Sound Development has updated AudioDice, the parameter randomizer, to version 1.2.

This update transitions AudioDice from a static studio tool into a more dynamic performance utility. Sound designers can now map parameters to 8 newly implemented Macro knobs, allowing for macro control over hosted plugins directly inside their DAW.

Changelog Highlights:

• Added automatable macro knobs.
• DAW automation can now actively trigger randomization.
• Re-arranged toolbar layout.
• Renamed 'Knob Mode' to 'Learn Mode' with updated iconography.
• Global scanning improvement: AudioDice instances now share the latest plugin scan data automatically.

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Wavsen, the mix delivery and client intake / approval platform for music producers and engineers, has been updated to version 1.5.4.

Stripe Connect & Client Payments

• Accept client payments with Stripe — you can link a bank account in Stripe to receive and manage client payments directly with Wavsen. Wavsen does not store any payment info.
• Request deposits and from prospects who send you project inquiries.
• Services tab with dual modes: Manual (self-tracked, zero fees, no emails) and Stripe Connect (automated, Wavsen processing fee per charge) that tracks additional version pricing automatically.
• Switch between Manual and Stripe Connect anytime; old records are archived and never deleted.
• Payment pricing status and manual entry options are displayed on every project card.
• Full payment history on the Services tab that pulls directly from your Stripe connect account.
• Clients receive secure Stripe-hosted payment links by email when deposits or balances are requested.
• Added option to list cost of additional revisions.
• Fix that could cause an upload error when using file names with special characters.
• Added support messaging / ticket system in feedback options.

Pricing

Wavsen is available in the following plans:

• Free: $0.
• Pro: $9/month introductory price (regular $12/month).
• Studio: $19/month introductory price (regular $24/month).

Introductory pricing is available through June 4 at wavsen.com

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Celemony's Tonalic Essential ships as part of the Cubase 15 and Nuendo 15 maintenance update (version 15.0.30), giving registered users access to adaptive guitar performances built from studio recordings at no additional charge.

Tonalic is a performance-content platform from Celemony, the company best known for Melodyne. Where Melodyne targets audio editing and pitch correction, Tonalic takes a different approach: it draws on authentic studio recordings as source material and processes them through the Tonalic Engine, which reshapes each performance in real time to match a project's chord progression, tempo, and groove.

The essential tier bundled with Cubase and Nuendo includes acoustic and electric guitar content. The real-time adaptation means guitar parts track the harmonic context of a session without requiring manual key or tempo mapping, which positions Tonalic as a composition and arrangement tool rather than a conventional sample library or virtual instrument.

Target users are songwriters and producers who want organic guitar textures in their arrangements without recording live parts or programming MIDI note by note. The Tonalic Engine's chord awareness handles the harmonic translation automatically.

The integration ships in a maintenance update rather than a major version bump, meaning current owners of Cubase Pro 15, Cubase Artist 15, and Nuendo 15 receive it through the version 15.0.30 update. Licenses are delivered via the Voucher section in MySteinberg, and registration with Celemony is required for activation.

We're pleased to be partnering up with Celemony and are happy to offer Tonalic essential to our Cubase and Nuendo 15 customers for free. With its guitar performances, Tonalic essential fits nicely in the comprehensive tool set provided by Cubase and Nuendo.

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Features

• Adaptive guitar performance engine that responds to project chords, tempo, and groove in real time.
• Acoustic and electric guitar content derived from authentic studio recordings.
• Included in the version 15.0.30 maintenance update for Cubase Pro 15, Cubase Artist 15, and Nuendo 15.
• License delivered via the Voucher section in MySteinberg (Celemony registration required).

Pricing and Availability

Available now at no additional charge for registered Cubase Pro 15, Cubase Artist 15, and Nuendo 15 owners via the version 15.0.30 update.

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MusicDevelopments has announced its Summer Sale until June 15 with a 40% discount on its products:

• RapidComposer – A versatile tool for music composition.
• Melodya – Advanced melody generator.
• MIDI Mutator – Transform your MIDI like never before.
• Syne – Innovative sound design with this modular synth.
• Fyler – Modern multi-tabbed file manager for media and metadata.

