit or plugin via an auxiliary send, engineers can mix the reverberated wet signal with the dry track to create depth and space without downing the original clarity. However, parallel routing is not limited to reverb. It is also widely used for:

• Parallel Compression (a.k.a. New York Compression): Blending a heavily compressed version of a track with the original signal to add punch and density while maintaining transients and dynamics.
• Parallel Saturation or Distortion: Adding harmonic richness to a track by mixing a processed (distorted) signal underneath the clean one.
• Parallel EQ: Applying EQ only to a duplicate path to enhance specific frequencies subtly.

In most digital audio workstations (DAWs), parallel routing is achieving using auxiliary sends, busses, or group channels. In analog setups, it can be done using patch bays, splitters, or mixing console aux sends/returns. For example:

(1) Send a vocal track's signal to an aux channel

(2) Insert a reverb plugin on that aux track

(3) Set the reverb plugin's mix to 100% wet

(4) Adjust the aux send level to control how much reverb is blended into the main mix.

This method preserves the original vocal's integrity while adding spatial enhancement.

Parallel routing offers several key benefits for audio production. It provides flexibility, allowing engineers to adjust the wet/dry balance easily without reprocessing the signal. Its non-destructive workflow ensures that the original source remains untouched, preserving the integrity of the sound. Parallel routing also promotes creative freedom, enabling multiple processing chains to be explored simultaneously, and it offers dynamic control, allowing subtle enhancements that enrich the mix without overpowering it.

© United Studio Technologies

United Studio Technologies 'UT Tube67': A Modern Tribute to a Classic Microphone

United Studio Technologies, the American studio microphone manufaturer, has recently unveiled the 'UT Tube67', a large-diaphragm tube condenser microphone that faithfully revives the sound of one of the most sought-after microphone designs in recording history. Known for its silky, velvety tone and smooth top end, the UT Tube67 captures the original's spirit while offering subtle refinements that suit the demands of today's modern studios.

At its core, the UT Tube67 features a NOS EF86 pentode vacuum tube, delivering the classic warmth and intimacy that made vintage microphones of this type legendary. With a linear response across multiple polar patterns, the microphone provides remarkable versatility, excelling on a wide range of sources including vocals, acoustic instruments, strings, woodwinds, brass, piano, drums, and both acoustic and electric guitars. A switchable AIR MOD adds further tonal options inspired by the preferences of classic recordists.

© United Studio Technologies

The authenticity of the UT Tube67 is reinforced by its carefully chosen custom components. The UT K67 capsule, historically accurate with a dual backplate design and 24k gold-sputtered Mylar diaphragm, produces a natural sound free from harsh resonances. A custom-wound UT-BV 12 transformer, built in the U.S. with high-nickel alloy laminations and a copper Faraday shield, delivers tight bass response while minimizing noise. Premium build details, such as a custom Sommer Octave 7-pin cable and a regulated power supply, reflect United Studio Technologies' meticulous engineering and quality control, with final testing and packing handled at their U.S. headquarters.

© United Studio Technologies

More than just a reproduction, the UT Tube67 stands as a personal homage to a true recording icon. By combining uncompromising design standards with boutique-quality components, United Studio Technologies has crafted a micophone that retains the timeless character engineers love, while delivering the reliability and consistency that modern professionals require.

Features

• Faithful reproduction of the venerable '67-style German tube microphones
• A vastly superior reproduction compared to others on the marketplace
• Uses a NOS (New Old Stock) 1960s EF86 pentode vacuum tube
• Custom United 24k gold sputtered dual diaphragm/dual backplate K48 style capsule — based on a superior one-of-a-kind golden sample from the 1970s
• Custom wound, American-made United transformer
• Switchable AIR MOD gives a subtle top end lift, as well as clearing up transient peaks in the high frequency spectrum
• Absolute workhorse — a desert-island microphone for professional studios, demanding musicians, and voiceover artists
• Silky-smooth top end that's considered 'unmatched by other microphones'
• Includes high-performance power supply, custom Sommer (Germany) Octave 7 conductor cable, vintage-style storage pouch, and shockmount

Price

$1,199 USD

* The UT Tube67 is now available through United Studio Technologies' authorized dealers worldwide, priced at $1,199 in the U.S. and €1,599 in Europe (including 19% VAT).

For more information on 'UT Tube67'

UT Tube67 Vocal Demos   

About 'United Studio Technologies' (https://unitedstudiotech.com)

United Studio Technologies is dedicated to designing and building professional audio equipment that honors the craft of classic analog recording. With a focus on authenticity, innovation, and uncompromising quality, its products are trusted by engineers, producers, and musicians around the globe.

© Bansaw Crown Music

Bansaw Crown Music 'Super Scale': The Creative MIDI Plugin for Unlocking 52 Scales, Humanized Performance, and Dynamic Musical Transformations

Bansaw Crown Music, an American plugin developer and sound design company, has recently announced the release of 'Super Scale' — A creative MIDI plugin that helps you build more dynamic chord progressions and melodies quickly and easily. Super Scale is a MIDI chord manipulation and harmony creation tool for everyone from beginners to advanced producers who want to make their music more unique and interesting on the fly. You can transform any chord sequence into 52 different musical scales, and change the vibe of your track instantly. Super Scale takes incoming MIDI notes and can transform them into any key and scale of your choice. The plugin can also generate harmony notes and other MIDI CC messages such as pitch, mod-wheel, and other parameters. Super Scale runs on macOS and Windows (VST3/CLAP/AAX/AU where applicable) and is currently on sale for 40% off, priced at $23.99 USD.

© Bansaw Crown Music

What especially sets Super Scale apart is its unique LFO-driven harmony modulation—a capability no other plugin offers. In addition to pitch and mod-wheel LFOs, it lets you animate harmony notes into evolving progressions and distinctive patterns that make your music stand out and get noticed. The Humanize control adds natural velocity variations, keeping notes organic and expressive. In just seconds, the plugin can transform polyphonic chords, focused mono leads, and arpeggios with ease. Users of Super Scale are calling it "more enjoyable than other tools", "very promising", and offering "endless options for creativity", with some even saying it was an "insta-buy".

© Bansaw Crown Music

Super Scale is a unique new plugin designed to help you in your music production and composition. It integrates seamlessly with all major DAWs and gives you the ability to transform your music by unlocking fresh, inspiring scales powered by up to six note-shifting algorithms for both polyphonic and monophonic material. You can further customize the scales by toggling notes directly using the onscreen keyboard. Multiple instances of the plugin can be effortlessly linked across tracks, allowing you to switch between different scales throughout an entire project with just a single click. Super Scale also includes powerful LFO modulation and a dedicated harmony section, both designed to further enhance your compositions in music production. For those seeking guidance with music theory, the plugin offers a built-in assistant that helps you shift to related scales, such as parallel or relative majors and minors, or explore closely connected modal interchanges, making it an invaluable tool for both experimentation and structured composition.

© Bansaw Crown Music

The three LFO engines offer 11 waveform options and can even be used to dynamically shape your harmony layers to produce evolving and unique rhythmic patterns. You can stack up to three harmony layers, define exactly which notes should be included, and assign them to specific MIDI channels, giving you complete creative control over your harmonic textures. You can get the most out of Super Scale by using it at the beginning of your creative process, setting your project's unique direction before you have numerous layers of sound. Whether composing a full track, experimenting with new melodic ideas, or refining chord progressions, Super Scale gives musicians the tools to push creative boundaries, explore new harmonic possibilities, and unlock their full musical potential.