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Independent audio developer Flavio Passa has announced the release of Xtractpler v3.6.3, a major update to the automated sample library creation tool.

Whether you're slicing up a software synthesizer, recording a grand piano, or tapping a vintage drum machine, Xtractpler v3.6.3 significantly reduces the time spent on repetitive editing tasks — delivering professional-quality results with minimal manual correction.

Building on the automation pipeline introduced in v3.5, version 3.6.3 introduces a suite of features that address friction points frequently reported by sound designers and sample library creators: unfinished note tails, invisible audio routing, instrument mapping locked behind paywalls, and loop points requiring repeated manual adjustment. Xtractpler v3.6.3 addresses each of these directly.

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Never Miss A Note Tail Again

The most requested feature since Xtractpler's launch is here: the Tail parameter.

Every pad player, sound designer, or instrument creator who has sampled a piano, a pad synthesizer, or a reverb-heavy lead knows the problem: the note ends, but the sound keeps going. Until now, capturing those slowly dying releases required careful manual work or accepting that your sampler library would feel "cut off."

With the new Tail(s) column in the Sample Configuration Grid, you simply type how many seconds of release you want captured per instrument or note — and Xtractpler handles the rest. Each row in your session can have its own tail setting, so a sharp snare and a lush string pad can coexist in the same capture session without compromise.

See What You're Capturing — In Real Time, In Stereo.

Xtractpler v3.6 introduces a completely redesigned real-time stereo waveform display in both the Capture and Review tabs. The new dual-band view shows the left channel (top) and right channel (bottom) simultaneously, giving you instant visual feedback on stereo imaging, signal levels, and transient accuracy.

The overhauled Review tab pairs this view with an interactive waveform viewer, loop region markers, and transient detection overlays.

Export To More Instruments Than Ever — Now With Loop Metadata Baked In

Xtractpler v3.6 expands its export ecosystem to cover the most-used samplers and DAW instruments on the market today:

Free (Standard License):

• Decent Sampler (.dsbundle): with full UI and effects.
• Ableton Sampler (.adv): native chromatic instrument preset.
• Bitwig Studio (.multisample).
• Sitala (.sitala).
• SFZ.

Pro (Pro License, upgrade in-app):

• Logic Pro: EXS24, with optional single consolidated audio file.
• Ableton Drum Rack (.adg).
• Akai MPC Beats (.xpm).
• Hydrogen Drumkit.
• Studio One Impact.
• Elektron (Digitakt / Analog Rytm).
• Roland SPD-SX PRO.

Every format receives Xtractpler's carefully constructed mapping logic: velocity layers, round-robins, ADSR envelopes, and note ranges — all pre-configured.

And with the new Auto-Loop Export feature, Xtractpler goes even further: it automatically calculates seamless loop points, applies a crossfade for smooth playback, and writes the loop metadata directly into the exported preset. One click — and your pads, strings, and keys loop inside Logic Pro, Ableton Live, Decent Sampler, and more. No separate looping tool needed.

Total Control Over Audio Routing

Version 3.6 completely overhauls Hardware Setup, making it the single, authoritative place to configure every aspect of how audio enters Xtractpler. Depending on your capture mode, you now have full, independent access to:

• The specific input channel(s) on your audio interface: populated dynamically from your device's actual hardware, supporting multi-channel interfaces such as the MOTU M4, Focusrite Scarlett 18i20 (and many others), VB-Cable (8 channels), and loopback inputs.
• Sample rate control: Auto, 44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz — per session.
• Recording format: 32-bit float (lossless), 24-bit, or 16-bit WAV output.

A persistent Capture Quality Badge in the application footer keeps the active rate and format visible at all times, and a smart Export Quality Mismatch Warning alerts you — with a one-click MATCH button — when your export settings don't align with what was captured, preventing silent quality loss.

Smarter Workflow

Xtractpler v3.6 also introduces a series of quality-of-life improvements that reduce friction throughout the entire pipeline:

• Session management: Collection Name and File Prefix are now set in Configure — once, before you capture — eliminating the risk of a misnamed export job.
• Pre-capture overwrite protection: If files already exist in your target folder, a confirmation dialog appears before anything is overwritten. Never lose a good take by accident again.
• Capture Path Lock: The folder where your raw captures were recorded is remembered for the entire session. Even if you rename the collection later, exports, reviews, and file management always point to the correct location.
• Real-time footer alerts: Status messages, quality warnings, and confirmation prompts appear in a persistent footer bar — clear, contextual, and always visible.

Upgrade To Pro From Inside The App

Standard license holders can now unlock all Pro & Hardware formats directly from within Xtractpler — no re-download, no reinstall. Simply go to File → Upgrade to Pro (or use the keyboard shortcut Cmd+Shift+U / Ctrl+Shift+U) and complete the secure upgrade in seconds.

Key Features Summary — Xtractpler V3.6.3:

• Tail Parameter: Capture the full release of any instrument, row by row.
• Real-Time Stereo Waveform: See L/R channels live during capture and review.
• Auto-Loop Export: Seamless, crossfaded loops written into presets automatically.
• Pro Export Formats: Logic Pro, Ableton Drum Rack, MPC, Roland, Elektron, and more.
• Dynamic Audio Routing: Full hardware channel control, per capture mode.
• 32-bit float / 96 kHz: Lossless fidelity at every stage of the pipeline.
• Session Safety: Overwrite protection, path locking, and footer alerts.
• In-App Pro Upgrade: One-click unlock of all Pro formats, no reinstall needed.
• Cross-Platform: macOS (Apple Silicon), Windows 10/11, and Linux.

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PureMIDI has launched PureMIDI, a browser-based audio-to-MIDI converter for musicians, producers and learners. The service turns MP3, WAV, video audio and recorded ideas into editable MIDI files online without installing a plug-in.

The converter is designed for workflows such as extracting melodies from vocal or instrument recordings, turning guitar or piano ideas into MIDI drafts, and preparing DAW-ready MIDI for Logic Pro, Ableton Live, FL Studio, MuseScore and other music tools.

PureMIDI is available as a freemium web service.

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FKFX Audio has released DawNote, a free mobile app that lets music producers record timestamped notes and send them back to their DAW through a dedicated VST3/AU plug-in.

Users can transfer mixes to a phone via Wi-Fi, listen with fresh ears, record timestamped voice notes, then send the notes back to the DAW at the right position in the right project.

DawNote includes a free version with the full mobile-to-plugin workflow, plus an advanced Pro version for larger projects. DawNote Pro is a one-time purchase and adds advanced features including Studio Stream, A/B Reference Tracks, Note Queue, larger project limits, unlimited track duration, and unlimited project sharing.

The complete workflow is shown in the first 2 minutes of the tutorial video:

Watch the DawNote workflow tutorial

How DawNote Works

• Transfer your mixes from your computer to the DawNote mobile app over local Wi-Fi — no cables, no cloud.
• Listen on the go and record timestamped voice notes at the exact position in the track.
• Back in the studio, tap Send Notes to DAW. Notes are automatically sent back to the correct project inside the dedicated DawNote plug-in.
• Inside the DawNote plug-in, notes can be previewed with crossfades and timing indicators, or dragged into the DAW as a single synchronized WAV file, like a regular audio recording.

Key Features

Core Workflow

• Transfer mixes from DAW or computer to mobile via local Wi-Fi.
• Record timestamped voice notes while listening.
• Send Notes to DAW — your notes return to the right project automatically.
• In-plug-in preview with crossfades and timing indicators.
• Drag and drop notes from the plug-in as a synchronized WAV file onto any DAW track.
• Local workflow with no required cloud account.

Mobile App — iOS and Android

• Record timestamped voice notes while listening.
• Hands-free recording with Bluetooth media controls.
• Preview and manage notes directly on mobile.
• Adjustable pre-roll time for reviewing notes with context.
• Scrubbing on long notes.
• Playback position saved per track between sessions.
• MIDI controller recording trigger.
• Load audio files directly on iOS/Android or from a computer via Wi-Fi sync.
• Supports MP3, WAV and AIF formats.
• Zipped WAV export with synced notes.
• Password-protected project sharing.
• Input level control.
• Color tag system.
• Full note and project management with auto-cleanup.
• Optional swipe navigation.
• Light mode.
• 22 languages supported.
• Interactive tutorial.
• Manual IP connection option.
• Sync on startup option.