Features

• Transform incoming MIDI notes into any key and scale
• Generate harmony notes and additional MIDI CC messages (pitch, mod-wheel, etc.)
• Select from 52 scales or randomize with one click
• Quick access to relative, parallel, dominant, subdominant, and modal interchange scales
• On-screen keyboard to allow or disallow specific notes
• Add MIDI harmony notes in monophonic mode
• Harmony note and velocity can be modulated via LFO
• LFO-driven modulation with 11 waveform options
• Humanize slider for natural velocity variation
• Sync key and scale across multiple Super Scale instances
• Three polyphonic and three monophonic algorithms for intelligent musical transformations

System Requirements

Mac

• macOS 13 or later
• Available in VST3, CLAP, AAX, and AU formats
• Compatible with both Apple Silicon and Intel (Universal binary)

Windows

• Windows 10 or later
• Available in VST3, CLAP, and AAX formats

* No iLok is required for use

Price

$23.99 USD 

(This is 40% off the regular price of $39.99. This offer is available for a limited time.)

For more information on 'Super Scale'

Introduction

Demo 1 

Demo 2 

Demo 3 

About 'Bansaw Crown Music' (https://bansawcrown.com/)

Bansaw Crown Music is home to quality plugins and sound design. Check out our innovative and unique sound design tools on our website.

©Wikimedia Commons (photo by Thomas Quine)

Noise Generators in Synthesizers

In the world of sound synthesis, one often-overlooked but essential component is the "noise generator". Unlike oscillators, which produce clearly defined waveforms such as sine, square, or sawtooth waves, a noise generator outputs a stream of random signal fluctuations. The result is not a pitched tone, but a continuous "hiss" or static-like sound that serves as a versatile raw material in electronic music and sound design.

Noise comes in several "colors", each with its own spectral character:

• White Noise: Distributes energy evenly across all frequencies, resulting in a bright, static-like sound similar to an untuned radio
• Pink Noise: Balanced energy per octave, emphasizing lower frequencies for a smoother, less harsh texture
• Brown (Red) Noise: Strongly weighted toward the low end, creating a deep, rumbling tone
• Blue/Violet Noise: Boosts the higher frequencies, producing a sharper, thinner sound

Noise generators play a wide role in synthesizers and music production:

• Percussion: Many synthesized drum sounds, particularly snares, hi-hats, and cymbals, rely on filtered noise as their foundation
• Sound Effects: Wind, surf, explosions, sweeps, and atmospheric effects are common built from noise
• Modulation: Noise can serve as a modulation source for parameters like filter cutoff or pitch, adding unpredictability and grit to a patch
• Layering: Subtle amounts of noise can enrich synth patches such as pads and leads, helping them cut through a mix with greater realism

Though it may sound simple at first, the noise generator is a fundamental building block of synthesis. By offering a broad spectrum of frequencies in a single source, it enables everything from realistic percussive sounds to dramatic special effects and nuanced textures. Far from being "just hiss", noise is a powerful creative tool in the synthesis.

© Unsplash (photo by Rezli)

The Role of a Music Producer in Modern Music Making

In today's music industry, the producer is far more than someone who simply presses the "record" button. A producer is the creative architect of a track, guiding both the artistic vision and the technical process from start to finish. While the boundaries between composer, arranger, and producer sometimes blur, each role plays a distinct part in shaping the final product.

When you are programming beats or figuring out melodic riffs on a keyboard, you are composing the music. This stage involves generating the raw musical ideas, such as the rhythms, melodies, and harmonies that form the backbone of a song. When you are selecting the sounds to use and shaping the structure of the song through arranging, you are producing the music. As producers make these decisions, they shape the sonic identity of the track, choosing instruments or virtual sounds and deciding how the song will flow from beginning to end.

Producers also take on the responsibility of coaching performers to achieve their best possible delivery in the studio. Whether it's helping a vocalist capture the right emotional tone or guiding a drummer toward a tighter groove, producers ensure that the performances contribute to the overall vision of the track.

Another crucial task for producers is bridging the gap between MIDI-based sketches and the final mix. MIDI allows for flexibility and experimentation during the creative process, but translating those ideas into polished recordings requires both technical expertise and an ear for balance. Producers oversee this transformation, making sure that every sound sits correctly in the mix and that the final track is ready for release.

© Wrongtools

Wrongtools 'Mule Piano': An Experimental Prepared Piano Kontakt Library That's Coherent, Playable, and Full of Character

Norwegian professional sample library developer Wrongtools has just released 'Mule Piano'. For composers and producers seeking something truly unconventional, Mule Piano from Wrongtools offers a bold departure from the polished, pristine sound of traditioanal grand pianos. This experimental Kontakt library transforms an acoustic grand piano into a playground of unusual, highly expressive sounds, blending the worlds of piano and percussion in imaginative ways.

The Mule Piano is a prepared piano library, meaning its sound has been altered by placing objects on or between the strings, hammers, or dampers. In this case, the piano has been "lovingly mistreated" with corks, paper, felt, chains, and rubber mallets. The result is a collection of 23 unique patches, with nearly 3,000 recorded tones, each offering its own distinct sonic character.

Unlike some prepared piano libraries, which can feel random or fragmented, Mule Piano's patches are diesigned to be coherent and playable across the entire keyboard. Each patch maintains a consistent character, allowing musicians to make the piano sing, groan, or whisper without it sounding like a junk drawer tumbling down a flight of stairs.

© Wrongtools

Among the standout patches are:

• Paper Grand: Cigarette paper transforms the hammers into fluttering butterflies
• Cork Piano: Deep, thuddy, nad woody, evoking the hull of a ship
• SPZZ Grand: Draped in chains, with the sound of a piano that has endured a few rough marriages
• Mallet Grand: Struck with rubber mallets, carrying echoes reminiscent of gamelan temples

Where many prepared piano libraries rely on wide-ranging experimental sounds inspired by John Cage-style techniques, Mule Piano applies the same type of preparation to all strings, ensuring a coherent and playable instrument. Each patch is imbued with richness, character, and authenticity, making it ideal for free-thinking composers who want organic, genre-defying textures in their music.

Whether you're looking for a piano with a "busted smile and a heart of gold" or seeking sounds that blur the line between tuned percussion and traditional piano, Mule Piano provides a unique sonic palette ready to inspire.

With its experimental edge, expressive range, and playability, Mule Piano is more than a Kontakt library — it's a new way to experience the piano.

Features

• Niche piano instruments / 23 patches
• 3,000 samples
• 3.6 GB in size
• Treated with Cork, Paperbits, Rubber mallets, chain, felt, etc.
• 24-bit, 96 kHz, carefully optimized
• Multiple high-end microphones, mixed down to stereo
• Compatible with full version of Native Instruments Kontakt (version 6.4.2 and up)

Price

€39 EUR

* Release Date: September 2, 2025.

** This is the pre-order price at half off the full €78.

For more information on 'Mule Piano'

Demo  

About 'Wrongtools' (https://wrongtools.com/)

Wrongtools is a sample library developer from Norway. Our mission is to build inspiring Kontakt instruments. We're award winning composers that live and breathe music. We play in bands, produce bands, compose film scores and orchestral pieces, and have over 20 years experience in working with samples.