Desktop and Plug-in — macOS and Windows

• DawNote Studio (Free): lightweight desktop app acting as a local server for mobile connection.
• DawNote plug-in (Free) for receiving synced notes directly inside the DAW.
• Automatic filtering of synced notes to the correct project.
• In-plug-in note preview and timing indicators.
• Drag-and-drop export of notes as synchronized WAV files.
• VST3 and AU support.
• MacOS and Windows support.

Pro Mobile Features

• Studio Stream: take timestamped notes on your phone while listening through your studio computer over Wi-Fi.
• A/B Reference Tracks: compare your mix against external references or previous versions on mobile.
• Note Queue: hold notes and send them to the DAW when you are ready.
• 10 projects.
• 25 tracks per project.
• Unlimited track duration.
• Unlimited project sharing.

Free vs Pro

Availability and Platforms

• Mobile app: iOS and Android.
• Desktop app: macOS and Windows.
• Plug-in formats: VST3 and AU.

Pricing

• DawNote: free, with the mobile-to-plug-in workflow included.
• DawNote Pro: $39 launch price.
• Regular price: $79.
• License: one-time purchase.

Download Links

DawNote Free Mobile App

• iOS: fkfxaudio.com/getdawnoteios
• Android: fkfxaudio.com/getdawnoteandroid

DawNote Pro Mobile App

• iOS: fkfxaudio.com/getdawnoteproios
• Android: fkfxaudio.com/getdawnoteproandroid

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Pataki Audio, a one-person workshop based in Budapest, has released four new VST3 plugins.

Janus

Janus is a linear-phase Linkwitz-Riley crossover VST3 plugin for Windows and macOS.

Janus combines a high-pass and a low-pass filter on a single instance, with a symmetric FIR design. Two instances tuned to the same cutoff frequency sum mathematically flat, making it suited for multi-way active loudspeakers where phase coherence between bands and minimized audible pre-ringing are both critical.

Janus offers Linkwitz-Riley slopes from 1 to 48 dB/oct in decimal steps — not just the conventional 12 / 24 / 48 — letting you tune the crossover region precisely without committing to a fixed Butterworth order. Three latency modes (Eco / Normal / High-Res) let you trade pre-ringing against processing latency depending on the source material.

Janus is donationware. Pay what you want, including nothing. No ads, no telemetry, no nag screens.

MetaHost

MetaHost is a VST3 plugin host that you load inside another VST3 host, for Windows and macOS.

MetaHost offers 8 stereo channel-pair columns with 3 plugin slot rows per column, letting you drop a different plugin chain on each stereo pair of a multichannel bus. It's designed for active speaker rigs running per-driver DSP, surround / Atmos mixers needing per-channel processing, stereo workflows with parallel effect chains, and any setup where the host DAW won't let you route inserts the way you actually need to.

Each hosted plugin's UI opens in its own floating, resizable editor window — no nested frames or clipping. Full host state, including each hosted plugin's preset, can be saved to disk or inlined into the parent project for exact-recall sessions. Per-slot bypass is implemented with atomic flags for click-free, thread-safe switching during playback.

MetaHost is donationware. Pay what you want, including nothing.

Voicing

Voicing is a three-band tone control VST3 plugin for Windows and macOS, built on Baxandall-style musical curves.

Unlike a surgical measurement EQ, Voicing is designed to tilt rather than carve: its shelves are gentle, broad, and intentionally reciprocal, so cut and boost behave as mirrored halves of the same adjustment. The shelves taper toward an asymptote at the extremes, keeping even bold settings musical, while the parametric bell spans wide tonal lean to focused presence shaping.

Voicing offers a low shelf and high shelf with adjustable slopes — from a gentle first-order 6 dB/oct upward — a parametric bell with adjustable Q, and per-band enable for instant A/B comparison. It's positioned as the listener-end companion to Pataki Audio's linear-phase crossover, Janus.

Voicing is donationware. Pay what you want, including nothing. No ads, no telemetry.

Bitscope

Bitscope is a bit-depth and true-peak analyzer VST3 plugin for Windows and macOS.

Bitscope measures the effective bit-depth of audio in real time — the bits actually doing useful work, not just the claimed format — displayed as a per-channel histogram up to 64-bit. It tracks true-peak level in dBTP and keeps separate counters for sample clips and intersample peaks, catching the inter-sample overs that standard sample-peak meters miss.

The plugin is multichannel-aware: its L/R source selectors pick any two channels from the host bus for monitoring, with a readout showing the host-bus channel count and layout. Bitscope is analysis-only — it measures the signal without altering it.

Bitscope is donationware. Pay what you want, including nothing. No ads, no telemetry.

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This is a discussion with Mark Ethier, who currently serves as Executive Director the Berklee Emerging Artistic Technology Lab (BEATL) at Berklee College of Music. Mark is also well-known in the music technology industry as the co-founder and former CEO of iZotope. He's been working with machine-learning since his days at MIT and those techniques have found their way into many of iZotope's products.

Berklee has been out in front of music technology changes since its inception. Berklee graduates have not just gone onto be Grammy winning artists, but also educators, entrepreneurs and product builders in many fields in and outside of music Bringing in a leader with Mark's background help design a curriculum around artificial intelligence is yet another example of the institution's commitment. Here's an interview we did with Mark several years ago.

The opportunity to have another chat with Mark came after an announcement of Berklee College of Music’s upcoming AI and Music Summit (AIM) June 3-5 in Boston. Although tickets may be available for the companion concert featuring Jordan Rudess and L'Rain, the actual summit has already sold out, another illustration of the effect AI is having on all aspects of music making.

The interview explores how AI is already reshaping music education, from students experimenting with generative coding tools to assistive AI technologies that restore creative capabilities for disabled artists. Mark stresses the importance of human performance and artistic communication. He describes Berklee’s AI summit as an attempt to bring musicians, educators, developers, lawyers, and entrepreneurs into the same conversation, so artists can have a stronger voice in shaping the future of AI in music.

Is there a Moore's Law or something equivalent for the growth of AI? Because it is improving at an exponential rate.

I will admit I was led down a little research project about this. You go back to Moore's Law, which is that compute would double every two years at half the cost. These days, it’s actually gone more to three years because we’re now at the level where there are physical barriers to our ability to keep that same trajectory. What I discovered is that currently, the speed of AI capability processing has been doubling every three and a half months.

Wow!

So, that's like an order of magnitude every year. It’s both the compute growing, there’s more compute, and better algorithmic efficiency, sometimes driven by the AIs themselves improving efficiency, which is still kind of mind-blowing. Then the data scaling, both real data and synthetic data scaling, and all of these things are sort of combining together.

Investors are pouring money into AI start-ups. I'm wondering about a bubble. Do think this could affect the music industry in any way?

I think in some ways, by definition, we're in a bubble. We are at a time where there are a lot of people competing for the same market, a "winner takes all" sort of approach. You end up with a dozen players investing huge amounts of resources to go after the same prize, knowing that nine out of ten of those are not going to make it. When that’s happened before, often there is infrastructure left behind that people still find value in.

It’s funny to talk about the dot-com bubble because I remember I was an undergrad at MIT and there was a service where you could get anything delivered within an hour at the same cost it was at the store. You stop and think, "This shouldn't be possible." Turns out it wasn't; it was just an inflated service that existed for a moment. I don't know if there's a bubble in music as much as there is in parts of music tech.

I think a lot of it in the music products industry is certainly related—and I’m talking hardware here. During the pandemic online retailers were growing incredibly fast, and then people could get out again, so they weren't home playing music as much.

That's right. I heard a good description that in the hardware and software side, it was almost a double problem because you had all these people who leaned into their hobby, and now they're going back to their regular day job and throwing their hardware or software up on eBay. Now these companies are competing against the equipment they sold two years ago. That's just rough.

In the research you've done so far, what’s the most surprising thing you’ve learned and what is the scariest?