▲ Jochem de Jong, metal vocalist and founder of Ablaze © Ablaze

Ablaze 'Screamer': The Ultimate Plugin that Instantly Transforms Raw Screams into Massive, Studio-Ready Extreme Vocals for Modern Metal

Ablaze, a newly established Amsterdam-based indie audio plugin developer founded by metal vocalist and plugin creator Jochem de Jong, has recently announced the release of 'Screamer'. Screamer is a VST/AU/AAX plugin designed to instantly transform your raw screams into the massive, larger-than-life vocal sound that defines modern metal. Screamer was born out of a passion for developing the next generation of vocal plugins for modern metal screamers. Inspired by the evolution of the metal genre, Screamer will instantly take your lows, mids, highs, gutturals and pig-squeals to the next level without latency. Screamer is currently priced at €69, and to celebrate the product launch, a 25% discount will be applied at this price until September (Discount code: SCREAMERLAUNCH25OFF).

© Ablaze

In recent years, the rise of new metal genres with intricate vocal techniques has fueled a growing online community of extreme vocalists, but many still struggle to achieve the massive, polished vocal productions heard on professional metal albums. While the availability of metal-focused Kontakt libraries and virtual instruments, such as low-tuned guitars, crunchy bass, and hard-hitting drums, has made it easier than ever to produce full metal tracks from a basic home studio, the biggest challenge often lies in mixing the vocals. That's where Ablaze's flagship plugin, Screamer, comes in: it instantly transforms raw screams into a crushing wall of sound through novel algorithms, with zero latency, enabling seamless recording both in the studio and live. Designed with an intuitive workflow, Screamer bridges the gap between raw takes and larger-than-life productions, making it the ultimate tool for metal vocalists seeking professional results.

© Ablaze

Screamer is Ablaze's flagship all-in-one plugin designed to turn raw screams into polished, massive vocals instantly, removing the biggest frustrations vocalists face in the studio. With no latency, it lets you hear your screams fully polished while tracking or even record straight into the plugin—no more guesswork. It also eliminates the need for layering multiple takes, so you can focus entirely on delivering one powerful performance instead of wasting hours on double-tracking. And when it comes to mixing, Screamer keeps everything on a single track without complicated busses and sends, letting you craft your vocal sound in minutes instead of wrestling with routing. Beyond Screamer, Ablaze is developing the Vocal Assist Bundle, a suite of intuitive plugins designed to fully streamline the process of mixing extreme vocals. Subscribe to the Ablaze newsletter to stay up to date and receive the Pitcher Lite plugin (a dedicated pitch shifter for extreme vocals) for free.

© Ablaze

The Screamer plugin is built around a simple yet powerful 3-step workflow—Control, Thicken, and Flavor—designed to instantly give your raw screams the massive, modern metal sound. (see the image above) In the Control section, you can sculpt your vocals with precision: use the 'lo cut' and 'hi cut' to fit your screams into the mix, 'drive' and 'mix' to add texture, and 'chop' and 'release' to manage dynamics, resulting in a tight, aggressive tone that blends seamlessly. The Thicken section runs in parallel, adding width and depth to your vocals; with 'spread' and 'diffuse' you can make them sound bigger, while 'darken' and 'width' shape the tonal color and stereo image. 'Solo' lets you isolate the parallel signal, ensuring your vocals achieve a massive, full-bodied presence. Finally, the Flavor section adds the finishing touch with reverb and delay tails—'tail' and 'blend' for lush reverb in parallel, 'repeats' and 'blend' for a stereo delay pattern in parallel, and 'tilt' and 'duck' to adjust the tonal color of the parallel effect signal, and duck it based on the input signal, giving your screams a fully polished, produced sound. 

Powered by novel effect algorithms purpose-built for extreme vocals, Screamer ensures your performance cuts through the mix with controlled aggression, massive impact, and professional clarity.

Features

• Instant transformation of raw screams into massive, polished, professional modern metal vocals
• Zero latency: allowing seamless live recording and real-time polished monitoring
• Eliminates double-tracking: enabling one powerful take instead of layered recordings
• Simplified mixing workflow: keeps everything on a single track without complex routing
• Three-step workflow — Control, Thicken, Flavor:

- Control: precision shaping with lo/hi cut, drive, mix, chop, release

- Thicken: adds width, depth, tonal shaping, stereo image, full-bodied presence

- Flavor: finishing touches with reverb, delay, tonal tilt, and ducking effects

• Novel effect algorithms: purpose-built for extreme vocals
• Professional clarity with aggressive impact: ensuring vocals cut through dense metal mixes

System Requirements

• Compatible with VST, AU, AAX formats
• macOS 10.13 or later
• Windows 10 or later
• 2 activations required

Price

€69 EUR

* The company is offering a 25% discount off this price until September to celebrate the product launch. (Discount Code: SCREAMERLAUNCH25OFF)

** You can download the Screamer trial version on the website and use it free for 7 days.

For more information on 'Screamer'

'Screamer' Explanation Video  

About 'Ablaze' (https://www.ablazeaudio.com/)

Born out of a passion project by plugin creator and metal vocalist Jochem de Jong, Ablaze is an Amsterdam-based indie brand dedicated to developing the next generation of vocal plugins for modern metal screamers and metal producers.  

© Handcrafted Audio

Handcrafted Audio 'Handcrafted Piano': A Boutique Felt Piano and Analog-Inspired Synth Engine for Modern Composers, Powered by the Free Kontakt Player 

Handcrafted Audio, a Swiss sampling company specializing in high-end boutique instruments, has recently announced the release of 'Handcrafted Piano'. Handcrafted Piano is a Kontakt instrument designed with multi-dimensional flexibility to control both the space and the timbre of the instrument, with three analog-processed mic positions and two pre-rendered outboard reverbs, and adjustable felt control, giving you the possibility to place the instrument with extreme precision within your space. In addition to the traditional felt piano patch, the library features an analog-inspired synth engine created entirely from the original piano samples, expanding it into a complete composition toolkit that goes far beyond traditional keys. Handcrafted Piano runs on the free Kontakt Player as well as Kontakt 6.

© Handcrafted Audio

Handcrafted Piano is not just a virtual instrument. It's a complete toolkit for modern composers seeking unparalleled musical expression. Built from meticulously recorded piano samples, each key features over 100 velocity layers, allowing seamless transitions from delicate, intimate passages to bold, cinematic statements. With five layers of felt control, the instrument's tone can be shaped from warm, open resonance to a muted, percussive timbre, providing composers with a dynamic palette capable of inspiring music that feels alive, emotional, and personal.

© Handcrafted Audio

Every note of the Handcrafted Piano carries the sonic character of vintage excellence. Recorded with some of the finest microphones in history, including the Neumann M49, Coles 4038, and Neumann M62, the library was then polished through a complex analog mixing process on the legendary Cadac console that famously mixed Queen's Bohemian Rhapsody. Combined with three analog-processed microphone positions and two pre-rendered outboard reverbs (Lexicon 960, Quantec Yard Stick), this meticulous production process ensures that each performance conveys extraordinary depth, warmth, and nuance, giving composers full control over spatial placement and tonal shaping.

© Handcrafted Audio

Beyond its high-end felt piano, Handcrafted Piano offers an analog-inspired synth engine created entirely from its own piano recordings. Featuring over 150 sound sources, 120+ curated presets, and a wide range of pads, leads, plucks, and basses, this engine transforms the library into a full compositional toolkit. Composers can go beyond traditional piano roles, layering textures, crafting ambient soundscapes, or carrying entire pieces from start to finish with expressive, evolving tones that preserve the musicality and human touch of the original instrument.

▲ Main page © Handcrafted Audio

The Handcrafted Piano's intuitive GUI offers a deep level of sonic control, designed to give composers and producers complete flexibility. On the main page, two sliders shape the instrument's character (see the image above): the top slider adjusts room placement, seamlessly shifting the piano from an intimate, close-up sound to a distant, spacious one, while the bottom slider controls the amount of felt, transforming the tone from bright and resonant to muted and percussive—at its most extreme, reducing pitch almost entirely into pure percussion. The central circular display visually reflects these adjustments in real time, making sound design both intuitive and engaging.

▲ Settings tab © Handcrafted Audio

Beyond the main page, the Microphone tab allows precise balancing of three vintage mic positions, with the option to toggle each mic on or off and fine-tune levels. Outboard reverbs, including the Lexicon and Quantec, can also be individually controlled for added spatial depth. In the Settings tab, six advanced parameters unlock further customization (see the image above): Dynamic Range (expressive responsiveness), Tightness (performance humanization), Resonance (sustained string volume), Release (note-off articulation), Hammers (hammer noise control), and Interference (realistic note interaction). Unlike many sample libraries that treat notes in isolation, the Handcrafted Piano's interference control ensures chords naturally blend and interact, producing authentic harmonic beating and lifelike complexity. Together, these tools make the Handcrafted Piano not only an expressive virtual instrument, but also a fully customizable sound design environment for modern music creation.

Features

• Boutique felt piano with unmatched expressivity
• Five layers of felt control for a wide tonal range
• 100+ velocity layers per key, manually fine-tuned
• Three analog-processed mic positions (Neumann M49, Coles 4038, Neumann M62) plus two legendary outboard reverbs (Lexicon 960, Quantec Yard Stick) for multi-dimensional sound placement
• Mixed on the iconic Cadac console (the console that mixed Queen's Bohemian Rhapsody in 1975)
• Ten mix presets for instant mood shaping
• Built-in synth engine with 150+ sounds and 120+ presets
• Production-ready design for solo or ensemble use
• Warm acoustic tone blended with analog-inspired synth depth

System Requirements

Software:

• Free Kontakt Player or Full Kontakt 6.7.0 or later

Operating System:

• macOS 10.14 or higher
• Windows 10 or 11, Intel Core i5 or equivalent CPU

Size:

• ~ 59 GB

Price

$139 USD

(This is an introductory price, 30% off the original $199.)

For more information on 'Handcrafted Piano'

Official Trailer 

Official Walkthrough 

Official Piano Synth Walkthrough 

About 'Handcrafted Audio' (https://handcrafted.audio/)

"Instruments that inspire." 

Handcrafted Audio is a sampling library company that specializes in high-end, boutique instruments. Our mission is to create instruments that feel alive. Through an innovative sampling and research process we focus on cutting-edge sound quality and expressivity.

Instagram: http://instagram.com/handcraftedaudio

Facebook: https://www.facebook.com/handcraftedaudio

© StageBox Software

StageBox Software 'StageBox': The Streamlined Standalone Plugin Host and Setlist Manager Delivering Studio-Quality Sound for Live Keyboard Players

StageBox Software, a newly established Canadian software developer founded by three-time Grammy Award-nominated composer Matt Robertson, has recently announced the release of ‘StageBox’. StageBox is a standalone plugin host and setlist manager designed for live keyboard players, making it easy to simplify performance while delivering studio-quality sound on stage. It is simple to use and easy to understand, allowing musicians to create Sounds, Songs, and Setlists, and then edit, re-order, and perform with them in a straightforward and elegant way. With StageBox, you can run your favorite VST3 and Audio Unit instruments and effects on stage, create layered and split sounds, and arrange them into Songs and Sets using an intuitive drag-and-drop interface.

© StageBox Software

Developed by founder Matt Robertson in collaboration with Jules Storer, creator of JUCE and Tracktion Engine, StageBox was born out of frustration with overcomplicated and unreliable live setups. The goal was clear: create powerful hosting software that's easy to learn and fast to use. StageBox adapts to any performance scenario — from a single MIDI controller to a multi-keyboard, multi-output touring rig. MIDI mapping takes seconds, audio routing is fully customizable, and the clear, stage-friendly interface keeps everything visible at a glance. Whether you're a seasoned soft-synth performer or just getting started with live plugin hosting, StageBox makes it simple to design, organize, and perform with your ultimate keyboard rig. Available for both Mac and PC, StageBox delivers no-compromise sound wherever you play, freeing musicians from the limitations of traditional hardware keyboards and allowing them to create dream keyboard rigs using any VST3 or Audio Unit plugin.

© StageBox Software

StageBox also lets performers adapt their set on the go, designing custom instrument and effect setups and seamlessly building them into Songs and Sets. With a straightforward drag-and-drop interface, tweaking setlists and adjusting sounds is fast and intuitive. By leveraging the processing power of modern laptops, StageBox outperforms traditional stage pianos, providing greater flexibility, more nuanced sound, and access to extensive plugin libraries. From simple MIDI controllers to complex multi-output setups, StageBox supports all live performance scenarios, enabling keyboardists to carry their dream rigs wherever they perform.

▲ The main StageBox interface © StageBox Software

The main StageBox interface (See the image above) is divided into four sections: Global, Setlist, Song, and Sound. The Global section, displayed as a bar along the top, shows the current Project name, File Management options, Settings Menu, Perform Mode, All Notes Off, and current DSP usage. The Setlist section on the left displays all Songs in the current Setlist, with newly created Songs added by default; Songs can be reordered easily by dragging them using the double-line grabber icon. The Song section, shown in a darker gray, contains information related to the entire Song, such as FX processing that affects all Sounds within that Song. The Sound section, in a lighter gray, displays the plugins and routing used for individual Sounds. For example, if two controller keyboards are connected, one controller can be assigned to one Sound and another to a different Sound, allowing performers to use as many MIDI controllers as needed.

© StageBox Software

Shared Instances in StageBox are highly useful for using the same Sound across multiple Songs in a Setlist, helping to reduce RAM usage when working with instruments that have large sample libraries. For example, if you have a main piano sound used in several Songs, creating Shared Instances allows all Songs to use that single Sound's resources, such as DSP and RAM, while any tweak made to one instance automatically updates all others. MIDI mapping is another powerful feature of StageBox, enabling performers to assign physical MIDI controllers to any parameter within the interface or hosted plugins by simply clicking the MIDI Map button at the bottom of the Song area. Unlike DAWs, which often require extensive setup and are not optimized for live performance, StageBox is designed for immediate use with minimal setup, allowing easy management of Songs and Setlists and seamless transitions between sounds. This makes StageBox particularly effective for live keyboard performers who need efficiency, flexibility, and real-time control.

Features

• Host VST3 and Audio Units software instruments and effects
• Tailored for live performance: create, adapt, manage and rearrange setlists
• Build songs from layers or splits of software instruments
• Share instruments between songs for quick set preparation
• Clutter-free layout only shows you what you need to see
• Simple MIDI Controller management and support for multiple devices
• Send sound layers to different hardware audio outputs
• Apply effects per sound, or per song
• Use MIDI program change messages to select active Song
• Works with Mac and PC

Price

$129 USD

* A free 30-day unlimited trial is available.

** StageBox Software has partnered with the Tracktion team to distribute StageBox. To purchase StageBox, click the 'buy now' link on the homepage (or click here), and you'll be directed to the Tracktion marketplace, where you can process payment and receive instructions for installation.