The speed and the breadth of the change that is happening. I can look back and say there was a creation revolution that happened when the digital audio workstation (DAW) became affordable. That was a pretty big shift in the democratization of music. Then you had Napster and LimeWire catalyzing the changes that led to Apple's new music business model and Spotify. That was monumental in the way the economics of music happened. It seems like this is the moment where both of those things are happening at the same time, but in the period of months, not years. Even a year ago, I would have said, "Oh, but it can't do this yet." And I've been proven wrong so many times.

I want to pull apart the distinction between Generative AI (trained on licensed material vs. scraped data) and Assistive AI. iZotope was using assistive AI more than a decade ago for things like RX, which among other things, removes "mic rustle" (the sound when a lavalier mic scratches against clothing). That was AI, but it wasn't scary.

We had virtual instruments that were pretty darn good, and now there are generative tools that will render as a virtual instrument using generative AI. It’s enhancing a workflow that had already been changed.

What effect do you see AI already having on enrolled Berklee students? Are you seeing new students coming in who could teach classes?

Berklee's a very diverse place. There are students that are very engrossed in generative AI, and sometimes I have to tell them, "Hold on, slow down. Do you know how it's trained? Do you own the output? Is the output copyrightable?" And there are students who came to Berklee because they're passionate about guitar and jazz and haven't really engaged with technology in that way.

We have seniors graduating this year who started at Berklee when generative music was not really a thing. At the same time I've spoken to a couple of high school music teachers who are starting to use some generative music tools in their classes because otherwise they didn't have access to music making. We may see more students show up who have made it part of their creative process, but I still think this is still very, very new.

Is the value of all this going to be musicians adding to their music, or building tools that can possibly make their music better or more unique?

We are in the very beginning of figuring this out. You have people like Jordan Rudess from Dream Theater, who has been collaborating with MIT to train his own personal model that can do live improvisation with him on stage. That's additive; that's not replacement.

Berklee just hosted a conference called ABLE Assembly, and there are examples of people using generative AI to regain the ability to make music that they've lost. If they've lost their voice for some reason, they're actually able to train these models on their own previously recorded voice. They can still bend the character and the emotion. I want to get beyond the place where there are tools where you type in a couple of words to get a song out. I think that's a novelty.

At some point people will want to see somebody play those arrangements. Having the skills to learn a song or a set quickly and perform consistently... maybe there’s more work for a Berklee-trained musician…?

A machine can run faster than a human, but we still go to track meets to watch who can run the 100-meter dash fastest. It’s deeper than that with music and performance. Even though you can get a machine to produce an audio output, it doesn't mean that it's a real human communication.

Let's talk about the Berklee AI summit. It’s in Boston June 3rd through 5th?

June 3rd through 5th is the summit, and then on the 6th and the 7th, we’re having a hackathon that’s being put on by Music Hackspace. The summit is sold out, but there may still be tickets available for the concert, which will feature Jordan Rudess and L'Rain.

What are the most important things you want people to know about the summit beforehand, and what are the most important things you would like attendees to know afterwards?

We see a hole in the public discourse around music and AI, the artist's perspective is often missing. The summit is a chance to bring together musicians, educators, developers, lawyers, and ethicists. We're going to have people who are very skeptical and very against the integration of AI, and we are going to have companies where the integration of AI is their business model.

We want artists and educators to leave with a sense of agency. I feel a lot of places where people feel somewhat hopeless, like "this thing is all happening and we can't stop it." We want to show people that it's possible for us to go to these companies and researchers and have a voice in this conversation.

Berklee has always embraced change...

That's right. It's shocking how many people in the music tech world are Berklee grads. One other interesting story about the advent of generative coding at Berklee. Last semester, a faculty member taught a class on building business plans, and they decided to see if they could build a product using agentic coding tools. By the end of the semester, students with zero coding experience had built four or five fully functioning applications. It really changes the calculus for what a student at Berklee can do in the world.

And I just want to say thank you again for the opportunity to talk about the AIMS event.  We’ll need a little more time to prepare the banner.

You can just use generative AI for the image...

(laughs) I know! Well, you know what's funny? The first draft they sent me was AI generated and it came up with a URL that didn't exist and the dimensions were totally wrong.