For more information on 'StageBox'

Promo 

Overview 

About 'StageBox Software' (https://www.stageboxsoftware.com/)

StageBox™ is the brainchild of Matt Robertson, a British-born, Canadian-based composer, musical director, and software developer, nominated three times for a Grammy Award. Matt's career began in UK recording studios during the 1990s and early 2000s, where he learned the art of record-making while working in studio maintenance. Over the years, he has contributed to recordings by artists such as The Prodigy, Lamb, Dido, Emiliana Torrini, and Anoushka Shankar, and has served as musical director, orchestrator, and arranger for live shows by Bat for Lashes, Björk, Anohni, Arca, The Cinematic Orchestra, and Ellie Goulding. Recognizing that many tools used in live performance environments were not specifically designed to meet the needs of musicians on stage, Matt set out to create software that directly addresses these challenges. StageBox™ is the result — a collaborative effort with some of the most experienced and talented developers in the filed, designed to streamline and enhance live music performance. 

© Wikimedia Commons

Minimizing Insertion Loss in Audio Systems

The term "insertion loss" refers specifically to the drop in signal level that occurs when a device is inserted, or patched, into a signal path. This is not a defect or failure, but rather a natural consequence of how signals interact with the impedance charateristics of the devices involved. For system designers and engineers, understanding insertion loss is vital for maintaining optimal signal flow and ensuring that level-dependent processors behave consistently. It is also a key consideration when calibrating levels in complex signal chains or troubleshooting unexpected changes in sound quality.

To minimize the negative effects of impedance mismatch and insertion loss, consider the following best practices:

• Use quality patchbays and connectors with low resistance and reliable contact
• Match equipment with compatible impedance specifications where possible
• Keep cables short and of appropriate quality to reduce resistance and signal degradation
• Regularly measure and calibrate levels, especially when using dynamic processing gear
• Use active buffers or DI boxes when integrating consumer-level or unbalanced gear into professional systems

© Aqeel Aadam Sound

Aqeel Aadam Sound 'Waymaker': A Creative Ecosystem of Sequencers and Modules for Crafting Inspiring Melodies

Aqeel Aadam Sound, an independent American plug-in developer founded by musician and software engineer Aqeel Aadam, has recently announced the release of 'Waymaker'. Waymaker is a MIDI plug-in that combines a collection of sequencers and modules, offering a range of innovative tools to craft melodies and spark inspiration. It can generate and modify MIDI, or function as a sequencer and controller for other Aqeel Aadam Sound products, including Weeping Wall and Ridgewalk. Navigate the melodic wilderness with Waymaker — generate intricate MIDI sequences, reshape melodies, and take full control of other Aqeel Aadam Sound plug-ins.

© Aqeel Aadam Sound

Waymaker is a MIDI effects plug-in. Unlike audio effects, MIDI plug-ins don't generate or process audio. Instead, they generate or modify MIDI data. This MIDI data can then be routed to a virtual instrument to produce sound.

Waymaker is a modular control ecosystem that allows you to build chains of sequencers, controllers, and utilities. You can think of it like a modular synth, a pedalboard, or an effects chain in a DAW — all integrated into a single plug-in. With Waymaker's modules, you can create a customizable chain that produces unique, complex, and evolving musical patterns.

© Aqeel Aadam Sound

Waymaker can be used in two different modes: MIDI mode, where you can build a custom chain of modules to generate melodies, transpose progressions, create ever-changing sequences, and more. In this mode, each sequencer can generate new MIDI notes, transpose incoming MIDI, or trigger sequences based on note input, and Waymaker can function either as a standalone MIDI sequencer or as a MIDI effect to modify the output of your favorite sequencers. The second mode is AAS mode, where Waymaker acts as a controller for other Aqeel Aadam Sound products such as Weeping Wall and Ridgewalk. Weeping Wall and Ridgewalk are audio effects plug-ins, designed to be used with any instrument or sound source. In this mode, any sequencer can independently change the pitch of each channel, apply advanced modulation features like pitch glide and per-channel looper reversal, and design everything from simple delays to richly generative atmospheres. Together, these capabilities enable you to create fully customized audio effects, including loopers, granulators, delays, and reverbs. Waymaker has full preset control and can manage presets for other Aqeel Aadam Sound devices in AAS mode.

© Aqeel Aadam Sound

Waymaker can serve a wide range of creative purposes, whether you’re building a highly customizable sequence using its Step, Sum, and Beat sequencers; designing generative patterns based on your own musical logic, such as morphing melodies, shifting voicings, or randomized transpositions; crafting custom MIDI effects to pair with your favorite sequencer, such as adding random octave jumps or transposing through a chord progression; enhancing live performance with reactive MIDI effects like rhythm quantizers or spontaneous flourishes; or creating rich, evolving audio effects with Weeping Wall and Ridgewalk, from octave-shifting delays to shimmer-filled atmospheres.

Features

• MIDI effects plug-in
• Build custom chains of sequencers, controllers, and utilities
• Works like a modular synth, pedalboard, or DAW effects chain—all in one plug-in
• Two operating modes: MIDI mode (for standalone MIDI sequencer or MIDI effect), AAS mode (for controlling other Aqeel Aadam Sound plug-ins, such as Weeping Wall and Ridgewalk)
• Generative Sequencing: create patterns based on your own musical logic (e.g., morphing melodies, shifting voicings, random transpositions)
• Advanced MIDI effects: random octave jumps, transpose through chord progressions, rhythm quantizers, reactive sequences, etc.
• Full preset control (also manage presets for other Aqeel Aadam Sound plug-ins in AAS mode)
• Offers 11 sequencers and sequencing utilities:

1) Step: A simple step sequencer of variable length

2) Morph: A morphing step sequencer which can automatically shift pitches on a defined schedule

3) Weight: A random sequencer with a set of pitches and a chance that each will occur

4) Sum: A compounding sequencer in which pitches flip on and off asynchronously and add up to a single output

5) Brownian: A random melody based on Brownian motion, in which each step has a chance to ascend or descend from the previous pitch

6) Shift: A utility for repitching the loopers of Weeping Wall and Ridgewalk independently

7) MIDI: A utility for passing MIDI notes from Waymaker to Weeping Wall or Ridgewalk, allowing for their loopers to be repitched by the keyboard or with another sequencer

8) Beat: A pitchless sequencer for creating custom rhythms to clock or reset other sequencers or rearrange the timing of incoming MIDI notes   

9) Probability: A utility for introducing random skips and unpredictability

10) Chord: A utility for adding harmonies to each incoming note

11) Channels: A utility for distributing notes to a variety of MIDI channels, on a regular, random, or cascading basis

System Requirements

Mac

• Version 10.13 or later
• 64-bit
• Intel and Apple M1/M2 chips supported
• VST3/AU format

Windows

• Windows 10 or later
• 64-bit
• VST3 format

• Available for iOS in AUv3 format
• Waymaker requires an internet connection for initial authorization. Internet connection will not be necessary afterwards.

Price

$50.00 USD (Desktop version)

$14.99 USD (iOS version)

* Waymaker offers a one-week fully functional trial. After that, a license will be required to continue using it.

For more information on 'Waymaker'

Waymaker - Teaser 

Waymaker Video Manual 

About 'Aqeel Aadam Sound' (https://aqeelaadamsound.com/)

Aqeel Aadam Sound is an independent plug-in developer creating innovative audio and MIDI tools for producers, composers, and sound designers working across macOS, Windows, and iOS. All products are the brainchild of Aqeel Aadam. Aqeel Aadam is a Philadelphia-born and based musician and software engineer. Every product is built around a central idea: inspiration. Inspiration is one of the few things in life that is entirely human—yet often elusive. Aqeel Aadam Sound plug-ins are designed to act as creative collaborators, helping you spark ideas and find joy in the music-making process. Each one features unique, dynamic visuals inspired by nature, bringing a touch of the outside world into your DAW. 

© Unsplash (photo by Kael Bloom)

Broadway Orchestra Wage Scales: What Musicians Earn

Broadway is widely known for its dazzling performances, world-class talent, and multimillion-dollar productions. But behind every great musical is an orchestra of highly skilled musicians whose contributions are essential to bringing the show to life. While actors and directors may be in the spotlight, pit musicians work just as tirelessly, and their compensation is structured by detailed union agreements. Here's a look at how orchestral wage scales work on Broadway.

Most Broadway musicians are represented by 'Local 802 of the American Federation of Musicians (AFM)', which negotiates standard wage scales and working conditions. As of the most recent agreement (2023 - 2024), the minimum base weekly salary for a Broadway pit musician is $2,143.10 per week. This rate applies to musicians working full-time in Broadway productions and is considered the baseline for compensation. However, musicians can earn more depending on their responsibilities and roles.

Many Broadway shows require musicians to play more than one instrument—commonly referred to as "doubling". This is particularly common in reed books, where a single player might be required to perform on flute, clarinet, saxophone, and more. Musicians who double receive the following additional compensation:

• First double: +$267.89 per week
• Each additional instrument: +$133.95 per week

These rates recognize the extra skill and preparation required to perform multiple instruments at a professional level.

Extra pay is added for certain performance-related tasks:

• Onstage performance: +$104.18
• Costumes/choreography; +$69.47
• Body paint: +$100.71
• First-chair trumpet (section leader): +$100

Broadway conductors earn a minimum weekly salary of $3,750.43, reflecting their critical leadership role in guiding the orchestra and production. Substitute musicians, often called "subs", are typically paid per performance, with rates around $300 per show. Unlike regular orchestra members, subs do not receive a fixed weekly salary but play a vital role by stepping in whenever regular musicians are unavailable, ensuring the show runs smoothly without interruption.

© Inouï Samples

 

Inouï Samples 'Trombibone': A Kontakt Instrument that Redefines Multiphonics in Brass Performance

 

The artistically creative and technically innovative French developer of Kontakt instrument, Inouï Samples, has recently announced the release of 'Trombibone'.

Multiphonic sound production—producing more than one pitch simultaneously—has long been a feature of woodwind instruments such as the flute, clarinet, oboe, and bassoon. However, for brass instruments, achieving true multiphonics remained an acoustically impossibility until now.

Enter the Trombibone, a groundbreaking new Kontakt instrument that turns that impossibility into reality by harnessing the principles of physics in service of musical innovation. Developed by Inouï Samples in collaboration with some of France's leading instrument makers, sound technicians, and performers, the Trombibone opens the door to an expansive new world of brass-based multiphonics.

© Inouï Samples

Created with composers in mind, the Trombibone offers a previously unheard palette of sonic textures, dramatically expanding the possibilities for composition and orchestration. It is not just a new instrument—it's a new language for musical expression.

Inouï Samples meticulously recorded an extensive library of mutiphonic sounds under optimal French studio conditions. From this wealth of material, 2,789 unique samples were handpicked and organized into 91 chromatically playable articulations. The result is a deeply expressive and easy-to-use virtual instrument designed to integrate seamlessly into any creative workflow.

For those seeking to move beyond digital sound libraries, the physical Trombibone itself is housed in Paris and is available for in-person or remote recording sessions with some of France's finest brass performers.

The Trombibone represents a significant leap forward in both brass instrument design and sample-based music production, offering artists, composers, and orchestrators an entirely new sound universe to explore.

Features

• 2,789 samples
• 48 kHz / 24 bits
• Recorded at RIFFX Studio - La Seine Musicale, Boulogne-Billancourt, France
• 14 main techniques: Long, Short, Pedal, Low marcato, Low crescendo, Flatterzunge, Improvisation, Slide up, Slide down, Hill, Valley, Parallel, Fork & Merge, Harmonic
• Up to 7 round robin
• Up to 3 velocity layers
• Attack and Release controls from an ADSR envelope
• Mute option with real samples for some playing techniques
• Requires the full version of Kontakt 6.8.0 or later
• Size: 1.62 GB

Price

€120 EUR

For more information on 'Trombibone'

Walkthrough 

About 'Inouï Samples' (https://www.inouisamples.com)

Inouï samples was created to offer composers, producers, and sound-designers unheard sounds with strong musical potential. Whether the object of novelty is about the instrument, the sound pickup or processing, each of the virtual instruments produced by inouï samples is designed to fit naturally into your compositions. All acoustics experiments, physical and digital sound research we undertake are made with the aim of pushing forward artistic creations.

© Katz Praatz

Katz Praatz 'Jazz Sketch (ver. 1.4)': A Simple Chord Sequencer for Sketching Music with 744 Jazz Progressions and 168 Tension Chords

Musician and hobbyist programmer Katz Praatz has announced the release of Jazz Sketch version 1.4. This update adds 192 new chord progressions to the previously available 552 in version 1.3, bringing the total to 744 jazz chord progressions.

Jazz Sketch (ver. 1.4) is a simple chord sequencer designed to help you create music by arranging 744 jazz chord progressions and 168 tension chords. You can export the chord sequence (the chord progressions and chords you've arranged) as a MIDI file to play it or edit it in your DAW. With Jazz Sketch, you can create sophisticated, jazz-infused song with ease. Additionally, Jazz Sketch allows you to learn jazz harmony by playing it yourself. In fact, Jazz Sketch is a small but highly useful software tool.

© Katz Praatz

Essential Requirements for Running Jazz Sketch

Jazz Sketch is a software written in JAVA, and the file extension is .jar. By default, Jazz Sketch runs well on any computer that has JAVA or JRE (Java Runtime Environment) version 8 or later installed, regardless of the operating system—for example, Windows, MacOS, or Linux. If your computer does not have JAVA or JRE installed, or if JAVA is installed but the version is earlier than 8, please click the link below to download the JAVA 8 compatible with your computer's operating system:

https://www.java.com/en/download/manual.jsp

* In the Windows download section, choose the Online download for the fastest install experience. Choose the Offline download if you will be installing on a machine without an internet connection, or you are having problems with the Online install.

** If your macOS version is 10.7.3 or later but earlier than 12, click on macOS x64 to download. If your macOS version is 12 or later, click on macOS ARM64 to download.

Features

• A chord sequencer designed to help you create sophisticated, jazz-infused music by arranging 744 jazz chord progressions and 168 tension chords
• Can also be used for practicing jazz harmony
• The provided chord progressions incorporate standard 2-5-1 progressions, tritone substitutions, secondary dominants, and secondary subdominants
• Can export the chord sequence that you arranged as a MIDI file to play it or edit it in your DAW
• Written in Java, and requires JAVA or JRE version 8 or higher installed to run

** Jazz Sketch is a standalone software, not a plug-in. Therefore, it operates independently of the user’s DAW (Digital Audio Workstation).

System Requirements

• A laptop or desktop computer with a monitor of 13 inches or larger  
• Supported OS: Any version of Windows, Mac OS X, and Linux  
• Tablet PCs that do not use Windows or Mac OS X as their operating system are not supported (e.g., iPad, Galaxy Tab)

Price

$5.99 USD

For more information on 'Jazz Sketch (ver. 1.4)'

Creating Music with Jazz Sketch (ver. 1.4) 

© Unsplash (photo by Teguh Baskoro)

EQ in Mixing: When Less Is More

One of the key characteristics of all good mixes is the ability to hear all the individual elements in the mix. There is real skill involved in achieving this. Perhaps the most important tool used to attain this goal (once the recording has been done) is the equalizer.