You do have to pay attention. It's not like generative AI can do everything for you.

Exactly. I mean that's a good reminder in all of this. We haven’t really talked about the music education side. We're also having to educate people about the language models too because they're using them in classes and maybe they don't realize the bias that is encoded in them. The same questions come up around how these were trained and are you okay with this and you know do you own the output and how you're using this and, does it align with the policy of the class or of Berklee as an institution...

AI can be sycophantic…

Is it a sycophant? Yeah exactly. If the product is free, you're the product, right? When people use it they need to keep in mind that it's free and it's taking all your data, you should be thinking about "am I getting sold things or advertised things or influenced in ways"? You know all these things that maybe aren't obvious.

You touched on some good points about intellectual property, because laws are changing so quickly. One must know what is copyrighted and what isn't. In other words, where did the user get the data?

That's right. You know there's one other story that I think you'll find really interesting - that the advent of generative coding was part of a Berklee Music Business class. A faculty member asked the class to build a business plan for some service or product for the music industry using one of these agentic coding vibe coding tools and see if they can build it. And at the end of the semester I sat through demos of four or five fully functioning applications that students had built with zero coding experience at the beginning of the semester.

As a musician you start to think, "All right I have this new newfound power where I can build things without needing to bring in other people.” But, there are downsides to missing a collaborator and everything else. I don't think it's foolproof yet because there are still things like if you hit a bug and the AI doesn't do anything you don't know the code to go in, figure it out and fix it yourself.

But it definitely is switching I can see in these musicians when they've thought, "Oh I have this idea I need to go and find a co-founder before I can even begin" and they can actually prototype, put things out in market, learn what the product should be so when they go to find a co-founder or technical co-founder they actually know okay I need someone who knows this stuff because they've already sort of validated enough down the path. It really changes the calculus for what a student at Berklee can do out in the world, which is pretty amazing.

Any other details that you share about the event?

There’s special pricing for students and faculty, or if you are a member of some organization. AES and the MIDI Association are two examples and we have others we're adding. We want to make sure we have great representation here.

Are you expecting an international audience? It's hard to travel these days, but...?

As it’s the first show we have done it will be more US focused, but we have people who are coming in from around the world certainly from the speaker side and then people who are coming specifically to see them.

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Donuts Delivery has released Arbit in open beta for Windows, macOS, and Linux.

Arbit is a piano-roll-first composition workstation and MIDI plugin where notes can be linked by harmonic ratios. Instead of treating every note as a fixed equal-tempered grid position, Arbit lets composers define relationships such as 3/2, 5/4, 7/4, and other harmonic intervals directly between notes. Linked notes retune automatically as the composition changes.

Pricing & Availability

Arbit runs as a standalone app and as a VST3/CLAP plugin for macOS, Windows and Linux.

The free tier includes the harmonic piano roll, per-note microtuning output through VST3 note expressions, CLAP note expressions, and MPE, SF2/SFZ instrument support, VST3 hosting, Airwindows effects, core DAW functionality, MIDI import/export, Lua Scripting and in-depth chord/composition tools.

Arbit Pro adds sampling, drag-and-drop sample-to-note workflows, monophonic audio pitch correction, World vocoder / harmonic audio transformation, DiffSinger singing voice synthesis, and UTAU support.

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Swar Systems has released a new app called Swar Performer that is specially tailored for live musicians.

Swar Performer lets you map key ranges of your MIDI controllers to specific virtual instruments, with the ability to switch these mappings on the fly through scenes. Audio and Aux tracks are also available to achieve the exact routing you need.

Find out more about the software at its product page and/or download a free trial and check it out yourself.

Pricing & Availability

Swar Performer is available for $99 for macOS and Windows.

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Nembrini Audio has released Bass Resonance, a bass enhancer plugin modeled on the legendary Little Labs Voice Of God 500 Series, bringing focused low-end resonance and weight to your mixes.