As valuable as the equalizer is, this tool will not work for you by simply plugging it in. The key to effective EQ work lies in the mixer's ability to listen critically and adjust the EQ's parameters (frequency, gain, and Q (bandwidth)) with purpose and intent. Rather than randomly boosting frequencies to make something louder, experienced mixers often employ a technique called "subtractive EQ", where they cut problematic frequencies first before applying any boosts. This creates more space in the mix and helps prevent frequency masking, where one sound hides or competes with another in the same range.

By utilizing both boost and cut, an instrument's tonality can be shaped to better "fit" into a mix—emphasizing the sonic characteristics that make it unique, while reducing the parts that clash with other instruments. For example, rolling off low-end rumble from a vocal track, or taming harshness in a cymbal, can clean up the mix and improve clarity without altering the perceived loudness.

Remember, sometimes the problem is too much, rather than not enough. It's easy to assume a sound needs more presence when in fact it's already too dominant in a particular frequency range. Less can often be more with EQ—strategic, minimal adjustments tend to yield better results than extreme corrections. The true art of EQ is knowing what to leave alone, what to subtly sculpt, and how each decision affects the overall balance of the mix.

© Visions TNT Music

Visions TNT Music 'MORPHED 2 - Analog Atmospheres': A Kontakt Instrument for Real-Time Sound Morphing and Unique Sonic Exploration, Crafted from Classic Analog Synths

Visions TNT Music, a German virtual instruments developer founded by a professional film composer Tobias Hang, has recently announced the release of MORPHED 2 - Analog Atmospheres. MORPHED 2 is the second installment in the MORPHED series, featuring a redesigned morphing engine that delivers enhanced control, greater flexibility, and new ways to shape your sound. This brand-new instrument offers a wide variety of sounds crafted from classic analog synthesizers, including deep basses, silky highs, evolving pulses, and expressive keyboards. The tones are raw, textured, and full of character. You can select and blend up to three layers to create unique sounds in real time. Whether combining contrasting tones, shaping intricate motion, or exploring spontaneous creativity through the randomizer, MORPHED 2 empowers you to create entirely unique and inspiring sounds never heard before. MORPHED 2- Analog Atmospheres is a Kontakt instrument and fully compatible with the free Kontakt Player.

▲ Morphing Instrument (154 carefully curated MORPH snapshots) © Visions TNT Music

MORPHED 2 delivers instant musical inspiration with 154 carefully curated MORPH Snapshots, each designed to ignite creativity whether you’re experimenting with new textures or crafting a full composition. At its core lies a redesigned Morphing Instruments Engine, featuring three fully customizable layers, a rich sound pool of analog-sourced tones, and powerful tools like real-time morphing, global filter and FX controls, reverb, envelope shaping, and one-click morph randomizer. Each layer offers independent volume, pan, and solo controls, allowing for intricate sonic sculpting through real-time morphing between layers. Crafted from classic analog synths but designed to push boundaries, MORPHED 2 produces warm, richly detailed sounds that can evolve on the fly, offering a dynamic blend of analog character and modern sound design flexibility.

▲ Single Instrument (135 crafted Single Instruments) © Visions TNT Music

At the heart of MORPHED 2's sonic versatility are 135 crafted Single Instruments—the very same analog-sourced sounds that power the morphing engine’s sound pool. To give users even more flexibility, these instruments are also available as lightweight standalone patches, perfect for quick access and efficient workflow outside the morphing interface. Each Single Instrument has been meticulously sampled and designed to preserve the warmth, nuance, and subtle imperfections of classic analog synthesizers, offering a rich foundation for both standalone use and deeper sound design within the MORPHED 2 ecosystem.

▲ Tobias Hang, the founder of Visions TNT Music © Visions TNT Music

After the warm reception of MORPHED 1, Tobias Hang—founder of Visions TNT Music and a seasoned film composer—was inspired to expand the concept into new sonic territory. While the original focused on organic recordings and subtle, emotional textures, MORPHED 2 explores what happens when the same morphing principles are applied to a completely different sound world: analog synthesizers. Raw, unstable, and beautifully unpredictable, these synth sources provide a rich tonal palette of warm pulses, fractured atmospheres, and evolving harmonic layers. Tobias sought to preserve the emotional depth and handcrafted feel of the first library while enhancing it with a broader, more expressive sound spectrum. Built from his experience scoring film, every detail of MORPHED 2 was shaped with a sensitivity to how sound breathes and evolves within a narrative—how it interacts with scenes, characters, and emotion. More than a sample library, MORPHED 2 is a personal toolset of human, textured sounds, crafted to feel alive.

Features

• 3-Layer Morph Engine
• Sound pool of 135 handcrafted Single Instruments
• 154 curated MORPH Snapshots
• 9,755 individual samples
• Design your own MORPHS
• One-Click Morph Randomizer
• Live Morphing while playing
• Global Filter & FX Controls
• All sounds are sourced from analog synthesizers
• Sampled and designed with a focus on warmth and subtle imperfections - raw, textured, and full of character
• Single Instruments as lightweight, standalone patches outside the morphing engine
• Made for the free Kontakt player
• NKS-ready

System Requirements

• Total File Size: 13.6 GB (uncompressed)
• Supports the free Kontakt Player (no full version required)
• Compatible with full version of Kontakt 8.1 or higher
• Activation via Native Access
• Compatible with MacOS and Windows that meet the official Native Instruments Kontakt system requirements (For more details, please refer to the official system requirements page here)

Price

€49 EUR (+VAT)

* This is an introductory price valid until 6th of July (regular price: €79 EUR + VAT).

** There is also a special bundle offer available, which includes both MORPHED 1 - Weaving Soundscapes and MORPHED 2 - Analog Atmospheres for €78 EUR + VAT (regular price: €118 EUR + VAT).

For more information on 'MORPHED 2 - Analog Atmospheres'

Quick Overview 

Playthrough 

About 'Visions TNT Music' (https://visionstntmusic.com/)

Tobias Hang is a German film composer and the founder of Visions TNT Music, a music production company specializing in film music and the developer of the MORPHED series. Creating and developing individual signature sounds has been a vital part of his compositional workflow for years. Now, he has decided to take it one step further by designing a unique virtual instrument and making it accessible to the creative community. He loves the idea of crafting sound by hand with all its soul and imperfections, and presenting it in an up-to-date digital environment. If there's such a thing as a handcrafted virtual instrument, the MORPHED series could be it. "We strive to create sounds that are unheard of, deeply emotional, and intuitively playable." says Tobias Hang. 

© Unsplash (photo by Lucas Alexander)

Removing Low-Frequency Rumble from Recordings

Consider the following scenario:

"Somewhere in the middle of a recording session, the building's heating boiler kicked in. Not only did it heat the studio (a good thing), it also introduced a low level, very low frequency signal into the tracks from that time on (a bad thing). How would you go about removing the offensive, non-musical signal using equalization?"

Boilers system can emit vibrations in the 20 - 80 Hz range, which can be picked up by sensitive mics or transmitted through stands and floors. This type of rumble can muffle bass instruments and kick drums, add unwanted low-end buildup, or eat up mix headroom. The following steps can help eliminate the rumble:

Step 1: Identify the noise

Load a "spectrum analyzer" to locate the frequency range of the rumble, usually below 80 Hz.

Step 2: High-Pass Filtering

• Use an EQ with a high-pass filter, starting around 30 - 40 Hz
• Adjust upward as needed (up to 80 Hz), especially on vocals or non-bass tracks
• Set the slope to 12 - 24 dB/octave for an effective roll-off

Step 3: Notch out any residual peaks

If a specific hum remains (e.g., at 60 Hz), use a "narrow notch filter" to reduce it without affecting nearby frequencies. Use a tight Q (bandwidth) and sweep the EQ boost across the low end to find the most prominent frequency. Once located, cut that frequency by 6 - 12 dB.