Key features:

• Resonant Low-end Enhancement: Shape the weight and depth of your tracks with a focused bass resonance circuit designed to add size, punch, and controlled sub energy.
• Tune The Fundamental: Sweep the resonance point to lock the low end to the source, from huge kick drums and bass guitars to vocals, synths, and drums.
• Bigger Sound, Less Mud: Enhance the lows you want while keeping unnecessary sub buildup under control, helping tracks feel larger without clouding the mix.
• Fast, Musical Control: A simple, direct interface lets you dial in powerful low-frequency character in seconds, from subtle body to massive bass reinforcement.

Pricing & Availability

The Bass Resonance Plugin is available now for $19.99 until June 30th, 2026 (Reg. $79.99) for macOS, Windows and iOS in VST2, VST3, AU and AAX plugin formats.

Audio examples:

SoundCloud.com/nembriniaudio/sets/bass-resonance-plugin

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VB‑Audio Software has announced a major update for its professional multitrack recording / playback systems—MT128, MT64‑Standard, and MT32‑SPLite—bringing new control capabilities, improved remote‑production features and bug fixes.

Core Functions of the MT128 Series

At the heart of the MT128 ecosystem are four essential pillars that define its role in professional environments:

• Multitrack Recording — High‑capacity, reliable multitrack recording with optional Mirror Mode for redundant capture. The user interface is purpose‑built for live, broadcast, and operational environments, ensuring fast access to arming, monitoring, and timeline control.
• Sound Pad Functions — A powerful Sound Pad engine designed to manage playlist and trigger jingles and effects during TV/Radio shows, events, or live productions, with a layout optimized for speed and reliability.
• Secure Multitrack Playback — Stable, synchronized playback of multitrack sessions with optional redundancy, ideal for live shows, theatre, and any event requiring flawless, fail‑safe audio execution.
• Operational Touch‑Screen Interface — A touch‑screen‑ready interface engineered for operational use, offering clear visual layouts, large actionable zones, and secure interaction logic. This ensures operators can work efficiently and safely in fast‑paced or high‑pressure environments.

New Features & Enhancements

• Single Project Management for MT32‑SPLite — MT32‑SPLite now offers a single project management, to keep all your configuration / settings / editing from a launch to another (while MT64 & MT128 are offering a complete projects management).
• VBAN‑TEXT Control Instructions — MT128 now supports a new VBAN‑TEXT instruction set, enabling remote control of Arming, PFL, and Mixer functions. This opens the door to automation, scripting, and advanced remote workflows.
• StreamDeck Remote Support — Native compatibility with StreamDeck devices allows operators to launch instant playback sound with a direct access to SoundPad button or generate MIDI code (HID management). StreamDeck VBAN-TEXT support can be used to send various script of commands to MT128.
• VBAN‑Frame Screen Mirroring — A new VBAN‑Frame implementation enables lightweight screen mirroring and sharing, ideal for monitoring, supervision, and distributed production setups.
• Sound Finder & Playlist Solo Mode — The SoundPad gains a fast Sound Finder tool, to quickly find a sound in playlist and possibly play or stop it. The Playlist Solo Mode activate exclusive playback mode for the playlist (all other playlist sound will be stopped).
• New "H‑Code" Activation System — MT32‑SPLite and MT64‑Standard adopt the new activation code format, offering improved security, easier license management, and a more streamlined user experience.
• General Bug Correction — System‑wide stability improvements ensure smoother operation and increased reliability across all MT platforms.

Availability

MT32-SPLite (32-bit app compatible with Windows 7 up to the latest Windows 11 – including LTSC, IoT editions) is available for free and is distributed as donationware ($15) for activation code (after 30 days, the application will invite you to buy license or continue to evaluate the program for free). VB-Audio MT32-SPLite.

MT64-Standard (32-bit app compatible with Windows 7 up to the latest Windows 11 – including LTSC, IoT editions) is available for $125.

MT128 is a 64‑bit application compatible with Windows 7 up to the latest Windows 11, including LTSC, IoT editions. Distributed exclusively by Broady Solutions as an integrated solution for the professional audio domain, the MT128 is engineered for reliability in mission‑critical environments. The application is secured through a USB hardware dongle, ensuring robust protection and controlled deployment across production infrastructures.

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NiuPlusPlus has announced a 60% discount on their plug-ins, bundles and upgrades until 31 May 2026.

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