If EQ alone doesn't resolve the problem, try to use a "multiband compressor" to tame dynamic low-end bursts without affecting higher frequencies. Low-frequency rumble is common, but with the right EQ techniques and tools, you can clean up the noise and keep your recordings clear, no matter what the building systems are doing.

Record Label Contacts (30) 

Big Dada

Indie

Hip-hop/Dub/Grime/EDM

London, United Kingdom

https://bigdada.com/home

Will Ashon (Founder, 1997)

Artist Roster:

Congo Natty

Girl Ultra

H31R

Kae Tempest

Contact:

demos@ninjatune.net (demo submission)

ATIC Records

Indie

Electronic

Manchester, United Kingdom

https://aticrecords.com/

Andy Turner (Co-Founder, 2006)

Nicole Vergel de Dios (Co-Founder, 2006)

Artist Roster:

AIM

Niko

Crowhead

Gripper

Contact:

demos@aticrecords.com (demo submission)

Mello Music Group

Indie

Progressive Rap/Boom Bap/Indie Rap 

Tucson, Arizona, United States

https://www.mellomusicgroup.com/ 

Michael Tolle (Founder, 2007)

Artist Roster:

Apollo Brown

Brother Ali

Cash Lansky

FR1TH

Contact:

info@mellomusicgroup.com 

Rhymesayers Entertainment

Indie

Hip-hop/Underground Hip-hop/Alternative Hip-hop

Minneapolis, Minnesota, United States

https://rhymesayers.com/ 

Sean Daley (Co-Founder, 1995)

Anthony Davis (Co-Founder, 1995)

Musab Saad (Co-Founder, 1995)

Brent Sayers (Co-Founder, 1995)

Artist Roster:

Aesop Rock

Ant

Nikki Jean

Sa-Roc

Contact:

https://rhymesayers.com/pages/contact-us (contact form)

Strange Music

Indie

Hip-hop/Rap Rock/R&B/Pop

Lee's Summit, Missouri, United States

https://www.strangemusicinc.com/ 

Tech N9ne (Co-Founder, 1999)

Travis O'Guin (Co-Founder, 1999)

Artist Roster:

Jehry Robinson

Mackenzie Nicole

Wrekonize

Tech N9ne

Contact:

Strange Music, Inc

Attention: Demos

1250 NE Sloan St

Lee's Summit, MO 64086

United States

(demo submission)

© Majetone

Majetone 'Dream Kit: Zenith': A Drum-Based Synthesizer for VST3 & AU that Turns Every Drum Part into a Musical Instrument

Majetone, a London-based developer known for unique and creative sound design and plug-ins, has recently announced the release of Dream Kit: Zenith — A groundbreaking virtual instrument that reimagines the drum kit as a fully chromatic, synth-style sound source. Designed and built by drummer, producer, and engineer James Yates, Dream Kit: Zenith blends meticulous multi-sampling with analog synth sensibilities to create a uniquely tactile and expressive instrument. Unlike conventional drum plug-ins, Dream Kit: Zenith dives deep into the full anatomy of the drum kit — not just the drums themselves, but every part: lugs, shells, hoops, pedals, snares, cymbals, buzz rolls, thumb rolls, cymbal scrapes, and more. Each element is sampled, tuned, and stretched across five octaves, transforming a traditionally percussive instrument into a richly playable sonic palette.

▲ EQ section © Majetone

With 120 custom waveforms and over 1,000 presets, Dream Kit: Zenith offers an inspiring world of lush textures, rhythmic pulses, cinematic tones, and melodic expressions. "The goal was to treat evert part of a drum kit like a musical note, not just a percussive hit," says Yates. "I wanted to explore what would happen if I treated those sounds as waveforms in a synth — tuning, re-amping, and transforming them into something both real and surreal." The result is a deeply personal instrument that blurs the line between rhythm and melody, order and chaos. Culminating from a decade of sound exploration and four years of focused development, Dream Kit: Zenith redefines what a drum kit can be.

▲ LFO section © Majetone

Dream Kit: Zenith began as a personal experiment in 2015, when creator James Yates was refinishing his early '80s Gretsch drum kit. Inspired by the marimba-like resonance of the shells, he imagined a radically different kind of drum instrument: what if every part of the kit — shells, lugs, heads, hardware — could be chromatically tuned and played like a synthesizer? The result is Dream Kit: Zenith, a virtual instrument that redefines drum sampling, blurring the line between percussion and synthesis. Rather than aiming for hyper-realism, Zenith embraces the abstract — delivering expressive, melodic, and often unidentifiable textures that makes listeners wonder, "What is that sound?"

▲ Preset Browser © Majetone

Dream Kit: Zenith combines an extensive range of playing and sound design techniques—thumb rolls, feedback, sticks, mallets, shells, heads, nuts & bolts, hardware, lugs, and more—with chromatically tuned drum sources presented as a synth across five octaves. Built around a powerful 3-oscillator architecture (2 waveforms plus a sub oscillator), it offers a fully featured interface with filter and volume envelopes, LFOs, EQ, analog-modeled delay, arpeggiator, and deep modulation options. It also includes 22 custom reverbs, an intuitive preset browser, and custom-made percussion textures, all captured with multi mic realism at Otterhead Studios. Dream Kit: Zenith invites musicians, producers, and sound designers into a sonic world where rhythm and tone seamlessly converge.

Features

• 120 Waveforms: 120 original waveforms from acoustic and processed drum sounds
• 1000+ custom presets across kits, synths, FX, and experimental textures
• Nuts and bolts, Lugs, Tuning Rods, Floor Tom Legs, Shells, Heads, Drums, Toms, Snares, Cymbals, Pedals and Stands, Percussion, Rims, Conceptual ideas/granular processing
• Deeply multi-sampled with up to 38 velocity layers, multiple round robins to interesting one shots and everything in between
• Stretched and tuned across 5 octaves
• Multi-mic Reamping: Close, Overhead, and Room mics recorded and re-amped at Otterhead Studios
• 3 Oscillator Architecture: 2 waveforms + sub oscillator
• Fully featured interface with filter & volume envelopes, LFOs, EQ, delay, arpeggiator, and more
• 22 Custom Impulse Reverbs: from bunkers to vintage plates and lug springs
• 42,000+ Audio Files curated into an intuitive 21.7 GB library
• Designed for Intuition: Hardware feel, minimal menu-diving, fast sound shaping

System Requirements

• Windows: VST3
• macOS: VST3 / AU
• 16.7 GB on download (handled by pulse downloader)
• Expands to 21.7 GB space required (SSD recommended)

* Dream Kit: Zenith is compatible with VST3 & AU for macOS and VST3 for Windows, with Rosetta support for Apple Silicon and a download footprint of 16.1 GB (expanding to 21.7 GB).

Price

£89.00 GBP

* This is an introductory price valid until 25th June (regular price: £148.00 GBP, save 40%).

For more information on 'Dream Kit: Zenith'

Walkthrough 

Preset Demo 1 

Preset Demo 2 

About 'Majetone' (https://majetone.com)

Majetone is James Yates—drummer, drum builder, recording engineer. Having built custom one off instruments (both physical and digital) for many fine engineers, musicians and producers, James wanted to make these custom one offs available to a wider audience and shifted into plug-in development. Dream Kit: Zenith is just the beginning of unique, usable instruments and plug-ins that will be coming from Majetone in 2025.